NEC Jazz Orchestra: Better Get Hit in Your Soul - The Music of Charles Mingus
In honor of Charles Mingus’s centenary, the NEC Jazz Orchestra will perform a selection of his works, including Mingus Fingers, The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers and Meditations on Integration, among others.
This performance is open to in-person audiences only. A streamed version will be viewable on May 19 at 7:30 p.m.
One of the most important figures in twentieth century American music, Charles Mingus was a virtuoso bass player, accomplished pianist, bandleader and composer. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church–choir and group singing–and from “hearing Duke Ellington over the radio when [he] was eight years old.” He studied double bass and composition in a formal way (five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with the legendary Lloyd Reese) while absorbing vernacular music from the great jazz masters, first-hand. His early professional experience, in the 40s, found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton.
Eventually he settled in New York where he played and recorded with the leading musicians of the 1950s—Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. He was also an accomplished pianist who could have made a career playing that instrument. By the mid-50s he had formed his own publishing and recording companies to protect and document his growing repertoire of original music. He also founded the "Jazz Workshop," a group which enabled young composers to have their new works performed in concert and on recordings. Mingus soon found himself at the forefront of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include: Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, The Black Saint and the Sinner Lady, Cumbia and Jazz Fusion, Let My Children Hear Music. He recorded over a hundred albums and wrote over three hundred scores.
Although he wrote his first concert piece, Half-Mast Inhibition, when he was seventeen years old, it was not recorded until twenty years later by a 22-piece orchestra with Gunther Schuller conducting. It was the presentation of Revelations which combined jazz and classical idioms, at the 1955 Brandeis Festival of the Creative Arts, that established him as one of the foremost jazz composers of his day.
In 1971 Mingus was awarded the Slee Chair of Music and spent a semester teaching composition at the State University of New York at Buffalo. In the same year his autobiography, Beneath the Underdog, was published by Knopf. In 1972 it appeared in a Bantam paperback and was reissued after his death, in 1980, by Viking/Penguin and again by Pantheon Books, in 1991. In 1972 he also re-signed with Columbia Records. His music was performed frequently by ballet companies, and Alvin Ailey choreographed an hour program called “The Mingus Dances” during a 1972 collaboration with the Robert Joffrey Ballet Company.
He toured extensively throughout Europe, Japan, Canada, South America and the United States until the end of 1977 when he was diagnosed with a rare nerve disease, Amyotrophic Lateral Sclerosis. He was confined to a wheelchair, and although he was no longer able to write music on paper or compose at the piano, his last works were sung into a tape recorder.
From the 1960s until his death in 1979 at age 56, Mingus remained in the forefront of American music. When asked to comment on his accomplishments, Mingus said that his abilities as a bassist were the result of hard work but that his talent for composition came from God.
Mingus received grants from the National Endowment for the Arts, The Smithsonian Institute, and the Guggenheim Foundation (two grants). He also received an honorary degree from Brandeis and an award from Yale University. At a memorial following Mingus' death, Steve Schlesinger of the Guggenheim Foundation commented that Mingus was one of the few artists who received two grants and added: “I look forward to the day when we can transcend labels like jazz and acknowledge Charles Mingus as the major American composer that he is.” The New Yorker wrote: “For sheer melodic and rhythmic and structural originality, his compositions may equal anything written in western music in the twentieth century.”
He died in Mexico on January 5, 1979, and his wife, Sue Graham Mingus, scattered his ashes in the Ganges River in India. Both New York City and Washington, D.C. honored him posthumously with a “Charles Mingus Day.”
- NEC Jazz Orchestra
(arr. Sy Johnson) | The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers
(arr. Sy Johnson) | Boogie Stop Shuffle
(arr. Sy Johnson) | Ecclusiastics
(arr. Sy Johnson) | Better Get Hit In Your Soul
(arr. Gunther Schuller) | Started Melody
(arr. Sy Johnson) | My Jelly Roll Soul
(arr. Ken Schaphorst) | Meditations on Integration
NEC Jazz Ensemble
Mike Cameron, alto saxophone, clarinet, flute
Ben Mizach, alto saxophone, flute
Nick Ryder, tenor saxophone, clarinet, piccolo
Shota Renwick, tenor saxophone, clarinet, flute
Nick Biagini, baritone saxophone, bass clarinet
Rowan Barcham, piano
Talia Rubenstein, guitar
Benjamin Friedland, double bass
Nadav Friedman, drums