NEW CDs WITH GERRY MULLIGAN
1. Gerry Mulligan Quartets in Concert - Pablo PACD 5309-2
This Pablo CD contains unreleased materials from two concerts of the Gerry Mulligan - Bob Brookmeyer Quartet.
The informations is given by the Fantasy web-site : www.fantasyjazz.com
The first concert was really recorded the August 2, 1957, Ed Chapin confirmed this date by various reviews
of this concert !! Joe Benjamin (b), Donald "Dave" Bailey (d) were the usual sidemen at this time. The songs
find on the CD are :
- Introduction by Norman Granz (0mn33s)
- Come out where ever you are (3mn29s)
- Baubles, bangles and Beads (5mn05s)
- Laura (4mn09s)
- Bweebida Bobbida (5mn10s)
- Utter Chaos (2mn14s).
The second concert was recorded at Paris 1962, October 6. Bill Crow (b) and Gus Johnson (d) were the
members of this quartet during this European tour
The songs are :
- Introduction by Norman Granz (0mn45s)
- Open Country (6mn19s)
- Love in New Orleans (6mn29s)
- Four for Three 55mn39s)
- Subterranean Blues (12mn 13s)
compared this last one with the previously TREMA (EUROPE 1) CD:
TREMA CD:
6 titles : Spring is sprung, Five brothers, Subterranean Blues, Darn that Dream, Blueport, Utter Chaos
PABLO CD:
4 titles : Open Country, Love in New Orleans, Four for Three, Subterranean Blues
"Subterranean Blues" is common on these two CDs. Nevertheless the real timings of these takes are
different (real timing : from the first to the last note).
REMA one : 10mn 56s
>PABLO one : 12mn 13s
he piano solos of Bob Brookmeyer are really different. The final exchanges between baritone and drums are longer on the Pablo CD
I came back to old notes I collected during the early 80s from old french jazz magazines and I read :
From Jazz Hot :
The quartet won a great succes at the first concert, but about thirty persons were very noisy and
disturbed the second one. The two concerts: the first at 18h00, the second at midnight
From Jean Pierre Binchet of Jazz Magazines who covered the first concert :
Two parts during the concert, the first one : Horace Silver Quintet, the second one : Gerry Mulligan
Quartet. He noted that they played "Five Brothers"
So it seems that the TREMA CD is dedicated to the first concert, the PABLO CD to the second
The Pablo sentence "All selections previously unreleased" is true; This PABLO CD is excellent, very good
sound quality !
2. Miles Davis Nonet : Birth of the cool - Blue Note CD 7243 5 30117 2 7
This famous album was reissued many times on CD, but all of them have been derived from the 1957 12-inch LP master, which turns out to be second or third generation. For this issue Rudy Van Gelder returned
to the original tapes which were recently rediscovered and which sound considerably better.
3. Dave Brubeck Quartet - Polonia CD 215
The Dave Brubeck Quartet, composed by Alan Dawson, Jack Six, Gerry Mulligan and Dace, performed at
the Warsaw's Congress Hall, in October 29, 1970.
These two songs (Jumping Beans, St Louis Blues), fearured on this CD were previously issued on a MUZA
LP SXL 0696.
The music is excellent, The Gerry Mulligan's soli always great and blazing !!
The "St Louis Blues" CD take is longer than the LP one : 10mn58s against 8mn23s.
No difference about "Jumping Beans.
UNISSUED RECORDINGS WITH GERRY MULLIGAN
1. GERRY MULLIGAN QUARTET - VALENZA (I), August 9, 1989
This is a private recording
The quartet was composed by Bill Charlap, Dean Johnson and Richie De Rosa
The themes played :
- Rico Apollo (6'27)
- Presentation
- For an unfinished woman (9'40)
- Sun on stairs (6'19)
- Line for Lyons (5'17)
- Wood on wood (6'31)
- Walking Shoes (5'44)
- Wallflower (6'24)
- The flying Scotsman (5'33)
- Round Midnight (5'11)
- Satin Doll (2'59)
- Georgia on my mind (4'51)
- Total timing : 62mn
At the beginning of "Line for Lyons", Gerry had a great problem with his baritone saxophone. He stopped
playing and after the soli of Bill, Dean and Richie, this was the pianist who replay the theme.
MUSICIANS PLAYING MULLIGAN's ORIGINALS :
1. George Shearing & Brian Torff "Lullaby of Birdland" - Concord CCD2-4927-2
This is a two CDs set including the two Concord albums "Blues Allay Jazz" and "On a clear Day"
Recorded live at Blues Alley Club in Washington DC in October 1979. Among the themes played by this
grea duet, there is the Gerry Mulligan - Mel Tormé song "This couldn't be the real thing". George Shearing
sings and plays piano. The timing of this interpreation is 3mn09s.
2. *Cyrille Serge : Septet
I've got this CD which is only available by command directly to Cyrille Serge. Privately, I can get you his
address.
This is a very nice album. You 'll find the following songs, "Hey Jacques" (Turk Mauro), "For Jan" (Kenny
Wheeler), "There's a boat that's leaving soon for New York" (G Gershwin), "Stockholm Sweetnin'" (Quincy
Jones), "All about You" (Lennie Tristano), "One for Sam" (Fred Hersh), "Hindsight" (Cedar Walton)
Recorded by Laurent Campion at the Studio SD COM at Elbeuf (Normandy/France)
And also these Mulligan's songs : 1) Mullenium (5mn48s), 2) Festive Minor (7mn23s), 3) Art of Trumpet
(8mn04s)
The septet : Cyrille Serge (bs,as), Sacha Bourguignon (tp,bugle), Yves Morel (tb on 1 & 2), Thierry Lhiver
(tb on 3), Andre Barrel (ts, as), Philippe Carment (p), Bernard Cochin (b), Francois Roudaut (d)
He sent me also private recordings of Mulligan's songs :
"Line for Lyons" (3mn40s),"Westwood Walk" (6mn52s), "Go Home" (10mn57s), "Elevation" (2mn38s)
and also "Blueport" (7mn35s), "Broadway" (5mn26s), "Black Nightgown" (3mn28s)
UNISSUED RECORDINGS :
1. RONNIE Cuber's Three Baritone Saxophone Band
Brevard College, August 14, 1998
This performance was radio broadcasted. The quintet was composed by Ronnie Cuber, Gary Smulyan, and
Charles Davis (bs), Boris Kozlov (d) and Joe Farnsworth (d). The songs broadcast : Bernie's tune
(10mn01s), Walking Shoes (11mn00), Theme of "I want to live" (5mn35s), Lonesome Boulevard (4mn55s),
Waltz for Geraldus (11mn25s)
The solos' orders are :
Bernie's tune : 0s (theme), 32s(RC), 3mn21s (CD), 5mn17s (GS), 7mn08s (drum solo), 8mn50s (exchange: tutti/d), 9mn20s (theme)
Walking Shoes : 0s (theme), 44s (CD), 3mn09s (RC), 6mn35s (GS), 9mn08s (bass solo), 9mn59s
(exchange : tutti/d), 10mn25s (theme)
Theme from "I want to live" : 0s (theme), 1mn35s (RC), 4mn02s (theme). This song seems to be only
played by Ronnie, a little doubt at 2mn25s : Is the Charles Davis's sound ?
Lonesome Boulevard : 0s (theme), 1mn55s (GS), 3mn47s (theme). This song seems to be only played by Gary.
Waltz for Geraldus : 0s (intro), 26s (theme), 1mn17s (RC), 2mn49s (GS), 2mn49s? (CD).8mn12s
(drums solo), 8mn30s (bass solo), 9mn50s (theme)
ED CHAPLIN'S REVIEW ABOUT THE GERRY MULLIGAN's
WORK FOR STAN KENTON
Ed chaplin is a great specialist of Stan Kenton's music. His researches about Gerry Mulligan's
arrangements are very discerning. This is with a great pleasure that I niclude this review in the
newsletter. Thank you very much Ed.
Gerry Mulligan, composer, arranger, a giant of the baritone saxophone, and pianist, and most likely
he was able to play other instruments too, is one of the most significant figures in jazz after World
War Two. His reverence for the history and development of jazz has often shown in his works.
His career has been the subject of countless magazine features, and there is the excellent book of
his work (by Jerome Klinkowitz) etc. The purpose of these notes now, is to summarise his
contribution to the Stan Kenton music repertoire, as known to me.
Following a low period in his life, Gerry came to the West Coast of the USA around early 1952.
Gerry was short of money and work. But he was not short of admirers of his work for Gene Krupa,
and the Miles Davis Birth Of The Cool band. In California, when he was forming the 1952
orchestra, and its library of charts, Stan Kenton commissioned a number of arrangements from
Gerry. Some Stan liked, some he did not care for; some had a short life in the Kenton repertoire,
others were in the book for quite some years. Gerry's writing had a huge influence on Bill
Holman's approach to writing; and it has been stated many times that Gerry's charts found great
favour, above many others' writing, with the musicians that were in the Kenton orchestras. Many
Kenton listeners hold Gerry's charts in very high regard too. However, along with all the other
charts (by Pete Rugolo, Bill Russo, Bill Holman), including almost all the celebrated ones that did
not stem from the 1940s, these were 'cleared out' of the band library at the end of the 1950s and
were not played by any Kenton orchestra after 1960, except Walking Shoes - see below.
To my knowledge, Gerry did not play with the Stan Kenton orchestra on any dates. There were
meetings between him and Stan, about his charts, and the way Kenton chose to have them played.
From mid-1952, Gerry's fortunes turned notably for the better, firstly with the piano-less quartet
achieving huge popularity, and then all of Gerry's subsequent groups / orchestras.
Comments follow on the charts that Stan accepted from Gerry into the band library, in alphabetic
order. Those marked (C) were recorded by CAPITOL (at least once), and also have been issued (at
least once) on other labels. Those marked (A) have not been issued by CAPITOL, but have been
issued (at least once) on some other label. Those not marked, have not been issued on anything, to
my best knowledge. (So anything marked C is A as well.). After these comments, come some
from Gerry, and from Stan, that Michael Sparke made known to me from among his 'Kenton
cuttings'.
All The Things You Are (A) - a jazz ballad feature for the lead trumpet player; entered the book and
played almost nightly in 1952 by Buddy Childers; last played regularly in 1956 by lead trumpet Ed
Leddy. For many years, this went uncredited to Gerry, and was viewed as either a Stan Kenton
chart, or almost an impromptu arrangement (if those can exist for a ballad piece) jointly devised by
Stan and Buddy Childers. Certainly for all the many broadcasts of the 1952/3 period where it was
played, not once have I heard Stan announce it as a Mulligan arrangement. Gerry developed his
arrangement only very little further, when he came to record it for an orchestra under his own name
for Columbia in April 1957.
Begin The Beguine (A) - first known to me as being played during the Hollywood Palladium
engagement of January 1953; and has been wrongly credited to Bill Holman. However, Stan chose
his own arrangement for CAPITOL, and used it in the Sketches On Standards album. Gerry's
version was, therefore, 'neglected'. This was regrettable, as dark (ominous) trombone voicings are
much in evidence, giving much of a firm cushion to offset soloists; the order of which was alto /
trumpet / guitar or piano. But, it was Gerry's version which lasted the longer, being played right
through to 1960.
Bweebida Bobbida - claimed to having been played by the Kenton orchestra on 15 April 1953 at
the Bailey Hall, Ithaca, New York, concert; but it was not. It was said, on the Kenton group on the
Net, that this chart was among those included at the festival THE KENTON ERA at Redondo
Beach, California in JUNE 1997, in a concert devoted to Gerry's charts for Stan. It was not ! I was
there ! Firm information about the playing of this one by a Kenton orchestra, has eluded me. This
tune was included in the Vic Lewis Orchestra repertoire of 1953/4, and the one recording I have of
it by Vic shows the solo sequence to be piano, trumpet, alto, tenor. Perhaps this is identical to as
was offered to Kenton by Gerry ?
Dancing In The Dark (A)- first known to me as being played during the Hollywood Palladium
engagement of January 1953. This is yet another chart that has been attributed, wrongly, to Bill
Holman. Gerry's arrangement existed in the book, and occasionally was played throughout the
1950s; usual order of jazz solos was tenor / guitar or piano / trumpet.
I've Got You Under My Skin (A) - known to few listeners until 2000, when a 1952 Kenton playing
of this (a jazz trumpet feature for Don Dennis) was included in the 4-CD set REVELATIONS
issued by TANTARA. Michael Sparke, to the best of his understanding, believes this to be a Gerry
chart, although he writes that Gerry has no recollection of writing it.. Steven Harris (The Kenton
Kronicles p. 232) writes that this is a Johnny Richards chart. (In subsequent correspondence, and
telephone conversations with me, Steven has recanted on this, and is now 'not sure' who wrote this
chart !
Limelight (C) - This was played almost every night by the 1952/3 orchestras. Solo order was -
alto / tenor / trombone / trumpet. Before the out chorus there was a spot for the drummer to bask in
the limelight too. In some performances, there is no tenor solo after the alto spot. The 4 solo
sequence was kept for the 1955 orchestra, which had such solo strength in Mariano / Perkins /
Fontana / Noto. Strangely, it became fully a solo vehicle for Carl Fontana when the tune, included
as the only one not arranged by Bill Holman, was recorded for the Contemporary Concepts LP,
but the drum spot, filled by Mel Lewis, was preserved. Limelight seems to have been dropped from
the book around that time.
Night And Day - a really remote one this - said by Vic Lewis (in public at a Kenton tribute event)
to have been played only once in public by a Kenton orchestra. The playing of this arrangement at
The Kenton Era event in 1997 at Redondo Beach, California, caused a great stir of interest. My
notes of this playing showed this construction -
Starts with rhythm section and solo trombone over a 6/8 vamp !! Then a short passage for baritone sax, with
melody statement with unison trumpets prominent. Trumpet solo, then an ensemble passage. Solo by trumpet
again, with finally the out chorus using the full ensemble.
Swing House (C) - The chart was recorded at a CAPITOL recording session in Chicago, 15
September 1952, yet was not available on record until The Kenton Era, 4-LP box set was issued in
February 1955. Being a box set, and available only in this form as an American product, listeners'
knowledge of this exciting chart was in short supply. It was not until CAPITOL in the UK issued
the 4 LPs individually in 1958 that it began to be more widely known, outside the circle of Kenton
devotees, and was acclaimed by fans as 'one of the best in the book'. Virtually every night the
chart would be played - with the jazz solo order of trombone / alto / tenor / trumpet. In 1956, with
Pepper Adams in the orchestra, a baritone solo spot for him was added and included before the
trumpet solo:- in the Macumba Club performances of that time, the tenor spot of two choruses was
often split so that one tenor took one chorus (Bill Perkins), the second tenor chorus by the other
tenor - Richie Kamuca; each other soloist taking two choruses. I understand Gerry's composition
is based on the chords of the oldie 'Rose Of The Rio Grande'.
Too Marvelous For Words (A) - played occasionally from 1952 until 1955; perhaps one of the less
interesting of Gerry's arrangements for Kenton (although it may have been 'modified' and so made
less interesting). Usual solo order was guitar / alto / tenor / trumpet / trombone. A chance for a
jazz solo from each section, at a comfortable easy tempo. This arrangement has been wrongly
attributed to Bill Russo.
Walking Shoes (A) - #1 - the major 'hit' from the Mulligan Quartet, arranged for the Kenton
orchestra by Gerry. The first playing of this by Kenton known to Michael Sparke, is on 28 March
1952 at a concert at Kansas State University. After that, it seems to have been put on one side, and
not used by Kenton until the start of 1953, from when it was played very regularly. Gerry also used
it for his Tentette album, and for his Concert Jazz Band. The out chorus when played by the
Kenton orchestra is different to as played by groups under Gerry's leadership, causing me to be
sure that Gerry's chart was 'modified' for Kenton use - and in my view 'for the better'. Solo order
would be - trombone / tenor / alto (although at the end of the 1950s, this could be given to the
baritone player, Billy Root or Jack Nimitz), then a brief trumpet spot.
Walking Shoes (C) - #2 - a version of the song was performed during the Autumn 1959 'Road
Show Tour' with June Christy and the Four Freshmen featured with the Kenton orchestra - and this
is on the Capitol album Road Show. It would be interesting to learn who made the changes to this
arrangement to include the vocal parts.
Walking Shoes - #3 - Michael Sparke knows of this rarity - a playing by the Mellophonium
orchestra, in June 1961 in Cincinnati. Having listened to this, I am sorry to say that, to me, this is
now more a succession of solos, than a testimony to Gerry's arranging, there are a few newly
introduced (by whom, I wonder) background figures, but the out chorus, Kenton-style preferred by
me, is retained. Some colour from the mellophonium section is also heard in the background
towards the close. Again, somebody subsequent to Gerry is responsible for these changes in the
arrangement.
Where Or When (A) - very much a dance book chart; in fact, in Stan's hands, it became quite coy,
and Stan often featured himself and no other player on this in a 'dance parlour' manner. In my
view, this was a degrading of Gerry's writing, which had obtained the coming together of some
fine harmonies among the sections. On record, I find the Bill Holman arrangement of this song for
Woody Herman, to be infinitely better, than the result of Stan playing Gerry's chart.
Young Blood (C) - Steven Harris states in The Kenton Kronicles (p. 104) that this was played by
Woody Herman in 1949. For Kenton, this chart was in the NBC Concert In Miniature 'rehearsal'
on 30 May 1952 at Club Harlem, Philadelphia, and became a Kenton staple through the 1950's.
This was recorded at the CAPITOL session of 10 September 1952, and issued soon after on 78
rpm. (In the UK, the flip side was 'Round Robin', quite a pairing !!) Often used as the lead-off
tune in a radio broadcast, this had the orchestra up and running from the outset. The solo order
was - trumpet / tenor / alto, and last, a brief spot for the high trumpet man. During the European
Tour of 1956, when with British musicians in the orchestra, Stan altered the solo order to enable
Harry Klein (baritone) then Don Rendell (tenor) to take solos two and three. This lasted for only a
few days, as Harry had to return home, and the solo sequence reverted to as customary.
Rumours / claims have been made that Gerry also submitted scores on Everything Happens To Me,
My Funny Valentine, and Rocker. I don't know the truth on this. When asked in 1994, how many
charts had he written for Stan, Gerry answered '12 to 15'.
The last piece known to me which Gerry wrote that has a 'Kenton connection' was Music for
Baritone Saxophone & Orchestra; this work has four movements, and was arranged by Bill
Holman; it was performed on 10 January 1966 by the Los Angeles Neophonic Orchestra.
Quoting in full, the piece 'Gerry Mulligan writes about Kenton and Vic Lewis' (date not found)
'It's always interesting to me to hear someone else's approach to my numbers - such as Vic Lewis
band's LP with arrangements by Johnny Keating. One criticism of Vic's things, in the writing,
would be his choice of the blowing progressions. He used other changes than the ones inherent in
the tunes, and I think that made for lack of cohesion in the arrangements themselves in certain
spots. I really don't know his reason for doing that. I know that in one piece they used an 'I
Got Rhythm' release, when it should have been a 'Honeysuckle Rose' release, and that's the sort of
switch I can't understand, because in the original piece the changes weren't so complicated as to
give anybody any real trouble.
When Vic used arrangements that I originally wrote for Stan Kenton, I got the feeling as I got with
Stan's band; they had difficulty playing the arrangements at the tempo I felt they should have been
played.
Almost without exception Stan played my arrangements too fast, and I felt that this might have
been due to their simplicity.. The biggest problem with my things seems to be the tempo. I
noticed that in Vic's arrangements the rhythm section seems to run out from under the band itself,
and the horns begin feeling like they're leaning a little too hard on the tempo. But all in all, I think
Vic produced a very interesting album.
On a couple of the arrangements I did for Stan, namely 'Night And Day' and 'Begin The Beguine',
I felt I did some of my best writing for him, yet he never played them at all. In fact I had a very
funny experience with one. I was walking by a record shop in Hollywood one day when I saw a
Kenton album with 'Begin The Beguine' listed on it. My gosh ! I thought, he's recorded it ! So I
went in and listened and found that I didn't remember what I heard. I didn't. It was another
arrangement. The one I'd written was not as a beguine, but rather as a simple four. This one on
the record was, in my opinion, quite without character.
I guess I should never have been surprised that Stan didn't play my arrangement of 'Night And
Day' as it was a very romantic type of things. It was kind of a Ravel sound, a very lush thing which
I did do as a beguine. I hope he gave that one to Vic Lewis - I'd like to hear how the arrangement
came out !'
Stan Kenton is quoted in Melody Maker , 2 JANUARY 1954 (extract only here) -
'Today the piano is still a rhythm instrument - but it doesn't play a steady beat as it used to. As for
Gerry Mulligan's move in eliminating the piano, the reason this has proved to be so significant and
important to jazz is that now all jazz has to go in the direction in which he was aiming. It has to
get away from vertical writing; it has to get into linear things.
Mulligan's things are very simple. The contrapuntal pieces he writes are simple enough not to
scare people. When you become too complex, contrapuntally, the average listener may become
frightened because he will find it hard to understand what's happening. But the things Gerry did
for our band, like 'Young Blood' and 'Walking Shoes' are very helpful in getting the people used
to contrapuntal writing. The reason Gerry doesn't like the piano - and the reason a lot of us don't
use the piano too much - is that he's just trying to get away from these block sounds.'
Stan Kenton is quoted in Melody Maker , 11 December 1954 (extract only here)
'In the years I have had my band, I have had so much to do that now I don't know any more
whether to consider myself a bandleader, an arranger, a piano player, an impresario, an agent or
what have you. It takes everything to keep going !
There is one of the reasons why I feel very frustrated about my own arranging. I haven't had a
chance to write at all lately. One of the last things I did was that simple job on 'Begin The
Beguine'. The last heavy music I did was that 'Shelly Manne' composition. When I really have to
do an arrangement, I just go home and shut the door and stay up all night and do it.'
NEW MULLIGAN PHOTOGRAPHS ON THE WEB
A very nice photography of Gerry Mulligan taken by Lonnie Timmons III at Hollywood (FL) in October 1995
On the web site : http://members.tripod.com/jazzphoto/Mulligan.htm
I'm surprised of this date! The unique october 95 concert was at Milano, Italia, for a benefit concert to the
Dalai Lama (October 9).
A great photo of Gerry Mulligan with Dave Brubeck during their European tour in may 1995. They played
"These foolish things". The photographer is Wolfgang GONAUS..
http://w3h.minic.ac.at/~gona/MUSICpages/pages/mulligan_gerry0.htm
A photo of Gerry Mulligan from the late 60s or early 70s Brubeck period.
On the web site : http://www.jazzradio.net/music/mulligan.html
You'll find also a long biography about Gerry Mulligan.
A photo of Gerry Mulligan during his concert with the One O'clock Band of the University of North Texas,
taken at Denton in February 5-9, 1995. http://www.music.unt.edu/jazz/mulliganpict.html
A nice black and white photo of the late Gerry Mulligan, realized by Matthias Creutziger on features on
http://www.jazzpages.com/Creutziger/mulligan.htm
A rare photo of Gerry Mulligan with the Milano Jazz Gang on
http://www.milanojazzgang.com/Attivita/i-attiv.htm
A NEW MULLIGAN WEB SITE
I recently discovered a nice web site dedicated to Gerry Mulligan. This is the work of Craig Hanley.
His collection of LPs , CDs is very impressive.
His web site address is : http://www.gerrymulligan.info
MISCELLANEOUS
1. Ken BURNS : JAZZ
This famous documentary is available on DVD or VHS (NTSC system). The total timing is 999 mn !!!
Gerry Mulligan is shortly featured. Gerry Mulligan toward an analysis of Brubeck's use of Third World
musical structures on his hit 1959 album "Time Out".
2. HIGHLIGHTS IN JAZZ - 28th Annual Gala
Thursday, February 15th, 2001 8PM, at: The Pace Downtown Theater , 3 Spruce St. - between Park Row
and Gold St. (around the corner from city hall)
Featuring firstly : The Gerry Mulligan All-Star Tribute Band with Gary Smulyan - Bari Sax, Terell
Stafford - Trumpet, Ted Rosenthal - Piano, Dean Johnson - Bass, Ron Vincent - Drums
and secondly The Monty Alexander Trio
3. Ron Odrich: Blackstick, Classic Jazz 35
Dr. Odrich received his B.S. in biochemistry from Queens College, a D.D.S. from Columbia, and his
Certificate in Periodontics from Columbia in 1963. Having taught many years at Columbia School of Dental
and Oral Surgery, Dr. Odrich has continued to teach and perform clinical research in Italy. An international
lecturer, he is devoted to his family and grandchildren, Dr. Odrich is an avid painter, composer, and a
world-renowned jazz clarinetist. He has performed as a soloist in Carnegie Hall, and has been part of many
recordings.
I recently discover informations about this Ron Odrich album which was recorded in late 70s.Ron Odrich
selected four Mulligan's originals. Two are well known, Line for Lyons and Idol Gossip; but also "Wood on
Wood" which was never issued on Mulligan's LPs or CDs, and at last "Espresso" which is completely
unknown by me.
Did Gerry Mulligan play this song in concert ?
The themes of "Blackstick" album are :
Afro-Disco , Espresso [Gerry Mulligan] , Summer Day , How Insensitive [Antonio Carlos Jobim] , Line for
Lyons [Gerry Mulligan] , Jaunt , Brazilian Wood , Bisque-O-Dop , Waltz Wood, on Wood [Gerry Mulligan] ,
Idol Gossip [Gerry Mulligan] [All compositions by Jim Odrich except where noted]
The musicians : Ron Odrich-cl, bcl, Harry Leahey-g, Gene Bertoncini-g, David Odrich-g (4), George
Duvivier-b, Marc Odrich-b (4), Grady Tate-d, Bobby Rosengarden-d, Steven Odrich-d (4), Leopoldo
Fleming-perc
4. Yoshihide Otomo
This Japanese saxophonist has included in his repertory the Gerry Mulligan's song "Night Lights". After an
impressive interpretation of "Line for Lyons" by Anthony Braxton, Yoshihide Otomo is the second very
modern improviser to select a Mulligan's song !
You'll find more informations on www.japanimprov.com/yotomo/index.html
5. Wyatt Reuther & Jazz Casual
I found a biography of this bassist. This document says that Wyatt Reuther played with Gerry Mulligan
Quartet in 1962 . So I confirm that the recording session was july 18, 1962. December 29, 1963 being only
a broadcast date.
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