"The Mingus Excerpt" shows a sweet side of Charles Mingus
that few people saw or could imagine. After all, his nickname was "The Angry Man of Jazz," and most biographical material supports that designation in one way or other. But for all his bluster and bombast, there was also generosity and kindness.
This story describes his unlikely friendship with Steve Reichman, a young Jewish kid from the suburbs who eventually committed suicide in Morocco, at the age of 19. His parents' frantic need to understand what happened led to Mingus's surprise gift for the memorial, and ultimately to the creation of the famous documentary, Mingus: Charlie Mingus 1968
, by Steve's older brother, Thomas Reichman. What happened to the gifted Tommy is a question that still lingers in some old AAJ forums; the answer is part of this story too.
"The Mingus Excerpt" was written by my friend Marge Chilcoat, writer, relative of the Reichmans, and witness to these events in the early 1960s. The Mingus pages were part of her unpublished memoir; she was happy to donate them for posting at AAJ. Unfortunately, they stayed in a drawer for years, as such things often do.
Today, Marge is 90 and sadly, her own brilliant mind has lost its wayshe no longer remembers writing a memoir, and is unlikely to fully appreciate having an international byline. Fortunately her daughter, Laura Rogers, has renewed my permission to share the story, since I believe it's a tale that needs to be told.
First: some historical context.
The legendary bassist/composer/bandleader Charles Mingus (1922-1979) was one of the towering figures in 20th century jazz. Mingus recorded over 100 albums and received numerous honors, including a 1971 Guggenheim Fellowship for Composition, a Grammy award for lifetime achievement, and a postage stamp in his honor (the last two after his death). Mingus is responsible for at least two standards: "Goodbye Porkpie Hat," his elegy for saxophonist Lester Young
), and "Fables of Faubus," a satirical tune inspired by Arkansas Governor Orval Faubus, who defied the U.S. Supreme Court's order to desegregate American schools.
Mingus's magnum opus, "Epitaph," was discovered after his death, when his papers were being catalogued. Favorably compared to Duke Ellington
's groundbreaking "Black, Brown, and Beige," the powerful two-hour "Epitaph" was reassembled from fragments and performed in 1989 at New York's Lincoln Center, with archivist Gunther Schuller conducting a 30-piece orchestra that reads like a "Who's Who" of jazz.
Mingus was also the only person Ellington ever fired, which fits in with the dark side of his reputation. In fact, it's virtually impossible to read anything about him without encountering words like "fiery," "uncompromising," "intimidating," "mentally ill" and even "violent." He was as famous for his temper as he was for his groundbreaking contributions to the music. What follows provides just a tiny insight into his enormous complexity.
Dr. Judith Schlesinger The Mingus Excerpt by Marge Chilcoat
Then, in the third month of his journey, his parents heard about him. They heard it from the American Embassy in Morocco. Stevie's body, along with a few items of worn clothing and a dog-eared notebook, had been found in a small rented room there. The body could not be returned until the end of some religious period or other, and until after investigation by local authorities to determine that it was indeed a suicide.
The notebooks told the story, along with some corroboration from his roommate, with whom he had corresponded erratically and to whom the reason for the trip was no secret.
Stevie, it turned out, had during his Greenwich Village period fallen quite adolescently in love with a girl a few years older than he who had been part of a group of friends. She had appeared to return his interest, but in retrospect only to make her longstanding boyfriend jealous. Her ploy worked, and the boyfriend swooped her away to Paris. Stevie, in his innocence, thought he could win her back if only he could see her.
Someone had given him the address of a relative in Paris, allowing him to slowly track down the hideaway she shared with her abductor. He acquired somehow a motorbike, and with it he posted himself daily by the front door of her apartment, waiting to catch her alone one day. At last he did.
"Oh my God," she said. "Can't I ever get away from you?"
The impact on the lovelorn boy was dramatic, and unhinging. He left Europe for the mysterious East where, his journals show, he expected to find the meaning of life from some wise guru. That is where the written trail ends.