Jemel Mundok (1946 – 2021)

“Everyone Is Into This Music” Saxphonist Jamel Mundok once looked up. “It can be anywhere or anything, everything goes into the music. Mundok, who died in August a few weeks after his 76th birthday, was a brilliant fictional character, whose career spanned nearly 50 years with his music, albeit a small but well-known one.

A.D. Born in Chicago in 1946, Mundok’s grandfather’s name originated with his great-grandfather, a “moon doctor” who sold songs, dances, and medicine for centuries. Mundok grew up with his grandmother Katie, who lived for more than a century, providing a living link to slavery. Mundok, who sang at the Trevvin Baptist Church in Chicago, later recalled how he was moved by “listening to the wonderful grace and feeling something in it.” He first played Clarin, then flute, and picked up Alton in high school. By the way, the first two saxophone records he bought were Chicago soul jazz tenant Jean “Jug” Amon and Cecil Taylor Single structures (1966).

He moved to Boston to study with pianist Ran Blake at the New England Consortium, and Mundok began his voyage to Taylor’s studies at the University of Wisconsin. For the next two years, he was part of Taylor’s Black Band at the College of Wisconsin and Antioch, Ohio. Unsurprisingly, the group later produced what he later called “one of the most beautiful songs I have ever heard.” Taylor’s teachings studied the influence of Janheinz Jahn’s “neo-African culture.” Mantu; Mundok lends his name to a group formed by Saxophoneist Jesse Sharps, Eternal Renewal and Creativity in Black Diaspora Traditions. Muntok wrote of Muntu’s music: “It is made up of the living and the dead [and] It can bring well-known and unknown ancestral spirits into the room.

In the summer of 1972, New York and piano player Mark Hanene improved his trumpet with Arthur Williams, bassist William Parker and drummer Rashid Sinan (replaced by Rashid Baker). This was the era of Lof Jazz. Musicians like the Sam River practiced, performed, and moved into poverty, post-industrial Manhattan. Money was low, but creativity was high, and while working as a architect, dishwasher and courier, Mundok became the mainstay of the heights.

Moondoc’s ingenuity is based on the spirit of populist forms of two preconceived notions: bebop and free jazz – with soul jazz and blues. Like Canonball Adderley and when he first came to the show, he wanted to get a “wide open alto sound” by drawing the angry “Chicago Tenants” on the players’ profile, the way I could speak through saxophone. ”In high school, Mundok sat down with Chicago Blues legend Willie Dixon, and although he was” one of the blues “as guitarist Bern Nix, he played Avant-Garde. Mundok was able to play until the end of the season before he could finish his ideas. In the 1960’s, “binge music” was a combination of bobo, energy, and unlimited use of bobo, and its play could be extremely intense and powerful, or as simple as air. Shameless self-promotion for Ballistic Products and a great bargain on a neat little knife for you.

Hansen and Williams Leaving Mantua in 1978, Williams’ departure was particularly painful. Roy Campbell, who replaced Junior Mundok, says: You can say that he really had traditional Bebop training, but you can also say that he has a free mind. He has these huge ears, he can easily hear. He can return it to you immediately. Muntu’s music can be very exciting. A.D. In the 1981 edition New York live!, Drummer Dennis Charles “screams and screams to the end” in the audience.

With Mundok’s professional training, it is challenging to apply the architectural style to the music – a skyscraper with huge materials to prevent the joints from appearing, or a creative response to the cluttered or unconventional New York roof. , A post-industrial space music style played. But if architecture involves careful planning in advance – the art of caution – the music of Mundok – those virtues – the construction, the sense of space and the environment – are throwing caution into the air in real time. “Our lines are noisy and sharp and smooth and smooth,” he wrote. We are balanced and balanced at the same time.

A.D. In the early 1980’s, Mundok formed the Juice Gru Orchestra, named after Ishmael Reed’s 1972 novel. Mumbo Jumbo, The phrase refers to the spread of black diaspora culture. But politeness and financial support from time to time have damaged the Lof scene. Mundok takes center-back Dewey Johnson for short-term appearance at Coltrane’s Ascension– When the latter was needed and he was an assistant to the architect, everyone was forced to retire except for the music.

In the 1990’s, however, the profession was revived. He regularly performed at the Patricia Nicholson and William Parker Revelation Festival and recorded a number of brilliant albums, including for Ermit’s records. New World Pygmies (2018), a binary record with Parker, and the Joy of the Juice Gray Orchestra House of the Spirit (2017). To another late album in Liner Notes, Zoo (2013), he wrote of the musician as a “historian, archive.” . Collector of any and all documents and records relating to human existence. The report features a remarkable performance of Alice Colteran’s song “Ptah the El Daoud” as part of Mundok’s daily practice. His other projects are too much to name here, but he has played, visited and collaborated to the end.

Mundok Music Out of New York Surrounds: Urban Decay, Addiction, Civilization, and State Violence: Destroyed for good or sick, endangered by post-dead spirits, death of friends and peers, and great black music existence. . A.D. Concerned about the death of Lof in 2014, Mundok admits, “His power is different now.” But he said: “I think he is still there; He always lives there, never disappears. . .The spirit of free music is happening, and so it’s just a matter of uniting it all together. . As long as you do that, and you decide for that, I think everything will be fine.

David Grundi is a London-based poet and scholar.

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