Charles Mingus

Mingus Mingus Mingus Mingus Mingus defines a moment in my musical history. It started me on a journey, a search for the spectacular. I knew of a few good jazz albums at the time, but I really hadn't pieced together my reasoning for liking an album or not. In some sense, they all sounded the same to me. Not only could I not differentiate a Coltrane solo from a Parker, but, in many cases, I couldn't even tell the difference between a trumpet and a saxophone. But Charles Mingus, Oh Charles Mingus! It wasn't a love at first listen, it was a realization of uniqueness. It was a kindred spirit feeling which overwhelmed me.

And ironically, this album is at surface value only some kind of Mingus greatest hits compilation. All but one piece were previously recorded; they are reworked versions of previous compositions. So how in the world could this be unique, how could this exude a limitless sense of daring? In many of my posts I've mentioned the beauty which emanates from limitations - such as the beauty of Yann Tiersen's minimalism. Here too does this factor improve my listening experience. It is the inherent possibility for the mundane, for the generic, for the platitudinous which creates this album's power. Some of the songs have really quite simple chord progressions, and the whole setup of a big band generally leads to more pop oriented songs. But Mingus doesn't go this route. Mingus shapes a pile of old standards into a surreal experience. He struts his genius by creating masterpieces out of simplicity.

He has a fantastic ensemble to help out, and though I won't list names they deserve almost as much recognition for their playing ability. One interesting thing about listening to a Mingus album is that I can't tell where Mingus' composing ends, and a players improvising begins. He utilizes a rough compositional style in which the soloist works within the confines of a pre-determined progression, yet all the while ensuring that each soloist adds a bit of their own soul. The notes hold little significance without the careful rhythmic and dynamic designs of the players.

So here are my favorites, two raucously swinging, and two devilishly sultry.

II B.S.; Mingus Mingus Mingus Mingus Mingus


Mood Indigo; Mingus Mingus Mingus Mingus Mingus


Theme For Lester Young; Mingus Mingus Mingus Mingus Mingus


Hora Decubitus; Mingus Mingus Mingus Mingus Mingus

Le Trio Joubran

Every once in a while I grow weary of Jazz and Classical music, and when this happens, I always turn to World music. Primal, expressive, plaintive; each descriptor proves ineffectual because I plainly do not understand another culture's music as well as my own. In an attempt to analyze the music, I may catch glimmers of insight as to the formation of the music, but I wholly lack knowledge of intention. No amount of reading wikipedia will result in realizing the scope of the music; nor should I think any level of research will reveal its secrets. I may only understand it on my own terms – allowing my body to interpret the rhythms, letting my ear negotiate the foreign harmonies – all within the confines of my own experience. Thus, I will not delve into explanation, I will just share a couple of my favorite artists from around the world within the next few posts.

Should you wish to read up, here are some links:
http://en.wikipedia.org/wiki/Oud
http://en.wikipedia.org/wiki/Le_Trio_Joubran

Masâr; Le Trio Joubran on Majâz