Myself When I Am Real: The Life and Music of Charles Mingus

In an art form known for its outrageous characters, Charles Mingus stood out. To paraphrase Walt Whitman, he was a man of "multitudes." He was a forceful, virtuosic bassist. He was an imaginative and original composer and arranger second only to Duke Ellington. He was also a social critic, bully, lady's man, father, and hypersensitive man-child who simply wanted to be appreciated for his work. Making sense of this larger-than-life personality presents an imposing challenge to any biographer. Enter Gene Santoro. The author of Dancing in Your Head and Stir It Up: Musical Mixes from Roots to Jazz, Santoro updates Brian Priestley's Mingus: A Critical Biography; separates the fact from the fiction of Mingus's rowdy autobiography, Beneath the Underdog; and produces the literary equivalent of a masterful Mingus composition, complete with labyrinthine surprises and complexities.

A light-skinned African American with Native American and Asian bloodlines who was born in 1922, Mingus endured a difficult childhood in Los Angeles, forever stung by the rampant racism that halted his dreams of a career in the classical music field. Undaunted, Mingus went on to work with several jazz giants, including Lionel Hampton, Dizzy Gillespie, and Duke Ellington, before creating his own record company (Debut) and composing over 300 iconoclastic compositions, including "Eclipse," "Haitian Fight Song," "Goodbye Porkpie Hat," "Cumbia and Jazz Fusion," and many other jazz standards. Santoro writes that the music "is overwhelming in its torrent of musical styles and psychological switchbacks and emotional punch, its tumble of raucous gospel swing, luminous melodies, European classical threads, bebop tributes, Mexican and Colombian and Indian music and sounds from anywhere and everywhere."

In addition to his keen insights into the music (including a thorough discography), Santoro deftly analyzes Mingus's mercurial personality. From the highs (his celebrated recordings Blues & Roots and Mingus Ah Um) to the lows (his horrible Epitaph concert, his eviction from his New York apartment, his numerous assaults on sidemen, and his slow death from Lou Gehrig's disease in 1979), Santoro fairly and faithfully lays bare the mind, body, soul, and art of an American original who influenced everyone from Wynton Marsalis to Joni Mitchell. "Mingus' music was autobiography in sound," Santoro writes. "Everyone in his life had a role. His portraits, his musical tributes, his insistence on forcing his sidemen to find themselves in what he imagined, his clamor for recognition, his emphasis on his originality ... these were more than stylistic trademarks. They were the essence of who he was." Myself When I Am Real captures this essence brilliantly. --Eugene Holley Jr.