Charles Mingus Mingus Mingus Mingus Mingus Mingus
They wanted to hear the beat all the time, but it always seemed to me that so long as you could feel the beat you didn't have to keep emphasizing it. Moreover, you can speed it up or make it slower, as happens in Yiddish and Spanish music. Why tie yourself to the same tempo all the time? The piece features a complex, lyrical melody performed by Ted Curson and Eric Dolphy first on alto saxophone, then bass clarinet. Curson solos, followed by Mingus, then Dolphy; however all four musicians play freely throughout the piece.
This recording and another performance on Mingus At Antibes are particularly famous for the musical conversation between Mingus and Dolphy on bass Charles Mingus Mingus Mingus Mingus Mingus Mingus that takes place before the second statement of the melody. The piece in general is based on A flat.
Again, the rhythms change. There is no Charles Mingus Mingus Mingus Mingus Mingus Mingus beat, and yet there's an implicit rhythmic flow, up and down, throughout the work".
Explains Dannie Richmond, "Mingus and I feel each other out as we go; but always, when the time comes back into the original beat, we're both always there. The best way I can explain is that we find a beat that's in the air, and just take it out of the air when we want it". Hentoff concludes, "For once, in these sessions, everyone in a Mingus unit reached—and maintained—that level 4 M International Space Operator daring and that power to make their instruments become extensions of themselves ".
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