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(More customer reviews)This is a slightly disappointing, but still very good biography of one of the greatest jazz composers and probably its top bassist. Mingus, using a mixture of jazz, blues, church music, European impressionism and march music, and folk, wrote some of the most outstanding music of the 20th century. A man of wide-ranging, complicated emotions, lionesque appetites, and varied intellectual and creative pursuits, this titan of modern music is a fascinating biographical subject.
However, Brian Priestley does not capture the full measure of the man and his music. I'm not sure what the subtitle "A Critical Biography" is meant to convey, but there is not enough musical criticism. Particularly in the second half of the book, Priestley resorts to an "and then he wrote" approach, painstakingly detailing every new composition or derivative, and every new musician in the ever-changing Mingus ensemble. There is musical analysis, but often it is more technical than critical. Referring to a song on "East Coasting" Priestley writes, "it incorporates passages of G minor twelve-bar blues only slightly different from the opening of `Eulogy' (Im/bVImaj\bII7\V7 instead of Im|bVImaj7\IIm7b5\v7)." The first part of this sentence is the more revealing: "It is a tribute to Mingus' maturing methodology that ideas are shown to be capable of repetition and rearrangement."
This does not go far enough, though. Why did Mingus "cross-breed" so many of his works, as Priestley notes but never really examines. The reasons (aesthetic, psychological--practical in the case of "Slop") for the similarities among some works (e.g., "Better Get Hit Into Yo Soul", "Wednesday Night Prayer Meeting", "Slop," and other compositions is never really explored. Were Mingus' edits across versions and his reworking of similar themes an attempt to forge a new "traditional" folk music within a mere two decades? (Perhaps this hypothesis is off, but I would have preferred that Priestley write a more encompassing analysis of both the whole of Mingus' work and its constituent parts.)
Conversely, we may praise the author for not indulging in psycho-biography, for including extensive well-documented quotes from Mingus as well as other musicians, and for describing enough on-stage Mingus behavior to get a sense of his personality. One might want to read the excellent though brief "Mingus/Mingus: Two Memoirs" for a better look at the offstage Mingus and his relationships with non-musicians.
The strength of the book is the extensive documentation of the entire Mingus discography, the ever shifting lineups, and both the recorded and non-recorded performances. This must have been a labor of love, as Priestley gives the definitive record of Mingus' output and how the performances map onto the different albums. The appendices include musical notations of ten (!) bass excerpts, a second-by-second structural analysis of "The Black Saint...,"and notes to all citations in the book. This is invaluable for the Mingus fan.
Priestley's writing can be awkward, "She it was who wrote....," and strained "Any minimally serious astrological guide will describe the typical Taurean as having outsized physical appetites; what is perhaps even more relevant to Mingus is the ability to treat extramarital affairs (like the ice-cream [sic] of which he was so fond) as a dessert complementing, but in no way threatening, any long-established relationship."
Despite the reservations noted above, I can recommend this book as a comprehensive resource for Mingus fans. It also includes enough personal information and sympathy (through interview excerpts with Mingus and others) that one begins to appreciate his complexities. There are a few clues to his Joycean autobiography, "Beneath the Underdog," and one gets a good sense of the racial tensions and injustices battled by Mingus. Finally, judging from the reviews of the other major Mingus biography, "Myself When I Am Real," this is the best book currently available. It will be enhanced, however, if read with the aforementioned autobiography (as perplexing as it is) and "Mingus/Mingus," as well as the brief but excellent critiques in "The Penguin Guide to Jazz." Includes 25 black and white photos, notes, appendices, and an extensive index.
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Mingus: A Critical Biography (Da Capo Paperback)It would be no exaggeration to call Charles Mingus the greatest bass player in the history of jazz; indeed, some might even regard it as understatement, for the hurricane power of his work as a composer, teacher, band leader, and iconoclast reached far beyond jazz while remaining true to its heritage in the music of Duke Ellington, Charlie Parker, and Thelonious Monk. In this new biography Brian Priestley has written a masterly study of Mingus's dynamic career from the early years in Swing, to the escapades of the Bebop era, through his musical maturity in the '50s when he directed a band that redefined collective improvisation in jazz. Woven in with exacting assessments of Mingus's artistic legacy is the story of his volatile, unpredictable, sometimes dangerous personality. The book views Mingus as a black artist increasingly politicized by his situation, but also unreliable as a witness to his own persecution. Capturing him in all his furious contradictions-passionate, cool, revolutionary but with a keen sense of tradition-Brian Priestley has produced what can be called, again without exaggeration, the best biography of a jazz musician we have ever seen.
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