Gerry Mulligan

BlueMiles · July-28th-2007, 11:03 AM

Wondering what people think of Gerry Mulligan. I’m beginning to believe I’ve missed out on this guy for too long. I had never been much into his work. I owned “Birth of the Cool” (his contributions much more important than I first realized) and the meeting with Monk. That was about it. But it seems that Mulligan was the musician who most followed up on “Birth of the Cool.” He was a noted composer and arranger. He played with everyone. I’ve heard cool stuff like “Mainstream,” with sterling work from Mulligan, Sims, and Brookmeyer. I’ve heard a great live album with Brubeck. And lately I’ve been listening to “Dragonfly,” his last album. Check it out: Mulligan was still in prime form as player, composer, and arranger. Check out the fabulous pairing of Gerry and Grover Washington on the title track; the semi-big band swing of “Brother Blues”; the hauntingly melodic “Anthem.” Good, good stuff.

Squaredancecalling Steve · July-28th-2007, 12:24 PM

I really like the pre-BirthofTheCool Mulligan, the band with Chet Baker.

And I have very special fondness for What Is There To Say? (Art Farmer on trumpet, Bill Crow on bass, and Dave Bailey on drums), which I've owned in one form or another since the 50s.

Those are the two albums that get a lot of play here, although I also like the recently rereleased pairing with Johnny Hodges, the live albums from Paris (fine 4tet with Brookmeyer, Red Mitchell and Isola), and the 4tet album with Paul Desmond. I've heard his later work, and admired it, but didn't feel the need to return to it -- it seemed like an elaboration on his earlier work in a direction that didn't grab me.

For a really early look at his work as a writer, check out "Disc Jockey Jump", a big hit for the Krupa band in 1947 and a glimpse of BeBop emerging from swing band base -- I love that one!

Chris D · July-28th-2007, 07:03 PM

You have to explore the Concert Jazz Band. That was his richest palette.

Bill Barton · July-28th-2007, 07:21 PM

Quote:

Originally Posted by Squaredancecalling Steve

...For a really early look at his work as a writer, check out "Disc Jockey Jump", a big hit for the Krupa band in 1947 and a glimpse of BeBop emerging from swing band base -- I love that one!

I'd definitely second that motion! What a *great* chart.

Bill Barton · July-28th-2007, 07:29 PM

Quote:

Originally Posted by Chris D

You have to explore the Concert Jazz Band. That was his richest palette.

And another second on that recommendation... The richness of that body of work is quite remarkable.

Pete C · July-28th-2007, 09:17 PM

Quote:

Originally Posted by Squaredancecalling Steve

I really like the pre-BirthofTheCool Mulligan, the band with Chet Baker.

No, this band was post-BOTC. The sessions with Miles were '49-50, these were '52 or '53.

justinruins · July-29th-2007, 06:44 PM

[QUOTE=BlueMiles;661053] I’ve heard a great live album with Brubeck. QUOTE]

Are you talking about 'We're All Together Again For the First Time?' If not pick it up. I absolutely love Mulligan's 'For an Unfinished Woman,' which coincidentally is also on the 'Carnegie Hall Concert' album with Chet Baker which is also a great album. If that is the Brubeck live album you have, there is also the 'Live at the Berlin Philharmonie' double album with the same band (featuring the perennially underrated drummer Alan Dawson, who deserves far more props than he gets, and the solid bassist Jack Six). I haven't yet picked that up, but it is on my list.

If you enjoy Alan Dawson and Jack Six as a rhythm section (if you don't, you have no soul), you would also enjoy Tal Farlow's 'Return of Tal Farlow/1969,' which also features unkown pianist John Scully, who plays his ass off. It's a very compatible group, and I find myself returning to this cd often (more so than the other Tal farlow cd's that I own and enjoy). It's worth finding the Japanese reissue that features K2 remastering, rather than the standard OJC released in 1991. Although the sound on the original cd is decent, the remastered version is clearer. It also contains new liner notes supplementing the original notes; however, the new liner notes are in Japanese.

Ron Thorne · July-30th-2007, 02:36 AM

Quote:

Originally Posted by justinruins

Are you talking about 'We're All Together Again For the First Time?' If not pick it up. I absolutely love Mulligan's 'For an Unfinished Woman,' which coincidentally is also on the 'Carnegie Hall Concert' album with Chet Baker which is also a great album. If that is the Brubeck live album you have, there is also the 'Live at the Berlin Philharmonie' double album with the same band (featuring the perennially underrated drummer Alan Dawson, who deserves far more props than he gets, and the solid bassist Jack Six). I haven't yet picked that up, but it is on my list.

Justin, you're a man after my own heart with those comments.

BlueMiles · July-30th-2007, 11:27 AM

The Berlin album is the one I have. Mulligan is so fired up on this one, quite a contrast to his usual cool approach.

Felix · July-30th-2007, 11:53 AM

Quote:

Originally Posted by Squaredancecalling Steve

I have very special fondness for What Is There To Say? (Art Farmer on trumpet, Bill Crow on bass, and Dave Bailey on drums), which I've owned in one form or another since the 50s.

I like that one very much, too. Farmer is a perfect partner for Mulligan: they play an exciting version of As Catch Can (?) in the film Jazz On A Summer's Day.

The Mulligan 4-CD set on Proper is an excellent buy: you get all the classic Mulligan/Baker tracks (including the quintet with Konitz and the great tentet sessions), plus a good sampling from the 1954 Paris concerts with Brookmeyer.

I don't know Mullligan's later stuff very well. However, he makes a surprising appearance on the Columbia album Charles Mingus And Friends In Concert. I'll have to check out those Brubeck albums.

justinruins · July-30th-2007, 01:27 PM

Quote:

Originally Posted by Ron Thorne

Justin, you're a man after my own heart with those comments.

Telling it how it is, although I won't forfeit the brownie points

. Even if Dawson never played a record date, he'd be a legend as an educator: Tony Williams, Steve Smith, Clifford Jarvis, Vinnie Colaiuta, Billy Kilson, and, of course our very own Ron Thorne were his students (I know I missed a lot). All that success as a teacher, with a wonderful discography, add up to a legacy anyone would be proud to call their own.

If he was as well-known as he deserved to be, his standing would eclipse that of his famous students.

Of course, I'm preaching to the choir, as most of you are hip to Dawson. Tell a friend!

rpcjazz · July-30th-2007, 03:26 PM

One of the greatest lifetime thrills as a jazz fan was meeting Mulligan (and Brookmeyer) when our high school jazz band attended a Saturday afternoon club session at the old Red Hill Inn in New Jersey in 1960. The big band just formed and this may have been their first gig. Our teacher was with us and may have known Mulligan. During the breaks Gerry spent his time with us and answered every question we bright eyed super impressed kids asked. I still remember asking Gerry if he knew "Bird". He smiled and replied that he did and then recalled some antedotes about playing with him in New York.

What a day. I also recall him playing piano with the band.(we were surprised, thinking he only played bari). Gerry had a philadelphia connection going to high school at West Catholic High School. (We were from Southern). His concern and courtesy with us was very kind. He has been missed....

clinthopson · July-30th-2007, 04:31 PM

I have been a Gerry Mulligan fan since I first saw him at the Haig in LA about 1954.

He was one of the true geniuses of the modern jazz era. He set a new standard for bari players.

The concert jazz band may have been his ultimate achievement.

Sandi22 · July-30th-2007, 07:46 PM

We got to see Gerry Mulligan at the Lighthouse just before he had to report to jail. The whole town was packed with tourists; I mean packed. They were there just to give Gerry his send off, and to hear him play at his best, or so they were saying. Many of his fans, were over heard complaining about how he would lose his touch while incarcerated. A lot of the conversations we were overhearing while walking down the street, or sitting on the beach wall, were negative. They were actually angry with him for getting into so much trouble as they were devout fans and thought it would just ruin his playing. That day was astounding. Smooth Jazz? Cool Jazz? Not hardly, he was blowing hard, and as good as I'd ever heard him. He truly was amazing that day and so were the fellows he was playing with I can't recall all of the musicians who were there that day, but there were lots of musican fans in the audience, as well as just we listeners. An odd day, and an always to be remembered day.

We were able to hear him play upon his release as well and he didn't disappoint as had been so feared. He played as well as he ever had, however it wasn't as raucus and free flowing as his sendoff had been. It wasn't long afterwards, that his own lifestyle, like so many others, caught up with him. He joined in with the fellows we all know of, he like them, just couldn't keep it up. One of his hits during that time, a cross over recording, was "Mountain Greenery". Sad to hear him play it that day.