Saturday, November 12, 2011
Mingus Misprized, Duke Reprised
I should have bought the Mosaic set back a decade ago that revisited Ellington’s own albums for Reprise, not only because I quite like a few of them (especially his treatment of tunes from Disney’s Mary Poppins, plus the Afro Bossa and Symphonic Ellington LPs),
For example, Duke was soon responsible for producing the debut albums, cut in Paris the same day in 1963, of pianist Dollar Brand (better known as Abdullah Ibrahim) and stylized beginner vocalist Bea Benjamin (soon to become Ibrahim’s wife, and add “Sathima” to her name). The Brand album merited some critical attention and praise, but Benjamin’s equally intriguing
Ignoring A&R Duke’s other hits and misses (from Bud Powell to Alice Babs), I have sometimes wondered… What if Charles Mingus had been without a contract at the time (rather than recording piecemeal for Atlantic and RCA and Impulse)? The bassist/bandleader greatly admired Ellington--openly competed with him too--and his big band compositions paid homage to Duke’s elastic but painstakingly crafted approach, building his compositions around the particular talents of each
But fiery Charles was definitely one who broke the mold, a volatile mix of sensitivity, creativity, and orneriness, of gospel soul, sophisticated vision, and impolitic pugnacity. Only the contra-bass was massive enough to match big, bullish, master musician Mingus; and that “contra-“ prefix suited him too since he measured himself against… well… not to put too fine a point on it, the world: white racists,
I assume that all these elements will—like the artist himself—loom large in the new documentary titled Mingus on Mingus, directed by his grandson Kevin Ellington Mingus (interesting name) and currently in the midst of filming. Except, to be strictly correct, the crew is on hold at the moment because, from November 7 to December 18, the core backers and creators are seeking to raise an additional $45,000. (You can read all about the project at www.orangethenblue.com, and also watch a brief trailer here. Then give whatever financial support you can muster!)
At any rate, any later creative interaction between Duke and Mingus was away from public view, if such occurred. In fact Ellington’s A&R work soon fizzled; he didn’t
Apparently given short shrift were the second half of some “Duke-revives-the-Big-Bands” sessions, and a fiddlers-three project recorded around the time of the (pending) Mr. and Mrs. Benjamin-Brand-Ibrahim’s day in the
Asmussen, in fact, was a major addition to Bea Benjamin’s recording session, with all 12 songs cut, as the album title says, in the course of A Morning in Paris. Featured on the dozen were 1) some subtly Africa-tinged drum-work by Makaya Ntshoko; 2) a regal trio of pianists (Duke, Ibrahim, and Billy Strayhorn) taking turns at the keyboard; 3) then-still-Ms. Benjamin’s kittenish and slightly husky voice; and 4) the unplanned, unexpected addition of Svend—but plucking his violin’s strings singly or percussively rather than bowing them.
If Ellington had intended a stripped-down, maybe simple bass-and-guitar backing, he surely could have made that happen. From Wellman Braud and Jimmy Blanton to Aaron Bell and Ray Brown, Duke usually relied on top bassists only, and if he’d had Jimmy Woode or John Lamb (or Mingus!), say, to provide the backing for Benjamin, rather than inadequate Johnny Gertze (yes, there was a bass just barely present) or bizarre Svendisms, her debut album might have appeared
Even though Bea went on to a vocal career still continuing in South Africa today, it was only in 1997 that A Morning in Paris ever “dawned,” when the original recording engineer was found to have kept his own copy of the tapes for 35 years! By then, her album seemed a quirky curiosity instead of a lost masterpiece.
Maybe if Ellington had put a little more thought and effort into prepping the fledgling singer and the pick-up session men, rather than relying on the moment’s happenstance (which he could do reliably with his Ellingtonians, and did for 45 years
Ellington might even have persuaded Sinatra to give misprized Charles Mingus a chance.