Sue Mingus Talks About the Mingus Big Band’s New CD, Live at Jazz Standard

The Mingus Big Band’s new album Live at Jazz Standard came out a little earlier this year, an exuberant and often exhilarating mix of classics by the pantheonic composer and bassist. The virtuosic repertory unit who play Mondays nights at the club leap from noir tension, to dizzying bop, to genially melodic playfulness with a focus, intensity and camaraderie that does justice to the composer (full review here coming soon). Sue Mingus – Charles Mingus’ widow, executive producer of the album, and tireless advocate and director of the Mingus repertory bands – gave us some characteristically reflective responses to our questions about the album:

Lucid Culture’s Correspondent: How happy are you with the new cd?

Sue Mingus: It’s great musicians playing great music. We’re pleased.

LCC: Can I ask why the decision was made to record on New Year’s Eve rather than just some random date? Didn’t the prospect of your typical noisy, increasingly drunken New Year’s Eve crowd scare you off? Admittedly, a Mingus audience tends to be somewhat more urbane than your average New Year’s Eve crowd, but didn’t that concern cross your mind?

SM: No, not at all. We like our audiences any night of the week. We chose to play New Year’s Eve since it’s one of the big nights of the year at a club where we have a residency, the Jazz Standard. Also because we were recorded by NPR that night and broadcast nationally. I should add that the main reason for doing this cd was that we were celebrating, fifty years later, three of the seminal jazz albums. 1959 was a banner year for jazz: Coltrane, Brubeck, Mingus and a number of others put out some of their most important albums. Entering 2009, we were celebrating, fifty years later, Mingus Ah Um, Mingus Blues and Roots, and Mingus Dynasty. We chose material from those three albums.

LCC: You served as executive producer on this album, so you also selected the songs?

SM: Yes, since it was those albums we were celebrating.

LCC: What is your specific role in relation to the various Mingus repertory bands: this group, the Mingus Big Band and also the Mingus Orchestra and the original unit, Mingus Odyssey?

SM: I started them and I hired them!

LCC: Do you also audition the musicians?

SM: We don’t really need to audition – word gets around! A week ago, last Monday we had a wonderful trumpeter, Avishai Cohen and also Greg Tardy on tenor sax sitting in. New musicians are coming into the band all the time. We have a large pool, over 150 musicians who have learned this music: I have a big spectrum I can draw from each week. I hire the musicians each week and commission the arrangements. A lot of the arrangements are made by the members of the band, for example, last week the band played Meditations for Moses, arranged by bass player Boris Kozlov.

LCC: In addition to the many extraordinary musicians who play Mingus regularly with this unit, there are a couple of ringers on this album, notably Jeff “Tain” Watts on drums – who really takes the energy to the next level – and Randy Brecker on trumpet. How did they come to be part of this recording?

SM: Randy played with us from the start – he was in the original Mingus Dynasty frequently. He’s been playing this music since Charles died and well before: he and Michael Brecker were on the last album with Charles, who as you know, by that time couldn’t play since he was in a wheelchair. Randy’s been a Mingus player for a long time; Jeff plays with us frequently. It wasn’t like outsiders who didn’t know the music.

LCC: It’s been awhile since the Mingus Big Band did an album. When was the last one?

SM: 2007. Live in Tokyo.

LCC: Can we talk a little about the individual tracks? What do you prefer, the Elvis Costello version of Hora Decubitus or the version here, with vocals by Ku-umba Frank Lacy?

SM: I like them both obviously. We love Frank Lacy, he’s a marvelous jazz singer, but we also love Elvis Costello’s version – as you know, he wrote the lyrics.

LCC: Do you have a favorite among the songs on the new album?

SM: It’s hard to choose favorites with Mingus! You want something uptempo? You want something with a classical form, a latin piece, bebop, a beautiful ballad, an extended work? It’s all part of the whole.

LCC: Since the Jazz Standard has one of your bands at the club every Monday, have you thought of doing what the New York Philharmonic Orchestra does, recording pretty much everything and making it available for sale on itunes?

SM (laughs): All it takes is money! We’ve done a dozen albums with the Mingus Big Band, so much of the repertoire has been recorded. But as you know it’s a vast amount of music, and it’s very expensive, to hire the musicians, a studio, the engineers and so forth. It’s a worthy idea, if you know any volunteers for the cause, send them over!

LCC: How do you feel about the fact that a lot of people, maybe the majority of people who hear this album will only hear it in mp3 format rather than at its sonic best on the cd?

SM: I don’t know. People’s listening habits over the years have changed so incredibly much. What do you think?

LCC: I think that the ipod is the new transistor radio. Back in the day there were people who listened to the radio that way and were perfectly satisfied, just as I think that some people are satisfied with the sound of a mp3.

SM: People are used to mp3s now, some people prefer it…

LCC: True. One last question, this is not an easy one, not something we could ever know for sure: what do you think Charles Mingus would have gone on to do, had he lived? When we lost him, in 1979, for example, hip-hop was just around the corner. Do you think he would have embraced that?

SM: It might have been not as challenging as he would have liked. An album he listened to the most the last six months of his life was Cumbia and Jazz Fusion. There’s one whole side that’s cumbia jazz. The other side is the piece Todo Modo, which is “third stream,” as Gunther Schuller called it, classical-jazz fusion. Had he lived, I think that’s the direction he would have pursued. But with Mingus, you never know.

LCC: Any Mingus news that we don’t know about yet that we can report here?

SM: We are having our third Mingus high school competition that will take place in January, our newest project where high school students from around the country come out and compete, February 18-20 at Manhattan School of Music. It’s nice to hear kids playing Mingus with such enthusiasm, and so attentively. This summer, there’s a free concert at Washington Square Park with the Mingus Orchestra on July 27 – and then the band tours!