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3 x CD |
| 7.306 Ft
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| 1. CD tartalma: |
| 1. | People Will Say We're in Love
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| 2. | Western Reunion
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| 3. | I Know, Don't Know How
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| 4. | The Red Door
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| 5. | Polka Dots and Moonbeams
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| 6. | I'll Remember April
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| 7. | There Will Never Be Another You
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| 8. | It Don't Mean a Thing
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| 9. | Duke Ellington medley: In a Sentimental Mood Flamingo Moon Mist
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| |
| 2. CD tartalma: |
| 1. | Bernie's Tune
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| 2. | Mud Bug
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| 3. | Blues (alt.)
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| 4. | The Lady Is a Tramp (alt.)
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| 5. | Duke Ellington Medley: Moon Mist In a Sentimental Mood / Demanton (alt.)
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| 6. | Demanton (alt.)
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| 7. | Apple-Core
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| 8. | Broadway (alt.)
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| 9. | Sweet and Lovely
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| 10. | Westwood Walk
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| 11. | Blues
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| 12. | Broadway
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| 13. | Demanton
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| 3. CD tartalma: |
| 1. | Night at the Turntable
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| 2. | Everything Happens to Me
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| 3. | The Lady is a Tramp
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| 4. | Westwood Walk (alt.)
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| 5. | Ain't it the Truth
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| 6. | Mainstream
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| 7. | La plus que Lente (alt.)
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| 8. | La plus que Lente
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| 9. | Igloo
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| 10. | Makin' Whoopee
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| 11. | Elevation
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| 12. | Lollypop
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| 13. | Blues at the Roots
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| 14. | Sweet and Lovely
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| 15. | Bernie's Tune
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Jazz
Gerry Mulligan (bars, p)
Jon Eardley (tp), Bob Brookmeyer (vtb, p), Zoot Sims (ts), Red Mitchell (b), Larry Bunker (d) // Gerry Mulligan (bars, p), Jon Eardley, Don Ferrara (tp), Bob Brookmeyer (vtb), Zoot Sims (ts), Peck Morrison, Bill Crow (b)
This 3-CD set features the complete recordings by one of the most exciting ensembles Gerry Mulligan ever led; in fact, he said it was his favorite. It is the swinging presentation of the music throughout, the inventive soloists within a functional, fresh and never pretentious written context that makes listening to the sextet a distinct pleasure. The writing-both originals and standards-is marked primarily by the constant use of flowing complementary lines in the ensemble and often behind soloists as well. There exists a rocking ease, and yet an almost airy feeling to this beautifully collective interplay.
CONTAINING: 1 single CD (San Diego concert) + 1 doble CD (Studio sessions) + 16-pages booklet with photos and liner notes by Alun Morgan especially written for this project.
Personnel and dates:
San Diego concert:
Gerry Mulligan (bars, p), Jon Eardley (tp), Bob Brookmeyer (vtb, p), Zoot Sims (ts), Red Mitchell (b), Larry Bunker (d).
Recorded in Hoover High School, San Diego, 1954
Studio Sessions:
CD 1:Gerry Mulligan (bars, p), Jon Eardley (tp), Bob Brookmeyer (vtb), Zoot Sims (ts), Peck Morrison (b), Dave Bailey (d).
New York, September 21, 1955. Tracks #1 to 6
New York, September 22, 1955. Tracks #7 to 11
New York, October 31, 1955. Tracks #12 & 13
CD 2: Same personnel as CD 1 but Bob Brookmeyer & Gerry Mulligan play`paino on track #2 & 13 respectively.
New York, October 31, 1955. Tracks #1 to 3
New York, January 25, 1956. Bill Crow replaces Morrison. Tracks #4 to 7
New York, September 26, 1956. Don Ferrara replaces Eardley. Tracks# 8 to 13
New York, September 22, 1955. Tracks #14 & 15.
Gerry Mulligan
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: Apr 06, 1927 in New York, NY
Died: Jan 20, 1996 in Darien, CT
Genre: Jazz
Styles: Bop, Cool, Mainstream Jazz, Modern Big Band, Post-Bop, Progressive Jazz, Standards, West Coast Jazz
The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist.
Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948.
Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars.
A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans.
During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play.
Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Utter Chaos," "Soft Shoe," "Bernie's Tune," "Blueport," "Song for Strayhorn," "Song for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP.
---Scott Yanow, All Music Guide |
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