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1. TED HOGARTH'S THE MULLIGAN MOSAICS BIG BAND : A "MULLIGAN HISTORY"

"A Mulligan History" written by Ted Hogarth, edited by Lisa Rosenthal

In addition to being a popular jazz performer in Chicago, Ted Hogarth maintains a private teaching studio. During a lesson several years ago, one of his students, Chris Weller, told Ted the wonderful story of how, while in pursuit of a copy of Gerry's Entente for Baritone Saxophone and Orchestra, the Library of Congress passed along the contact information for Franca Mulligan, Gerry's widow and President of the Gerry and Franca Mulligan Foundation. Chris said that Mrs. Mulligan was very helpful to him, and since Chris knew of Ted's desire to study Gerry's music, suggested that he contact Franca. Chris was thrilled to have the opportunity to speak with and get to know Franca and wanted Ted to have the chance as well.

Ted had just completed a Master's Degree in Jazz Composition at DePaul University in Chicago and was interested in studying some of the scores for Gerry's Concert Jazz Band in order to understand how this incredible music was constructed. After an exhaustive search for the Concert Jazz Band arrangements on the Internet proved unsuccessful, Ted contacted Ken Poston from the Los Angeles Jazz Institute-which houses some of Gerry's music-about acquiring scores for research. Ken suggested that Ted contact Franca directly and assured him that she would be a great help.

Ted contacted Franca and told her how much he admired Gerry's playing, his lush sound, and his writing and arranging. He also explained that he had just graduated with a Master's Degree in Jazz Composition from DePaul University and wanted to study scores from the Concert Jazz Band. Franca graciously agreed to send Ted copies of the music, free of charge, with Ted paying copying and shipping costs, and with the understanding that the music was the property of Mulligan Publishing, Inc. and would be used for study, research, and performance for fund-raising only. Ted explained that he did not have a big band and was only interested in studying the music.

After e-mailing a list of requested scores, Franca called Ted and told him that the list of 20 pieces would be too much for her and her assistant to compile. She suggested that he come to Connecticut to look through Gerry's private library and then have the pieces he wanted copied and shipped. Ted was thrilled to have the opportunity to see where Gerry composed, practiced, and rehearsed his groups. Ted and his wife Lisa Rosenthal went to Connecticut for three days in May 2006 for the first of many visits.

Ted, Lisa, and Franca took time during that visit to get to know each other and found that they had much in common. Ted and Lisa realized that they had just met an incredibly intelligent, compassionate, and generous person who would change their lives. The first visit was very productive with Ted collecting five scores for his study. Upon returning to Chicago Ted decided he not only wanted to study this music, he wanted to perform it. He formed a big band comprised of his closest friends, who also happened to be the top players in Chicago.

Before their first visit with Franca in May 2006, Ted and Lisa spent a week in St. George, Utah to celebrate a recent family wedding. While on this trip, their second in five months, Ted and Lisa decided to leave Chicago, where they had lived for the past thirteen years, and move to St. George. Their desire to have a less hectic pace, more time to practice their arts, and spend more time with Lisa's family were the main motivations. They decided they would do all they could to be living in Utah by August of 2006.

Plans changed after visiting Franca. Ted saw the opportunity to learn more about Mulligan and his music, put together a big band to play it and Ted's own pieces, and to begin a wonderful friendship with Franca. Once again the pursuit of creativity and the love of music made the choice to stay in Chicago clear. Though Ted would still have the ability to visit Franca while living in Utah, the opportunity to form a top-notch big band would be less likely. Staying in Chicago was a great decision for everyone involved.

The Mulligan Mosaics Big Band was formed in early May 2006 and had its first performance on July 31, 2006 at Morseland on the North side of Chicago. Ted had been a member of big bands for years and this was the first time he was leading his own. The logistical challenges of organizing a thirteen-piece big band were soon evident. The band had one rehearsal, which included five subs for the regular members. The band's first performance was the first time all the regular members played this music together. Due in large part to Lisa's organizing and promotion skills The Mulligan Mosaics Big Band played before a full house of friends, Ted's students, and those who had no idea that a big band could fit on the small stage or that a big band was playing that night.

The performance was a success and the newly formed band began to acquire a following. Ted was overwhelmed with how well the band played and made sure everyone, including the band members, knew this. The band members were also happy with the performance and thrilled to have the chance to play this great music. As with many club gigs, the band made no money, but that didn't matter. The band had a great start and all the members made it clear that they were committed to the future of The Mulligan Mosaics Big Band.

Ted spent June through mid-August putting the scores for "Apple Core," "As Catch Can," "A Ballad," "Chant," "I Know, Don't Know How," "Line For Lyons," "Walkin' Shoes," and "Young Blood" into the music notation program Finale. He did this in order to make any necessary edits easier to make, and so that he could help Franca with the project of making Gerry's music available for printing, free of charge, from the Library of Congress Website. Both the Ted Hogarth Website and Mulligan Publishing Website will have a link to these.

After studying the scores and parts Ted realized that, like any art form, the arrangements continued to evolve even after the score was finished. Ted then took the original scores and put each note, slur, dynamic marking-every mark made-into Finale. He saved that file and made a copy. He then edited the copy of the original score with changes from the parts. Doing this made the edited score a more accurate representation of what was played on the recording. Ted then decided to make another copy of the edited score and make further changes based on extensive listening to the recording from which it came. This was a very exhaustive, time-consuming, yet enjoyable process. Ted had wanted to study the scores to improve his own writing and this was the perfect opportunity.

Ted and Lisa visited Franca again in mid-August 2006 for four days. On this trip Lisa offered to help Franca with any projects while Ted continued his research. On the last night of their previous trip Franca asked Ted if he would like to try any of Gerry's mouthpieces. This was a tremendous opportunity and one that Ted never thought possible. Franca, Ted, and Lisa went back into Gerry's studio to look through the boxes that contained Gerry's mouthpieces. Ted wished he had brought his horn with him but then decided he would have to visit again to try these gems.

On this August trip Ted brought his baritone, a low Bb Conn from 1932 that he purchased from his mentor Ron Kolber. He then spent eight hours, over two days, playing, cataloging, and writing down the characteristics of each mouthpiece. Ted and Lisa were Franca's guests and were staying in the guest bedroom across from Gerry and Franca's room. This room is where Ted played the mouthpieces. At first Ted was nervous to be playing Gerry's mouthpieces in Gerry's house. He soon relaxed and focused on the incredible opportunity at hand. Ted indeed found some real gems. After two days of playing and trying to decide which one he wanted, Franca and Lisa sat and listened to give their opinion. Ted had narrowed the search to two mouthpieces but couldn't decide which one he wanted. Franca suggested that Ted take both back to Chicago for more comparing and to bring back the one he didn't want on their next visit. Ted also researched more compositions and took "Rocker" and "Bernie's Tune," both CJB arrangements, back to Chicago.

Their visits were not all business. Franca's generous spirit and nature helped them all take time to relax, talk, and go to the beach for some invigorating swimming, as well as to the market to buy fresh ingredients for the evening meals that they prepared together. This trip, like the previous one, was too short. Ted and Lisa went back to Chicago full of creative energy and excitement looking forward to the next time they would visit with Franca.

The band had another gig coming up on September 9, 2006 at Chicago's Millennium Park. They were to perform an hour set as part of the Great Performers of Illinois organized by the Chicago Board of Tourism. The band had another rehearsal to iron out any issues for the upcoming performance. The program was:

This performance was outside and, though the day was overcast and cool, it was a great success. The band played better than ever and the sound crew did a very nice job making sure all solos were heard. The next performance of The Mulligan Mosaics Big Band is Monday, October 30 at Morseland.

The American collector Wendell Norman wendell.norman@comcast.net is one of the finest Gerry Mulligan admirer and collector. His help was always very informative, but during these last months his researches in Down Beat reviews and New York Times were very profitable ! The two following reviews present a large survey of his finds during the 1955 - 1965 period, the following years will be presented in the next issue. These reviews give me the occasion to thank him very very much.

a)GERRY MULLIGAN : EARLY NEWS FROM DOWN BEAT (1955 - 1965)

The 05/18/1955 issue indicates that Gerry Mulligan toured with the Chet Baker Quartet (Russ Freeman (p), Jack Lowler (b), Peter Littman (d)), during the spring of 55, some dates of performances are given, Cincinnatti (May 6), Pittsburg (May 7), they performed two shows at Houston (May 8), and they come back to the Basin Street of NYC between May 12 and May 25.

The 06/29/1955 issue confirms that the Gerry Mulligan Quintet played the following week at the Basin street. This quintet was the unique association of Al Cohn (ts), Gil Evans (p), George Duvivier (b) and Herb Wasserman (d).

The 09/07/1955 issue give us the date and location of a new performance of the Gerry Mulligan sextet. This was at the Loop Lounge in Cleveland (OH), the August 29, after his booking at the famous Storyville Club of Boston.

At this time, the trumpet player was Idress Sullieman! He stayed with the sextet only two weeks.

1956 was particularly dedicated to the European Tour of the sextet (spring) and after the last sextet studio recording in September the new Gerry Mulligan - Bob Brookmeyer Quartet with Bill Crow and Dave Bailey. I knew the appearance at the TV show "Camera Three" in July 29, but Down Beat issue of October 3 indicates us that the quartet performed at NY Jazz Festival at Randal Island. Lee Konitz joined the quartet for the two last numbers. Lee Konitz was featured as guest during many Gerry Mulligan Quartet performances in 1957

In July 1958 The Gerry Mulligan Quartet with Art Farmer played four thirty minutes sessions a day for 8 days at the Boston International Foreign Car Show (October 1958 issue) . From the DB 09/18/1958 issue , in July 27, 1958 the Gerry Mulligan Quartet featured the vocalist Maxine Sulligan at the Great South Bay Jazz Festival in Long Island NY. The quartet played "Festive Minor", "Blueport", "Soft Shoe", "As Catch Can", "Utter Chaos", with Maxine Sullivan as guest on "Mack The Knife"[,]and "Ace In The Hole". Probably after the Maxine Sullivan songs, the pianist Cliff Jackson played "Honeysuckle Rose" in piano solo.

The 06/11/1959 issue announced that Gerry Mulligan and his quartet will play at Ravinia, the 24th of july.

The 07/21/1960 and 08/04/1960 issues confirmed the presence of the CJB at the 2^nd Los Angeles Jazz Festival in June 17. The orchestra played "Utter Chaos", "Broadway", "Out Of This World" during this concert.

Note that a flyer from Verve advertising the tour lists 14 cities.

Gerry Mulligan orchestra performed at Monterey the 23^rd of September 1960. The Monterey review in the 11/10/1960 issue of Down Beat) lists a large part of the songs. "Utter Chaos" was played when the curtains were closed. During the first set "Broadway", "Django' s Cattle", "I'm Gonna Go Fishin" were played among others. "You Took Advantage Of Me" started the second set and then "Body and Soul", "Piano Blues", "Love Me Or Leave Me", "Apple Core", "Come Rain Or Come Shine". The public appreciated the famous "Monterey Air Force song" when an airplane flew overhead. The concert continued with "Black Nightgown", "Bweebida Bobbida" and the final cut of "Utter Chaos".

Among all these themes, there is the unique known performance by the CJB of "Love Me Or Leave Me".

The 1962 Down Beat issues gave us some dates of concert<s> by the Gerry Mulligan Quartet during this year . In June 8, They played at the Las Vegas Jazz Festival, the bassist was Wyatt Ruther (DB 08/16/1962). During August Bill Crow came back as bassist when the quartet performed at Cincinnati (Ohio Valley Jazz Festival (August 25) and in Cobo Arena Detroit (MI) for the third American Festival Of Music. During this concert the DB 10/11/1962 review said that they played "Spring Is Sprung", "Darn That Dream", "Open Country".

In 1964, Gerry Mulligan played intensively during the Monterey Jazz Festival, so this September 18, 1964 after having played with an All-Stars (including Pee Wee Russell) and performed with the singer Joe Turner, Gerry Mulligan jammed during the after hours with John Lewis (p), Charles Mingus (b), Earl Palmer (d). They played "How High The Moon" and "I Got It Bad" (the 11/05/1964 issue).

The 08/15/1965 issue of Down Beat told of the Down Beat Festival at Soldier's Field, Chicago [the] August 15, 1965. Gerry played "Blues", "I've Got Rhythm", "I Can't Get Started" with an unusual quintet including Roy Eldridge (tp), Ray Bryant (p), Larry Gates (b) and Ben Riley (d).

b)GERRY MULLIGAN : NEW INFORMATION FROM THE NEW YORK TIMES (1955 - 1965)

From NY Times 11/14/1955 "Jazz Groups Play At Carnegie Hall". The Gerry Mulligan Sextet played at the Carnegie Hall on November 13 the following songs "Soft Shoes"," Everything Happens To Me", "Sweet And Lovely", "The Red Door". A flyer of this event gave "Western Reunion", "Moonlight In Vermont", "Demanton", "Nights At The Turntable", "Bernie's Tune"

This was part of the New Jazz Tour with Dave Brubeck Quartet, Australian Jazz Quartet and Carmen McRae. Previously I dated this event December 12, 1955. It seems to be a wrong date !

From NY Times 11/23/1957 "Jazz For Moderns Is Performed Here" At Carnegie Hall the Gerry Mulligan Quartet featured Lee Konitz on November 22, 1957.

They co-billed with Miles Davis Quintet, Chico Hamilton Quintet, George Shearing Sextet.

From NY Times 07/25/1958 "Music : Duke Ellington at the stadium". Duke Ellington Orchestra was the main attraction of this concert at the Lewisohn Stadium (July 24, 1958), Gerry Mulligan (bs,p), Art Farmer (tp), Bill Crow (b), Dave Bailey (d) played 3 songs

From NY Times 11/29/1958 "Music : Jazz Concert", this review spoke of the Town Hall concert (November 28), the Gerry Mulligan Quartet co-billed with Thelonious Monk Quartet, Miles Davis, Jimmy Giuffre Trio.

The 05/16/1959 NY Times issue presented "Mulligan Heard In Jazz Concert", a review of the Town Hall Concert where for the first time in New York City a Mulligan Group has appeared as a solo attraction.

From www.halleonard.com, and www.artistshousemusic.com you can get this gem CD/DVD pack which features a standard audio CD of the original A&M recording of"The Age of Steam" as well as a DVD with over four hours of content, including:

The documentary "Listen: Gerry Mulligan", a Master Class, a Dolby Digital stereo and surround sound mix of the original recordings, interviews with several of the musicians who played with Gerry; Bob Brookmeyer, Roger Kellaway, Tom Scott and Stephan Goldman. The DVD also includes the sheet music for each composition on the recording, including the parts for each instrument, which can be printed out, free of charge, for study and research from a PC, courtesy of Franca R. Mulligan, president of Mulligan Publishing Co. Inc.

All the benefits are for the Gerry & Franca Mulligan Foundation, a charitable organization, was established to fulfill Gerry's wish of supporting young musicians to attend music school, and to donate music instruments to inner city schools.

Visit: www.gerrymulligan.com click on "about us"; then click on "foundation". From there you can click on the link to the Library of Congress where there is information on the Gerry Mulligan permanent exhibit.

1. Gerry Mulligan MOSAIC SELECT 21

This 3 CDs set was presented in the previous Newsletter. I received this MOSAIC SELECT and as always the Mosaic work is incredible !! High Sound quality and very interesting booklet. At last, the "Stringtime" studio recording is issued in its complete form. I appreciate very much all the themes of this album. Gerry Mulligan played beautifully !!

I'm Getting Sentimental Over You, Piano Train, Lost In The Stars, I believe In You, Love In New Orleans; I know, Don't Know How; Jive At Five, Four For Three, 17 Mile Drive, Subterranean Blues, Spring Is Sprung, Open Country People Will Say We're In Love; Gee Baby, Ain't I Good To You (1957 Pacific Jazz Sessions)

Butterfly with Hiccups, Old Devil Moon, The Ant Hill, Crazy Day, Night Lights, Manha De Carnaval, Wee Small Hours, Prelude In E Minor, Festive Minor, Tell Me When, You'd Be So Nice To Come Home Too, Theme For Jobim, Blues For Lynda, Line For Lyons

I noted errors in the recording dates :

* From the Gerry Mulligan Discography, The Mercury sessions.

This album previously issued by the label GRYPHON is now reissued by the label Cherry Red FiveFour. A beautiful CD with exquisite solos of Jon Faddis, Phil Woods and Gerry Mulligan ("East", "Malagan Stew")

1. 1985 09 12 VIC LEWIS ORCHESTRA "TEA BREAK" VOCALION CDLF 8128

"Apple Piety" was recorded by the Vic Lewis Orchestra in September 12, 1985 for his excellent album "Tea Break" which was a songbook of new arrangements and compositions by Bill Holman, Shorty Rogers, Gerry Mulligan, Allyn Ferguson, John Cameron and Ken Thorne.

The guest soloists were Peter King, Bud Shank (as) and Jiggs Whigham (tb). They finish this interpretation with an incredible forty-second blow together without any other accompaniment from the band.

The pianist Johnny Varro and his Swing 7 composed of Randy Sandke (tp), Dan Barrett (tb), Phil Bodner (cl, as), Harry Allen (ts), Frank Tate (b), Joe Ascione (d) recorded in June 28-29,1994 at Clinton Studio, NYC,the song "Disc Jockey Jump".

The solo order is as-ts-tp-tb-p. This interpretation is excellent.

A Ballad, Westwood Walk

1. KJELL KARLSEN - piano
2. ATLE HAMMER - trumpet
3. FINN ERIKSEN - trumpet
4. JAN JULVIK - trumpet
5. ALF LOVSTAD - trumpet
6. TORE NILSEN - trombone
7. RAGNAR JOHNSRUD - trombone
8. KNUT GUETTLER - trombone
9. FRODE THINGNES - trombone
10. ERIK ANDRESEN - alto saxophone
11. MIKKEL FLAGSTAD - tenor saxophone
12. TOTTI BERGH - tenor saxophone
13. HANS HAMMER - tenor saxophone
14. DON BYAS - tenor saxophone
15. BJARNE NEREM - tenor saxophone
16. ALF KJELLMAN - baritone saxophone
17. BJORN JOHANSEN - baritone saxophone
18. RUNE GUSTAFSSON - guitar
19. ERIK AMUNDSEN - bass
20. BJORN PEDERSEN - bass
21. OLE JACOB HANSEN - drums

Recorded probably in 1962 by the orchestra , "A Ballad" (5min37s) features as soloist the excellent trombonist Frode Thingnaes !

Recorded in October 8, 1960, "Westwood Walk" is only a "2min00s" track but five soloists played : Atle Hammer (tp), Erik Andresen (as), Mikkel Flagstad (ts), Frode Thingnaes (tb), and Bjorn Johansen (bs)

Theme For Jobim (7min30s) was played by Hank Jones (p), George Duvivier (b) and Oliver Jackson (d)

See "The Definitive Black & Blue sessions" which was a re-issue of the original album.

Lanny Cordola is a hard rock guitarist ! He recorded in 1995 for the label Frontline a gospel album called "The Trinity Sessions". He featured Tony Guerrero (d) and Joel Hamilton (b). He played the Gerry Mulligan "Festive Minor".

Theme For Jobim (5min49s)

This tentet is composed by Guido Basso (tp), Mike Murley (ts), Terry Clarke (d), Dave Restivo (p), Alex Dean (ts), Steve Wallace (b), P.J. Perry (as), Steve McDade (tp) & Terry Promane (tb).

On the first CD, Fay Claasen is remembering the Gerry Mulligan Quartet. She sings the trumpet part. Jan Menu is the baritone saxophonist, Hein Van De Gein the bassist and John Engels the drummer. The Mulligan originals played : Line For Lyons - Walking Shoes - Swinghouse - Turnstile - Jeru - Soft Shoes - Nights At The Turntable. The other songs are : First Song, Ponciana, Love Me Or Leave Me, Godchild , Frenesi. All the songs are arranged / transcribed by Jan Menu.

On the second CD Fay Claassen is singing the most famous songs highlighted by Chet Baker during his career ! The musicians are Karel Boehlee, Jan Wessels, Hein Van De Gein, John Engels.

Fay Claassen toured intensively in Netherlands during December 2005 and will tour in March - April 2006.

The tenor saxophonist Harry Allen and the trumpet player Randy Shandke played "Turnstile" (3min13s) with the RIAS Big Band of Berlin directed by Jiggs Whigham.

"Swinghouse" played by an organist will be a rare find !

"Line For Lyons" played by the two guitarists and Phil Bowler (b) and Scott Latzky (d).

1. July 16,1955 Jam Session : Gerry Mulligan - Chet Baker - Bob BrookmeyerNewport, Belmont Mansion, Gothic Ballroom Newport Jazz Festival

2. Gerry Mulligan (bs), Chet Baker (tp), Bob Brookmeyer (vtb), Al Cohn (ts), Russ Freeman (p), Bob Carter (b), Pete Littman (d)

This combo is the mix of two combos which played previously in this July 16^th , "Chet Baker Quartet" and "Bob Brookmeyer - Al Cohn Sextet" and Gerry Mulligan as free-lance.

This all started from a photography issued in the September issue (No. 9) of the French review JAZZ MAGAZINE. This was a new meeting between Gerry Mulligan and Chet Baker. Over the picture was written "NEWPORT JAZZ FESTIVAL", but the place seemed to be a gothic church and not the stage of the festival ! Was this picture taken during this festival ?

Wediscovered that the place was the Gothic Ballroom in Belmont Mansion, Newport ; and we learnt that the weather was very rainy during the evening - night of this july 16, 1955 obliging the musicians to play in this ballroom.

Bleu Citron Productions offer Joe Lovano on tour. Joe Lovano nonet will play "The Birth Of The Cool" music. Tour scheduled in October 2006, the CD issued will be in spring 2006.

This concert was a part of the 25^th Ottawa International Jazz Festival. The nonet was composed of Nicholas Atkinson (tuba), Ian Babb (bs, bcl), Adrian Cho (b), Mark Ferguson (tb), Nick Fraser (d), Brian Magner (as, ss), John Roney (p), Elizabeth Simpson (frh), Jean Trudel (tp)

Birth of the Cool Theme (Gil Evans) - Godchild (George Wallington, arranged by Gerry Mulligan) - Jeru (Gerry Mulligan) - Deception (Miles Davis) - Israel (John[n] Carisi) - Moon Dreams (Chummy MacGregor and Johnny Mercer, arranged by Gil Evans) - Budo (Miles Davis and Bud Powell, arranged by John Lewis) - Venus De Milo (Gerry Mulligan) - Rocker (Gerry Mulligan) - Rouge (John Lewis) - Boplicity (Miles Davis and Gil Evans, arranged by Gil Evans) - Move (Denzil De Costa Best, arranged by John Lewis) - Line for Lyons (Gerry Mulligan, arranged by Jean Trudel) - My Ship (Kurt Weill, arranged by Gil Evans, adapted by Adrian Cho) - Jambangle (Gil Evans, adapted by Adrian Cho) - Impressions and Fugue in D minor (Adrian Cho, based on themes by Johann Sebastian Bach and John Coltrane)

Seattle City Hall Plaza

A selectnine-piece group from the SRJO played outstanding works from the classic 1949 Birth of the Cool recording of Mile Davis, including "Jeru," "Boplicity," "Rocker," "Israel," "Venus di Milo," "Godchild," and "Moon Dreams" in their original orchestrations, plus other great works for small bands from the "cool school" of jazz.

Seattle Art Museum "Art of Jazz" Series presented by Earshot Jazz

A selectten-piece group from the SRJO, featuring baritone saxophonist Bill Ramsay, returns to the popular SAM Art of Jazz series to play a tribute to the great baritone saxophonist, composer and band leader Gerry Mulligan. The SRJO Dectet plays outstanding works including Django's Castle (Manoir de Mes Reves), Bweebida Bobbida, My Funny Valentine, and other pieces recorded by the Mulligan's famous Concert Jazz Band.

Shirantha Baddage is a talented Canadian young saxophonist. During 2005 he led "The Left Side Four" Quartet at Java's Cafe in Rochester (NY). The combo which played Gerry Mulligan originals is composed of Shirantha Beddage (bs, ts), Ryan Kotler (b), Devin Kelly (d) and following the concerts Kirsten Edkins (ts) for the April 13 and June 17 or Mark Filsinger (tp) for the May 17 one.

featuring GARY SMULYAN Symphony Space, BROADWAY NYC

The Jazz Band led by Ryan Keberle will feature the great baritone saxophonist Gary Smulyan for this Tribute To Gerry Mulligan. The 16 pieces band will play at the Leonard Nimoy Talia Hall at Symphony Space, Broadway.

The 3 Jazz Clubs of the Parisian street "Rue des Lombards" gave 3 free concerts in "Tribute To Gerry Mulligan" .

The famous baritone saxophonist Xavier Richardeau and his quartet played at the "Sunside" (Alain Jean Marie (p), Gildas Bocle (b), Francois Laudet (d).

Yvan (bs), Stephane (tp) , Lionel Belmondo (sax) played at the "Baiser Sale"

Fabien Mary Quartet at the "Duc Des Lombards"

A program of Mulligan Quartet music was presented. MulliganStew is composed of Don Aliquo (ts), Jamey Simmons (tp), Jim Ferguson(b) and Austin Bealmer (d). Don, Jamey and Jim teach Jazz Studies at Middle Tennessee State University. Austin is the producer of Jazz On the Side, a weekly program devoted to side men and other less well-known aspects of jazz.

If anyone has available charts for Utter Chaos or Open Country that you can share please contact austinbel@earthlink.com.

Past Jazz On the Side programs have discussed Elliot Lawrence, Serge Chaloff, Manny Albam, Al Cohn, Pepper Adams, etc. The program is web cast on www.wmot.org at 12 noon CST USA. Past programs are available for listening and downloading at www.jazzontheside.com.}

1. GERRY MULLIGAN with Sandy Dennis

The Sandy Dennis Foundation http://www.sandydennis.org/index.html presents an image of Gerry Mulligan with Sandy Dennis at the Moscow Film Festival in 1969. The date might be 1967. At least it's certain they were there then. Sandy picked up an award for Up the Down Staircase, and Gerry played at a jam session on July 14 with Vladimar Sermakeshev and others. This is in Down Beat Sep 7 67. And also an image taken during the filming of "The Fox " in 1967 (following the web-site). The Gerry Mulligan hair cut dated this image in 1971-1972

Go to www.artistshare.org/bob/ and then select "Spirit Music" / "Gallery" / "Photo gallery 01 Bob & Friends" and at last select the images Nos. 9 & 10

Image No. 9 : Take at Eddie Condin's Jazz Club on the 52^nd Street, probably in 1954-1957, with Eddie Condin (g), Don Elliot (mellophone) and Gerry with Bob . The great Billie Holiday is sitting at a table.

Image No. 10 : Taken by Jan Persson in August 1994 at a rehearsal for the first performance of "Celebration Suite".

http://www.cornellcollege.edu/150/history/famous_gallery.shtml

A photograph was taken during this concert

www.santafephotogallery.com

Photo by Paul Slaughter : Gerry Mulligan with dark glasses blowing strongly in his baritone saxophone

www.jazzpaul.de/page5.htm

Photo by Paul Wegner. This is the 3^rd image of this page. Gerry Mulligan wore a red tie.I contacted Paul Wegner and he sent me two other nice photographies from these performances on SS Norway in november 1995

Photo by Anozak

Photo by Anozaka.
image of this page. Gerry Mulligan wore a red tie.I contacted Paul Wegner and he sent me two other nice photographies from these performances on SS Norway in november