‘Myself’ Delivers a Superb Narrative of Mingus’ Life

Jazz artists’ lives are among the most difficult to chronicle. Sure, there are plenty of problems facing the biographers of politicians and entertainers, of painters and actors. And jazz artists are not alone in living lives that often are filled with social chaos and emotional unrest.

But jazz, by its very nature, tends to attract those who feel comfortable in a world of spontaneous choices and events. And that fact, as much as any, makes it a challenge for a writer to effectively and accurately tap into the life of an artist whose work is constantly framed by sheer uncertainty--by the mysterious creative moment in which he must step off the cliff of musical structure into the gravity-less open space of improvisation.

Few jazz artists have embodied all those difficulties more than Charles Mingus. Beyond question one of the most vital creative voices of the 20th century, easily ranking with Duke Ellington, Thelonious Monk and Jelly Roll Morton at the top of the jazz composition hierarchy, he was also one of the music’s most enigmatic figures.

Mingus was well known for his occasional violent outbursts, sudden mood swings, never hesitating to express his opinions about the failures of American society--his life was living theater--drama packed on top of comedy, with tragedy waiting in the wings. But as many passages in his music made amply apparent, he also could be humorous and charming, romantic and, yes, sentimental. He was, in short, an enormously complex human being who, in his relatively brief 56 years (he was born April 22, 1922, and died on Jan. 5, 1979, of Lou Gehrig’s disease), touched people’s lives with the sheer force of his personality and the magic of his music.

Mingus has been written about before but never with the rich, multilayered understanding that author Gene Santoro brings to “Myself When I Am Real: The Life and Music of Charles Mingus.”

An old saying, as Santoro notes in his preface, says “biography is detective work.” And in Mingus’ case, it was difficult detective work: hundreds of interviews (including illuminating comments from three extremely forthcoming ex-wives of Mingus); a detailed examination of financial matters; a thorough account of the when and where; a sorting out of the differences between the legendary tales of Mingus’ exploits and the circumstances of what actually took place.

But Santoro has done it all superbly. More than that, he has taken the vast accumulation of facts, data, interviews, opinions and reviews and organized them into a consistently compelling narrative. Written with the elegant hand of an experienced journalist and the insight of a musician with first-rate ears, the book accomplishes the seemingly impossible task of casting a revealing light upon the inner life of its enigmatic subject.

Most jazz biographies simply motivate reviewers to urge their listeners to go to the music for a real understanding of the artist under consideration. And there’s no denying that Mingus’ music can speak for itself--and for him--in a fashion that tells us a great deal about who he was. But Santoro has given us something more: a remarkable narrative of a remarkable life in jazz.

* “Myself When I Am Real: The Life and Music of Charles Mingus” by Gene Santoro. $39. Oxford University Press.

Listening Post: Denny Zeitlin has been managing simultaneous careers as a psychiatrist, educator and jazz pianist since the ‘60s. Amazingly, he does each with style and substance. Next week, he appears at the Jazz Bakery with longtime associate (and fellow oenophile) Dave Friesen on bass. The pairing always produces music that is as hard-swinging as it is intelligent and intuitive.

It’s hard to imagine when Zeitlin can even find time to listen to music (perhaps when he makes the drive from his Marin County home to his office in San Francisco). But when he does, it reflects an omnivorous appetite for sounds ranging from jazz to classical. Here’s what he has to say about what’s been in his CD player recently:

* Pat Metheny: “Trio 99-00” (Warner Bros.). “I’ve admired Pat’s playing and musical range for years. This new CD is a burning, straight-ahead jazz studio date that feels more like a live performance, with chorus after chorus of sinuous, interesting lines from Pat and some especially fine drumming from Bill Stewart.”

* Wayne Shorter: “Night Dreamer” (Blue Note, originally released in 1964). “Wayne’s playing has always knocked me out--endlessly inventive and cliche-free. And I think he is our greatest living jazz composer. I recently got this CD reissue, which has an all-over great feel, some fine McCoy Tyner, as well, and two versions of Wayne’s haunting ballad ‘Virgo.’ ”

* Ivan Lins: “Live at MCG” (Heads Up International). “A dynamite live concert from Lins, who is probably my favorite living Brazilian musician. Wonderful playing, singing, compositions and vibe. It includes his exquisite bossa ballad ‘Anjo de Mimcq.’ ”

* Martha Argerich: “Live From the Concertgebouw, 1978 & 1979.” (EMI). “Argerich and Arkadi Volodos are my two favorite classical pianists. This CD releases for the first time a concert from her greatest period as a soloist. She is a gloriously intuitive player with technique to burn, utterly fearless in her approach and totally individual in her interpretations.”

* Arkadi Volodos: “Piano Transcriptions” (Sony Classical). “A new young pianist, stunning and at times truly unbelievable, who seems to fuse the best parts of Horowitz and Rubinstein.”

* Denny Zeitlin and David Friesen at the Jazz Bakery, 3233 Helms Ave., Los Angeles, Wednesday-Aug. 26. Shows at 8 and 9:30 p.m. $20. (310) 271-9039.

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Don Heckman can be reached at djh@earthlink.net.