AOTW Aug. 22-28 - Charles Mingus

[Free For All]

Barak was gracious enough to invite me to select the next AOTW. After much thought, I decided on this one. I wanted to pick one of what I consider to be my "desert island" recordings, and this has long been a favorite Mingus title for me. I still get a rush/chill when I put it on.

One reason I chose this is because I, as someone who does a fair bit of arranging, really admire Sy Johnson's work on this one (and also Alan Raph, who also did some orchestration). IMHO, he deserves as much credit as does Mingus. There is some really beautiful orchestration and some excellent organization/development of motivic material. It obviously is a product of the studio, with edits and sound effects mixed in here and there. There is less of an emphasis on extended solos (compared to other Mingus smaller group recs) but the improvisation is woven in seamlessly to the more structured ensemble passages.

I had the opportunity to meet Mr. Johnson and play on some of the pieces from this recording. I asked him how much initial infomation he received from Mr. Mingus, and he said that (and this is in the liner notes to the CD) it was VERY minimal- basic ideas, tapes of recent performances.

I love this side. I think there are many moments reminiscent of some of Gil Evans' work. I hope you guys enjoy it, and I'm very interested to hear your comments.

[kh1958]

The orchestration of the Mingus solo piano performance, Myself When I Am Real, as Adagio Mon Nommo Troppo, it really great and my favorite piece on this recording. I also quite like Bobby Jones on Hobo Ho.

[leftshu]

LMCHM was my first exposure to Mingus back in the early 70s. At the time I did not understand what a special record this was. Through the years I would spin this record to discover just how great this recording really is. I guess I had to mature enough to get what was going on and now I get it ! It took me 30+ years but now I get it. I Have been on a Mingus quest the past 6 months. With each new record I have been able to expand my understanding of this unique artist. LMCHM is a great body of work by an American Master.---Leftshu

[EKE BBB]

It´s been a long time since I gave this one a spin. I´ll play it today. Thanks for bringing this one up to light!

[EKE BBB]

[JohnS]

Gave my 1972(?) vinyl a spin over the weekend. Although there is some nice music here big band Mingus is not for me. Something of Mingus' fire and spirit seems missing, especially in these heavily textured arrangements. Give me the early Atlantics and the Columbia sides anytime.

[mikeweil]

Well, Mingus saw himself as a composer as much as he was a performer, and I have the impression that he was at peace with himself, the music and the orchestra when this was rehearsed and recorded. No small achievement for the hot-headed man.

A bassist friend played that to me 30 years ago, and he admired the orchestral textures and the spirit of musical freedom he heard in it at the same time. If anyone succeeded in integrating improvisational freedom into big bands, it was Gil Evans and Mingus.

[Alon Marcus]

This is a GREAT choice !

After listening to David Murray's latest big band album my interest in arrangments and extended bands has grown and I went back to Duke Ellington and Charles Mingus. I'll give this one a few more listens though before posting my opinion.

[take5]

Obviously I'm a Mingus fan. This isn't one I normally go back to as much as others because it was his small-group stuff that got me into him. I will, however, re-visit this one soon...

[JSngry]

I also quite like Bobby Jones on Hobo Ho.

Jones was miscredited. That's James Moody!

[JSngry]

In many ways, my favorite Mingus album. (HATE the CD "bonus" cut though - BOO!). In a class by itself, really, and Snooky Young's finest hour. Charles McPherson's too, maybe.

A grossy neglected masterpiece, imo.

[Spontooneous]

This album's always been a big, forbidding mystery to me. I've had it for years, but haven't played it more than three times.

Big mistake. Spun it again today and began to make peace with it. And fell in love with "Adagio Ma Non Troppo."

I'm sure there was little rehearsal and much editing throughout, but the ensemble playing is wonderfully coherent.

Also some of the best Lonnie Hillyer I've ever heard. He's WAY into it.

I'll be trying to revisit this one more regularly.

[Sundog]

I bought this album specifically because of this thread. I find it to be a very interesting piece of work. I'm sure I will return to it many times in the coming years. For me, it just further illuminates the fact that Mingus was a multifaceted genius. I like the fact that he released music that is complicated and cerebral as well as, celebratory, carefree, and down right soulful.

[Alon Marcus]

Charles Mingus – Let my children hear music; for me this album certainly ranks as one of the best. It has the perfect balance of spontaneity (the band launches sometimes even into free improvisations) and organization. I know that nothing is perfect and there must be some flaws in this recording, but I must admit that I just can't see them. Maybe it is the "blinding effect" of the colorful orchestrations.

The intensity and vigor that are typical for Mingus present through out the recording. Each musical piece is so deep that the discussion can take months and not become exhausted.

Shoes of the fisherman's wife – this track is actually full of classical (or better to say: academic) influences. It is built in the form of a sonata. The introduction contains two distinctive musical themes (the slow beautiful melody which begins the work and the 3/4 theme that appears afterwards), the section of the classical development is replaced of course by improvisations and the finale is built like a reprise with slight changes. The slow melody stated simply at first with a two voiced counterpoint (melody and bass line) and all the instruments play these lines in unison (or different octaves). With each new phrase new instruments are being added to double the bass and the melody. Aside from adding color the band just sounds louder, firmer and stronger with every addition. The next time that this theme is stated the harmonization and voice leading are much richer.

Group improvisations are found in many tracks of the album, but in "Shoes" there are echoes of Coleman's "Free Jazz" and Bach/Handel like concerti grosso.

Taurus in the arena of life – the name of the piece is symbolic for Mingus. Born on April 22nd he astrologically was a Taurus and surely viewed his life as an eternal fight (against whoever was around). I can't understand the purpose of the short quasi classical piano introduction, but it still sounds o.k. to me. The center of the song is surely the tenor + trumpet improvisation, which appears with two different backgrounds: Spanish (the inevitable association with bulls and arenas) and Gospel.

Hobo Ho – the piece begins with an ostinato motive played by the bass and later doubled by tuba. The rhythmic pattern is also doubled by the drums. In the start the band "shouts" chords that are built note by note from different instruments. The song is a show off for the mind blowing tenor sax solo. There are some beautiful things being played behind the solo, sometimes improvised and sometimes written counterpoint. The vamp builds slowly until it reaches the climax of intensity.

I will post later additional thoughts on the disc if there will be any.

[Alon Marcus]

First of all I think it's time to put the lyrics of "The chill of death" in the thread. Are there any volunteers? I couldn't find it on the net.

This is probably Mingus' most artistic piece, compared even to his other narrated works. As the liner notes show Charles intended to find an organic synthesis of the symphonic/orchestral with the improvised. One of his inspirations was actually Bird that called him someday and played with Stravinsky's record. Mingus wanted to create something "jazzical".

Adagio ma no troppo takes these concepts farther. I must admit that I never heard "Mingus plays piano" and it is really hard for me to believe that this is an orchestration of his improvisation. The piece is totally written out.

Don't be afraid the clowns are afraid too – an extension of Charles' small group polyphonic concepts. The basic melody stated and afterwards more layers are being laid above it until the "b" section reached with its typical burlesque like motifs in 3/4. There are many moments of group free interplay. Some players are payin' dues to their bebop influences inside this orgy of sound. I managed to catch someone playing Parker's "Now is the time" and Dameron's "Hot house". The interplay is quite intriguing and fascinating.

[jazzbo]

I've meant to revisit this one to post some comments, but haven't been able to yet.

I love this one. It's got the whole Mingus thing going as far as vision and execution and SPIRIT. If there was something better in jazz came out that year, I can't think of it. . . . Would LOVE to have an SACD or a DSD remastered cd of this!

[take5]

Revisiting this album:

First off, given how much new music I've acquired recently (four Mosaic sets, the new Fantasy SACDS, Stevie Wonder, some prog rock, It's Monk's Time, Phish, etc) I would never have gone back to an old CD of mine. But this is Mingus- specifically, an album I had been meaning to revisit for a while.

In general, the album expands on one of the qualities of his music that attracted me at first: how BIG it all sounds. What better way to do that then with big orchestration?

1. The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers

To me it has kind of an old-jazz feel to it, as well as the classic driving hard rhythm of Mingus. The way the vibes seem to sway in and out of the total sound is fascinating. It's like their fighting to have a voice.

2. Adafgio ma non troppo

Intro makes me think of Gil Evans for some reason.

This is the kind of piece that I can appreciate and enjoy, but rarely moves me. I think part of it is because it changes a lot- quite a few breaks and stops.

3. Don't Be Afraid, the Clown's Afraid Too

One of Mingus' big arrangements that reminds me of Duke before the programmatic section.

4. Taurus in the Arena of Life

This, to me, is like an abridged history of Mingus' music. Starts off with the classical piano intro to point out that influence and hits you with a little blues before jumping into a similar riff as that found on Tijuana's Moods, which matches the bull-fighting reference of the title. Drumming here is awesome.

5. Hobo Ho

One reason I love Mingus is that he embraces the grimy, "street" roots of jazz. While others were interested in making jazz a lady, he was turning that ho out. And here, on an album with orchestra, he comes at you with a riffing bass and sleazy sax. But then everybody else eventually chimes in on that great groove.

6. The Chill of Death

My attempt at a transcription:

The Chill of Death as she clutched my hand.

I knew she was coming so I stood like a man.

She drew up closer, close enough for me to look int her face and then began to wonder,

"Haven't I seen her some other place?"

She beckened for me to come closer as if to pay an old debt

I knew what she wanted, it wasn't quite time yet

She threw her arms about me as many women had done before

I heard her whisper, "You'll never cheat me, never anymore"

Darkness and nothingness clouded my mind

I began to realise death was nothing to fear but something sweet and kind

I pinched to see if I was dreaming but failed to find bodily form

I then began to realise death had worked her charm

Taking myself of nothingness I chose a road to work

I noted there's pleasantness (?) with no one to stop me to talk

I remember stories of heaven as I visioned a glow ahead (?)

Two roads lay waiting for me choose one now I was dead

One road was dark, I could not see clearly such long stretched highway

The other road was golden and glowing, and shined as bright as day

I then remember stories of pearly gates, golden streets... or how... however those stories are told

I knew I'd reach heaven on this highway. If not, I'd have the gold.

I took one footstep feeling safe and acting bold

Suddenly, I realised my mistake. My chosen road turned black, bittery, and white cold

No longer was it golden glory nor heaven and it's in (?)

White hot flames were blazing; I saw the devil with his grin

I had taken but one footsep so I turned to hurry back

But there was a sound [something] waited in another door, nor a crack

Finally, coming to my senses, I walked onto my hill

For long before death had called me my end was planned

Planned but well

7. The I of Hurricane Sue

After a "stormy" beginning, a relatively polite swing feel.

[JSngry]

Three things:

People who dig "Adagio Ma Non Troppo" but haven't heard "Myself When I Am Real" from MINGUS PLAYS PIANO (and vice versa) are missing out on a real treat, as well as a chance to realize the brilliance of both Mingus' original ideas and Alan Ralph's "concretizing" of them. Stun factor is high on both counts.

The inclusion of "Taurus In The Arena Of Life", and especially the placement of it in the CD's programming, is an unnecessary abomination. It's a rough rehearsal take, period, wasn't included on the original album, and greatly disrupts the flow of the programming. Fortunately, it can be programmed out. But having lived intimately with this album (no, it doesn't now need a 45 adapter) since it's initial release, this cut's inclusion and placement on the CD has irked me to no end. BOO!

The LACK of inclusion of the original liner essay, one of the great writings of our time, actually (at least in relevance to the times in which I've lived) is equally abominational. I understand it's been reprinted in some fakebook, but that's not righ - IT BELONGS IN THIS ALBUM!

[mikeweil]

The LACK of inclusion of the original liner essay, one of the great writings of our time, actually (at least in relevance to the times in which I've lived) is equally abominational. I understand it's been reprinted in some fakebook, but that's not righ - IT BELONGS IN THIS ALBUM!

If it was a new Columbia Legacy reissue, they would have included the orginal liner notes and placed the bonus track at the end of the disc. But this is one of those Columbia Jazz Masterpieces reissues - should be redone, but as it still seems to be available (?), you will have to keep your patience ...

Thanks for the hint to the piano solo - I will check this out.

[Alon Marcus]

For all those who wanted the liner notes you can find it here

let my children hear music liner notes

[JSngry]

Cool!

Let's cut out the middleman, shall we?

WHAT IS A JAZZ COMPOSER?

Each jazz musician when he takes a horn in his hand- trumpet, bass, saxophone, drums-whatever instrument he plays-each soloist, that is, when he begins to ad lib on a given composition with a title and improvise a new creative melody, this man is taking the place of a composer. He is saying, "listen, I am going to give you a new complete idea with a new set of chord changes. I am going to give you a new melodic conception on a tune you are familiar with. I am a composer." That's what he is saying.

I have noticed that there are many kinds of composers in this so-called jazz. For instance, there are musicians who simply take rhythmic patterns and very spare notes-very limited invention melodically-and play in a soulful swinging way. Some people in the audience, when asked what they think about jazz, say, "I just go by the feeling, I go by the feeling the guy gives me." Now, whether there is feeling or not depends upon what your environment or your association is or whatever you may have in common with the player. If you feel empathy for his personal outlook, you naturally feel him musically more than some other environ-mental and musical opposite who is, in a way. beyond you.

I, myself, came to enjoy the players who didn't only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around. But there is no need to compare composers. If you like Beethoven, Bach or Brahms, that's okay. They were all pencil composers. I always wanted to be a spontaneous composer. I thought I was, although no one's mentioned that. I mean critics or musicians. Now, what I'm getting at is that I know I'm a composer. I marvel at composition, at people who are able to take diatonic scales, chromatics, 12-tone scales, or even quarter-tone scales. I admire anyone who can come up with something original. But not originality alone, because there can be originality in stupidity, with no musical description of any emotion or any beauty the man has seen, or any kind of life he has lived. For instance, a man says he played with feeling. Now he can play with feeling and have no melodic concept at all. That's often what happens in jazz: I have found very little value left after the average guy takes his first eight bars-not to mention two or three choruses, because then it just becomes repetition, riffs and patterns, instead of spontaneous creativity, I could never get Bird to play over two choruses. Now, kids play fifty thousand if you let them. Who is that good?

Today, things are at the other extreme. Everything is supposed to be invented, the guys never repeat anything at all and probably couldn't. They don't even write down their own tunes, they just make them up as they sit on the bandstand. It's all right, I don't question it. I know and hear what they are doing. But the validity remains to be seen -what comes, what is left, after you hear the melody and after you hear the solo. Unless you just want to hear the feeling, as they say.

When I was a kid and Coleman Hawkins played a solo or Illinois Jacquet created "Flyin' Home," they (and all the musicians) memorized their solos and played them back for the audience, because the audience had heard them on records. Today I question whether most musicians can even repeat their solos alter they've played them once on record. In classical music, for example people go to hear Janos Starker play Kodaly. They don't go to hear him improvise a Kodaly, they go to hear how he played it on record and how it was written. Jazz was at one time the same way. You played your ad lib solo, you created it, and if it was worthwhile, then you played it in front of the public again.

Now, on this record there is a tune which is an improvised solo and which I am very proud of. I am proud because to me it has the expression of what I feel, and it shows changes in tempo and changes in mode, yet the variations on the theme still fit into one composition. (It is not like some music I hear where the musician plays eight bars and then the next eight bars sound like he is playing another tune). I would say the composition is on the whole as structured as a written piece of music. For the six or seven minutes it was played (originally on piano), the solo was within the category of one feeling, or rather, several feelings expressed as one. I'm not sure whether every musician who improvises can do this. I think I do it better on bass, although most people in the past did not understand the range I used to play (nowadays most all bass players use this range when they solo-the full scope of the bass), because they didn't really listen, they thought I was just playing high to play high, rather than realizing that my composition began some place and developed to another. I have never struggled to be accepted as a great bassist-I imagine I could have been if I had seen my available musical goal there. If people really knew the qualification of a good bass player, they would flip-because I know thirty or forty bass players who have the technique that I have.* Whether or not they are as inventive is something else because when you study the instrument, it calls for a technique that jazz has not even begun to express yet, with the bow or with pizzicato. The full-developed bass player masters harmonics with a sense-I don't mean just scraping the bow across and making squeak sounds, I mean he can play compositions in harmonics. There are a million bowings that could and probably do duplicate a horn better. For instance, my dream has been to put basses, or maybe two basses in a reed section, in place of the baritone saxophone. I never had the chance so I could never say how it really sounds, it is only in my mind that I can say I hear it and it would work better than most baritone saxes. I had a classical student who was in the symphony in Minneapolis. He used to study through the mail and, for his lessons, I would write things for him and he would re-tape them and send them back. That was when I realized how much more could done, musically, by using the boss with the bow, by utilizing all the possibilities of this instrument. Back to the record: the music on this record is involved with my trying to say what the hell I am here for. And similar ideas. Another one is: let my children hear music -for God's sake-they have had enough noise. But mainly I am saying: Do you really know Mingus, you critics? Here is a piece I wrote in 1939 and I wrote it like this because thought in 1939 I would probably get it recorded some day. But when you have to wait thirty years to get one piece played-what do you think happens to a composer who is sincere and loves to write and has to wait thirty years to have someone play a piece of his music? That was when I was energetic and wrote all the time. Music was my life. Had I been born in a different country or had I been born white, I am sure I would have expressed my ideas long ago. Maybe they wouldn't have been as good because when people are born free-I can't imagine it, but I've got a feeling that if it's so easy for you, the struggle and the initiative are not as strong as they are for a person who has to struggle and therefore has more to say.

Part of the reason I am a composer is that I studied composition with Lloyd Reese. Lloyd Reese taught Eric Dolphy; Harry Carney also studied with him and so did Ben Webster and Buddy Collette, to name a few. Art Tatum highly recommended him. When Art found out I was studying with Lloyd, he asked me to come and play for him. Lloyd Reese was a master musician, he knew jazz and all the fundamentals of music from the beginning. (He used to be the first alto player in Les Height's band.) And he could play anything. I remember he turned a record on to me one time. (In my era the record stores weren't crowded with The Beatles' records or rock & roll or hillbilly. They had a few hillbilly and a few records they called rhythm & blues. But it wasn't a big market then. The record stores were mainly for white people. They had classical music, I remember Richard Strauss, Debussy, Ravel, Bach, Beethoven. I remember my favorites: Debussy, Stravinsky and I liked Richard Strauss very much-the one who wrote "Death and Transfiguration.") In any case I remember one day when I came to Lloyd's house, he said: "What is this?" and he played a record, I didn't know the title at the time, but he said: "What do you think is going on in this particular movement right there?" And I said: "I don't know, man, but there's a whole lotta shit going on. There's too much to figure out." The timpani was playing and the basses were playing and the piano was playing a percussional sound with the bass- you could hardly hear the piano-and the flutes were playing syncopated chop rhythms, the trumpets were playing cock valves, and this cat said: "Well, here it is," and he took a C-Seventh chord-I remember it started on the Third, and he played E, G, B flat, and D natural, and he said: "This is what the clarinets are doing . . ." and he began to decipher down what was going on. He said: "Here's the French horn part" and it came in on G, B flat, D, F an octave down and ended A natural, which clashed against the B flat the clarinets were playing in the E, G, B flat, D natural line, and it made a beautiful sound. I said: "Whaaa? What is that?"

So I'm saying briefly that people don't know what a black man (it's nice to say black man)-people don't know what it took to make a jazz musician. In my young days, we were raised more on classical music than on any other kind. It was the only music we were exposed to, other than the church choir. I wasn't raised in a night club. I wasn't raised in a whore house (there wasn't any music in them, anyway- in the bars). Today, I don't know how they train kids musically. But my point about Reese is that if you told the average person Lloyd Reese took the music of Stravinsky off a record, he would say you were crazy. There are millions of musicians, however, who have the capability of hearing and reproducing what they hear. It wasn't called ear training; I don't know what he called it, He would just say: ''Now you take the trumpet part. Now, what's the French horn doing?" It was to show you structure, I imagine.

As I was saying, each jazz musician is supposed to be a composer. Whether he is or not, I don't know. I don't listen to that many people. If I did, I probably wouldn't play half as much to satisfy myself. As a youth I read a book by Debussy and he said that as soon as he finished a composi- tion he had to forget it because it got in the way of his doing anything else new and different. And I believed him. I used to work with Tatum, and Tatum knew every tune written, including the classics, and I think it got in the way of his composition, because he wasn't a Bud Powell. He wasn't as melodically inventive as Bud. He was technically flashy and he knew so much music and so much theory that he couldn't come up with anything wrong; it was just exercising his theory. But as far as making that original melodic concept, as Bird and Bud did, Art didn't do this for me in a linear sense. I would say he did it more in a chordal-structure sense. Bud and Bird to me should go down as composers, even though they worked within a structured context using other people's compositions. For instance, they did things like "All The Things You Are" and "What Is This Thing Called love." Their solos are new classical compositions within the structured form they used. It is too bad for us that they didn't compose the whole piece instead of using other people's tunes to work within. If they had, they would have been put in the same class as Bartok and Debussy-to anyone who knows. Bud wrote a few things and so did Bird. But they were still within the simple chord changes you were used to-either the blues (which shows how great they really were, to be able to create-with new and good melodic structures-on such simple chord progressions). In other words, if they had created anything complex, I am sure they could have upset the world.

For instance, Bird called me on the phone one day and said: "How does this sound?" and he was playing- ad-libbing-to the Berceuse, or lullaby, section of Stravinsky's Firebird Suite! I imagine he had been doing it all through the record, but he just happened to call me at that time and that was the section he was playing his ad lib solo on, and it sounded beautiful. It gave me an idea about what is wrong with present-day symphonies: they don't have anything going on that captures what the symphony is itself, after written. I'd like to write a symphony, myself, on this form-the old western form of classical music-I'd like to write a suite of three or four hours and have a solo in spots that is like Charlie Parker, with Bird in mind, playing ad lib.

I think the music on this record is serious in every sense. I say, let my children have music. I said it earlier. For God's sake, rid this society of some of the noise so that those who have ears will be able to use them some place listening to good music. When I say good I don't mean that today's music is bad because it is loud. I mean the structures have paid no attention to the past history of music. Nothing is simple. It's as if people came to Manhattan and acted like it was still full of trees and grass and Indians instead of concrete and tall buildings. It's like a tailor cutting clothes without knowing the design, It's like living in a vacuum and not paying attention to anything that came before you. What's worse is that critics take a guy who only plays in the key of C and call him a genius, when they should say those guys are a bitch in C-natural. Pop music is still another story. Even tune structures are stolen. The music I've heard from the late pop groups (many of which are from England) seems to stem from a mixture of many different American composers and American music. " I Found A New Baby." "Nature Boy." "Ain't Necessarily So." I hear these tunes, certain tunes, all through The Beatles' music, for instance. I don't know if they just surround themselves with this kind of music and compose from it. But it doesn't come out ringing true to me as English composition. For instance, Schillinger used to say that you could take a sheet of music, turn it upside down-alter you wrote a cer- tain movement-eight or ten bars-copy it upside down, then copy it backwards, from the end of the page back, turn the page over and copy it backwards and upside down. This would give you eighty bars or more of the same mood without working for it. It's the same as taking a tape recorder melody and splicing it up several thousand different ways. To me that's not spiritual music. It leaves the feeling and emotion out. It seems to me that it should come from the heart, even though it's composed.

I think it is evident when a person is stealing or copying a form of music which is not his own. Other musicians recognize it, but I don't think it is important enough to them to say anything about it. Why, at least, doesn't the public, or don't the critics point it out? I heard a lot of Bird's solos in the music of this past and present rock music era. The names are not important. But what they do, more or less, is just take a melody created by a jazz soloist and put words to it. They add words to a solo with a few of the notes left out. That is what it sounds like to me and others I've discussed it with.

As I say, let my children have music. Jazz-the way it has been handled in the past-stifles them so that they believe only in the trumpet, trombone, saxophone, maybe a flute now and then or a clarinet (not too many of our "bad"- that is great-people go for the clarinet. Probably because there is not much work available for clarinetists, except for those who play in the studios). But it is not enough. I think it is time our children were raised to think they can play bassoon, oboe, English horn, French horn, lull percussion, violin, cello. The results would be-well the Philharmonic would not be the only answer for us then. If we so-called jazz musicians who are the composers, the spontaneous composers, started including these instruments in our music, it would open everything up, it would get rid of prejudice because the musicianship would be so high in caliber that the symphony couldn't refuse us.

In fact, who wants to be in the symphony anyway, nowadays? If you stop and take note of what jazz has done, and the kind of musicianship which has developed from each instrument (take the trumpet: Louis Armstrong, King Oliver, Maynard Ferguson, Cat Anderson, or the pyrotechniques of Dizzy Gillespie; you never hear that kind of high- note playing in symphonic works), it becomes obvious that it has made each player a virtuoso. That is probably why most European musicians now choose to be jazz musicians rather than classical players because they are always proving that the instrument can do more than is possible. I mean, the range has doubled in octaves. For instance, Stravinsky wrote a piece for a high trumpet. He used a special trumpet-a piccolo trumpet-to play high, but Cat Anderson played off the piano with an ordinary trumpet-played higher than the piano goes, higher than piccolos. So do Maynard Ferguson, Snooky Young, Ernie Royal, Louis Armstrong, King Oliver, Freddie Webster, Dizzy Gillespie, Fats Novarro, Clifford Brown. Hobart Dotson, Kenny Durham.

There are many other instruments besides the trumpet which jazz musicians have made do the impossible. And they can play, for hours on end, technical, involved, difficult, educated lines that have melodic sense. They are all virtuosi. The same goes for string bass. The same goes for saxophone, although it is not used much in symphony. But anything Milhaud has done in classical music, McPherson and Bird, alone, do with ease as well as human warmth and beauty. Tommy Dorsey, for example, raised the range of the trombone two octaves. Britt Woodman raised it three. And take Jimmy Knepper. One of his solos was taken off a record of mine and written out for classical trombone in my ballet. The trombone player could barely play it. He said it was one of the most technical exercises he had ever attempted to play. And he was just playing the notes-not the embellishments or the sound that Jimmy was getting.

That about covers it.

Let my children have music! Let them hear live music. Not noise. My children! You do what you want with your own!

- Charles Mingus

Liner notes by Charles Mingus for the album "Let My Children Hear Music"

on Columbia Records, 1971.

*[Which, incidentally, brings to mind another thought; along with the jazz hump music and nigger contests, there has never been a contest to decide who is the King of the Trumpet in the Symphony. Or who is the Best Violin Soloist-Jascha Heifetz, Yehudi Menuhin, Isaac Stern, Salvatore Accardo? Or which is the Best String Quartet of the Year-Budapest or Juilliard?]

[Sundog]

Thanks for posting.

[Free For All]

As the sun sets on this AOTW, I'd like to thank all who participated. There were many excellent and informative posts which confirmed and expanded my admiration for this great recording (as well as my admiration for our esteemed board members). It's good to hear others feel as I do about this one.

Viva Mingus!

[JSngry]

Finally, FINALLY got to hear Music Written for Monterey, 1965, and hearing "Once upon a Time, There Was a Holding Corporation Called Old America" (aka "The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers") & "Don't Be Afraid, the Clown's Afraid Too" in their earliest(?) raw incarnations served the dual function of providing, as of now, an endlessly fascinating series of listenings/learnings and highlighting yet again just how great, truly great, a work is Let My Children Hear Music.

Some music "stcks" for a lifetime. So far, the music of Let My Children Hear Music is doing just that. Whatever the directional opposite of a bottomless pit is, that's what this music is for me.

Edited October 2, 2005 by JSngry

[Swinger]

How I wish I could get that Music Written for Monterey, 1965 as well. I do have Let My Children Hear Music but I don't play it very often.Not my favorite Mingus cd for sure...