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Myself When I Am Real: The Life and Music of Charles Mingus Overviews
Charles Mingus was one of the most innovative jazz musicians of the 20th century, and ranks with Charles Ives and Duke Ellington as one of America’s greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding “Jazz’s Angry Man,” revealing Mingus as more complex than even his close friends knew. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.
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Myself When I Am Real: The Life and Music of Charles Mingus Specifications
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.
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Myself When I Am Real: The Life and Music of Charles Mingus CustomerReview
I think it VERY difficult to critique not only the rich and complex mind, musics,and moods of Charles Mingus, and much has ALREADY been said pros and cons about Mr Santoro’s excellent (IMO) biography here on the Amazon.[com.]
To add some different ideas, close to my heart is this book as it reads as if American Historian(in the true, not fictional history sense) Howard Zinn might write if he was autoring a biography of a very influential and complex musician.
To me, who grew up listening to Mingus since the early 70s, and living through life in this land of absurdos, the USA as an “outsider looking in” during the times that Mingus was at his most influential, Mr Santoro writes about CM without the usual biases,(those are , the fawning “groupie” or the hypercritical “harpie”)
~Mr Santoro writes about Mingus, warts and all,…we are privledge to observe that we should not lionize our heroes as “perfection incarnate”, but rather distill what is useful and enjoyable from their “best they have to give”, and leave it at that.
Mingus we see in the decades he roamed this planeta,influenced by his own inner visions and carnal vices and the world around him at vantagepoint of his contemporaries and adversaries who influenced from without..
.Mr. Santoro seems to reserve his own biases MUCH better than most authors , and reports the fruits of his research into the “multitudes of Mingus” speak for itself. From the overview of each decade that passes to the minutia of Mingus’ royalty earnings, the book is absorbing to readalmost 400 pages ride by TOO quickly…Doesnt this indicate that this is a very good book to read?? Case closed, story told, hehehe! but I more little bone I must pick as a sidebar…….
I am interested in Sue Mingus’book on Mingus, I never have been too enthusiastic about these “strong” women types that appear (to me) to consume and spit out the bones of their famousjazzman husbands, Laurie Pepper and Susan Mingus, or in rockmusics, the obnoxious Yoko Ono in particular…
..they seem to do the right things(tirelessly promote their old man’s art)for the wrong reasons(I may be unfair, I only have “2nd hand” info and how I interpret it)
but they appear to live vicariously thru the musician’s sucesses. but I digress…..
A book to enjoy if you are both aplicado discipulo or novice to this great but flawed man, the wonderful musics that Mingus left us are his Epitaph, and Mr Santoro’s book is a loving tribute!

Mingus book review – Endre Tarczy –
I am not a book reviewer by any means but when this book came out I got it from the library and read it up. The only other Mingus book I had read was his semi-autobiography “Beneath the underdog”. Although it’s a great title and all it was highly confusing to follow in a timeline. It’s written in a very non linear style and then when some while later I saw Santoro’s book I could’nt wait to read it. I found it far better of a jazz bio than some of the others I’ve read. I’ve read it a couple times and I would say it’s well researched and gave me insight into aspects of the man,musician,composer and troubled angry genius that is Charles Mingus. I give it a thumbs up for sure.

Let my children read competent prose – David Hewitt – Philadelphia, PA
Mingus, for all his many hideous transgressions depicted herein, deserves far better than to have this amateurish draft pass for a definitive biography. In short, this is a poorly conceived and written book, and I’m frankly shocked that Oxford would implement such low standards for any publication. I only added a second star because occasionally through the repetitive muck, superfluous attempts to link Mingus’ exploits with banal depictions of broader cultural events, utterly failed stylizations, and absurd irrelevancies that clutter much of Santoro’s text, I was able to glean further dimension of just how monumental an a-hole Mingus allowed himself to be. Since the predominant focus is on Mingus’ personal life rather than his music, you almost can’t help but come away with a sense more of disgust than reverie, regardless of the way Santoro consents to explain the eccentricities away by lapping up the bassist’s transparently insecure claims to genius.

A trade-off – JChris – Massachusetts, USA
Gene Santoro has done his research. His book is a montage of statistics, historical events, and various anecdotes derived from the life of Charles Mingus; accurate, I assume, but hardly captivating.
Santoro’s style, in its attempt to garner and then to hold the audience’s attention, falls short of its mark and becomes choppy, disorganized, and in some cases even irrelevant. The author shows little regard for unity or storyline in the biography, and simply offers the reader a barrage of statistics in purely chronological order, marked too often and too feebly by ineffective one-sentence throwbacks to Hemingway.
Myself When I Am Real is well-researched, and Santoro has the good fortune of outlining the life of a man who was interesting in his own right. The facts and statistics of Charles Mingus’ life, however disjointed, are interesting to learn about — however, it is up to the prospective reader to decide whether he or she thinks it is worth the slogging-through-cement experience of reading the over-400-page volume, which leaves the impression of being an extremely thorough and also extremely underdeveloped outline of a potentially interesting piece of writing.
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