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To complete this series on Charles Mingus and his work with large ensembles, I’m going to post a couple of favourite tunes, both of which illustrate the range of influences that Mingus brought to bear on his orchestral writing – Monk, Ellington, 20th Century classical composers, Bird, Fats Waller – it’s all in there somewhere.

Rambunctious and confident, E.S.P. was recorded at the 1972 Philharmonic Hall concert. We hear solos from Lee Konitz (as), Lonnie Hillyer (tp), Gerry Mulligan (bs) and Charles McPherson (as). The back-announcement is by Bill Cosby, who was M.C. for the evening.

I like to think that Please Don’t Come Back from the Moon is Mingus’ acerbic response to the bouncy optimism of Bart Howard’s Fly Me to the Moon. Solos are by Richard Williams (tp), Jaki Byard (pn), Zoot Sims (ts) and Charlie Mariano (as). The tune was the final “planned” tune recorded at the 1962 Town Hall concert, and ends suddenly during Mariano’s solo as Mingus was given a signal to wrap the gig up before union overtime kicked in at midnight…

Charles Mingus Orchestra – E.S.P.
From Charles Mingus and Friends in Concert : Columbia C2K 64975 [Buy]

Charles Mingus Orchestra – Please Don’t Come Back from the Moon
From The Complete Town Hall Concert : Blue Note 28353 2 5 [Buy]

The attempts by Charles Mingus to work with supersized bands in his own lifetime were plagued by logistical, musical and personal obstacles. A combination of inadequate rehearsals, changes forced by promoters and record companies, the ambitious nature of Mingus’ orchestral vision, (and in no small part Mingus’ own famously explosive temper) conspired to make appearances by a Mingus Orchestra rare and frustrating for all concerned.

In fact some of the highlights of these concerts came not from the planned and arranged tunes, but from spontaneous music that was created in some ways to cover up for the often abysmal playing and sightreading!

The October 1962 New York “Town Hall Concert” was the first attempt by Mingus to record his Epitaph suite, and became one of the most famously bungled gigs in the history of jazz. The entire, almost unbelievable saga is recounted by Gene Santoro in the Village Voice (thanks to be.jazz for posting this recently!). As midnight approached and the concert slowly dissolved into chaos, trumpeter Clark Terry started the opening riff from Ellington’s “In a Mellow Tone“. The band quickly caught on, and the performance is exciting because it is completely unrehearsed, and born out of total frustration. We hear solos by Pepper Adams (bs), Clark Terry (tp) and Britt Woodman (tb).

Mingus’ New York “comeback” concert in February 1972 was perhaps less eventful, but again the juggernaut barely kept itself on the rails. At the end of a less-than-satisfactory first half, Mingus tried to reignite the evening by launching into a funky, dirty blues. Gene Ammons (ts) followed his lead, and the resulting jam (named “Mingus Blues“) is one of my favourite Mingus recordings.

Charles Mingus Orchestra – In a Mellow Tone
From The Complete Town Hall Concert: Blue Note 28353 2 5 [Buy]

Charles Mingus Orchestra – Mingus Blues
From Charles Mingus and Friends in Concert: Columbia C2K 64975 [Buy]

As a composer and student, Mingus’ interests stretched well beyond what we might term his jazz influences. We know for example that Mingus spent his early years studying the work of Bartok, Stravinsky, Ravel and Debussy. It is probably in his writing for large groups that Mingus “classical” influences are most strongly felt.

When I first heard Mingus’ Self Portrait/Chill of Death, (part of the Epitaph suite), I immediately thought of Charles Ives. And not because both composers share a first name!

Chill of Death features an almost endless string of interlocking solos – during the 11 minute duration of the piece, just about every orchestra member gets to solo, sometimes playing over the top of each other in “clashing” chord progressions. The overall effect reminded me of Charles Ives symphonic compositions, in which different sections of the orchestra would often be given different tunes to play – simultaneously!

In the climax of “The Fourth of July” (1911-13), Ives splits the orchestra into four in an orgy of patriotic chaos- the brass scream out Columbia, Gem of the Ocean, a solo cornet tries to burst through with Battle Hymn of the Republic, while piano and xylophone are hammering away at Yankee Doodle. And the rest of the orchestra? Well, by this stage who cares what they are are doing…

So, here is Chill of Death and The Fourth of July placed alongside each other, for comparison and contrast. For optimum effect, play both mp3s at once…

Epitaph Orchestra – Self Portrait/Chill of Death
From Charles Mingus Epitaph: Columbia 466631 [Buy]

Leonard Bernstein/New York Philharmonic Orchestra – The Fourth of July
From Leonard Bernstein – Ives Symphonies Nos. 2&3 etc: Sony Classical 516023 [Buy]

The great thing about skiing holidays is that it’s almost never the skiing that is the most memorable event. So the undoubted highlight of my short break in the South Island this winter were the keas.

The kea is the world’s only alpine parrot, and apart from being some of the most intelligent birds on the planet, they also are among the most fearless, playful and impish. They will rip apart the upholstery on your snowmobile, steal french fries off your picnic table from under your nose, and then flap off noisily up the mountain to look at you sideways from the safety of a rocky outcrop.

So, in a twisted tribute to these impish inhabitants of our Southern Alps, I’ve dug up some of the most impish music I could find. The London Improvisers’ Orchestra, recorded live at the Freedom of the City Festival on May 5th 2002. Phone In is an improvisation for orchestra and mobile phones, while Fanfare for LIO is an improvised duet for orchestra and audience.

Keaaaaaa!

London Improvisers’ Orchestra – Phone In
London Improvisers’ Orchestra – Fanfare for LIO
From Freedom of the City 2002: Emanem 4090 [Buy]