The Charles Mingus composition “Moanin'” was sampled for Jordin Spark’s new track “1000”. You can hear the Mingus Big Band sample on her new album, “Right Here Right Now”.
Two Mingus compositions — “Dry Cleaner of Des Moines” and “Goodbye Pork Pie Hat”– can be heard in an upcoming production JACO: A Documentary Film.
JACO tells the story of Jaco Pastorius, a self-taught, larger-than-life musician who changed the course of modern music. Never-before-seen archive footage unveils the story of Jaco’s life, his music, his demise, and the lasting victory of artistic genius. Featuring Joni Mitchell, Sting, Flea, Herbie Hancock, Geddy Lee, Bootsy Collins, Santana, Wayner Shorter and more. JACO will leave you longing for a time when “musicians owned the music industry.” Produced by Metallica’s Robert Trujillo with Passion Pictures (Searching For Sugar Man) and directed by Paul Marchand and Stephen Kijack.
One year ago, Sue Mingus participated in the ALS Ice Bucket Challenge in memory of her husband, Charles Mingus. A stunt that once seemed silly, now scientists say it paid for a breakthrough. The ALS Association says the ice bucket challenge raised $115 million in six weeks, and many participants have become repeat donors. Research led Johns Hopkins scientists focused on a protein called TDP-43 that in some circumstances is linked to cell death in the brain or spinal cord of patients. The scientists found that inserting a custom-designed protein allowed cells to return to normal. The research at Johns Hopkins on TDP-43 was already underway, but scientist Philip Wong says ice bucket money helped accelerate the work and allowed the team to conduct some high-risk, high-reward experiments that were critical to the outcome.
Chicagoans who admire Charles Mingus’ “The Black Saint and the Sinner Lady” are having a very good year.
In May, Jeff Lindberg’s Chicago Jazz Orchestra played what is believed to have been the world premiere concert version of Mingus’ landmark recording. The performance at Spertus Institute took a while to gain momentum, but eventually it achieved critical mass, enabling listeners to hear the 1963 work in the best way possible: live.
On Thursday night, former Chicago saxophonist Greg Ward reconceived Mingus’ magnum opus, collaborating with choreographer Onye Ozuzu for a spectacle in sight and sound at the Pritzker Pavilion in Millennium Park. This, too, was a significant occasion, notwithstanding the characteristically clumsy live video that flickered on the Pritzker’s oversized LED screen.
Continue reading the full article here
(Sue Mingus & Gunther Schuller at St. Bart’s Church, Manhattan, 2011)
I grieve along with everyone who loved Gunther Schuller. Gunther was a friend for over thirty years. He was a colossus in music, a force in nearly every genre from classical to jazz, a composer, conductor, arranger, educator, performer. He was also an impassioned advocate for Charles Mingus music, from the first concert he produced with Mingus in the early Sixties, to his editing and conducting of Mingus’s three-hour masterwork “Epitaph” after his death, to his major participation in the annual Mingus High School Competition at Manhattan School of Music. From my own perspective no one did more to elevate and promote Mingus besides Charles Mingus himself.
He was available whenever you needed him, he never said no. If you called he stayed on the phone whatever he might have been doing— and he was always doing something: preparing to conduct a concert, writing a string quartet, organizing notes for a class he was teaching. I once took a photograph of Gunther sound asleep on a plane, his head resting on music scores that were spread out on the fold-out table in front of his seat. My grandfather used to say if you wanted something done, take it to a busy man. Gunther was the embodiment of that saying.
Missing Gunther has just begun. We held a tribute last week at the club where the Mingus Big Band has a weekly residency. We performed arrangements Gunther made for the band. I imagine we will go on performing them for a long while.
— Sue Mingus