Bandstand psychology

"Mingus psychologically dominated the musicians, on and off the bandstand, toward the end
of getting them to bring every bit of themselves to the performance, so that the arrangements would be reflective of the individuals involved, rather than of a mere collection of instruments. This goal is a composerly one (if not a tactic) that Mingus shared with Ellington. The performance culminated in a performance of "Meditations on Integration":

Every one was getting into it, playing solos. Mingus had two other trumpet players
(besides Bobby Bryant) Lonnie Hillyer and Mélvin Moore, and he let them
Bobby knew he wasn't going to get a chance. It was getting louder, more
intense, really screaming .Then Mingus looked at Bobby and said," Now!" Bobby
at this point was so angry he hadn't played that he took his horn and blew the
bell off it to show Mingus what he could do. And that did it. Mingus got the climax
he wanted and the people just went crazy.... He had psyched Bobby out.
He knew Bobby was strong as a bull and he wanted a killer punch.... There it
Mingus had captured all these moods. He knew how to get them.
He was
like a littlet ease:" Noty et"o r "Maybyeo u won't get any"a ndt hen "Okayn, ow!"
It does work. It's what coaches do for fighters. Sometimes you need that little

(Buddy Collette)

"A Unique Chunk of Jazz Reality: Authorship, Musical Work Concepts, and Thelonious Monk's Live Recordings from the Five Spot, 1958”
Gabriel Solis. (Ethnomusicology, Vol. 48, No. 3 (Fall, 2004), pp. 315-347)