1. Idol Gossip - #49
2. Strayhorn 2 - #49
3. Walk On Water - #49
4. Waltzing Mathilda - #49
5. Out Back of the Barn - Gerry Mulligan
6. North Atlantic Run - Gerry Mulligan
7. Taurus Moon - Gerry Mulligan
8. Just Want to Sing and Dance Like Fred Astaire
9. Jazzspeak

October and November, 1976

 LINER NOTES

Musicians have long been of the same mind. In his struggling days he could always manage to assemble a few to play his music - with or without pay - because his compositions have always been a challenge and a joy. He is a great organizer and a strong part of this appeal is his writing. In 1964 he told writer Harry Frost, "I've always liked the idea of a band. I started as an arranger rather than a player." (One who gave him early encouragement as a saxophonist was none other than Charlie Parker.)

Originals like Disc Jockey Jump and Elevation, first recorded in 1947, by Gene Krupa and Red Rodney, respectively, showed his way with a bop line. With the famed Miles Davis Nonet his Jeru and Venus De Milo displayed another kind of expression and texture. The new outchorus he wrote on George Wallington's Godchild for Miles' band became known as Ontet in Gerry's own Tentette. For that organization he also contributed the lovely A Ballad. (Simbah; Youngblood; Gold Rush; Rocker; Revelation; I Know, Don't Know How; Bweebida, Bobbida; Line For Lyons; Golden Note Books; and Maytag: these are only some of my favorite Mulligan things.)

After the success of the various pianoless quartets in the early '50s Mulligan expanded to a sextet in the mid-60s. There was his marvelous Concert Jazz Band, thirteen strong; in the '70s the Age of Steam band, a continuation and extension of the Concert Jazz Band. At the core of all the larger units has been the contrapuntal movement of the two-horn groups expanded and embellished. All of Gerry's bands reflect the same kind of intelligence cum emotion he puts into his writing and playing. And certainly his playing echoes aspects of his compositional ability. Vibist Teddy Charles once wrote an article in Metronome in which he described thinking musicians as "wiggers" and swinging musicians as "waiters." Gerry Mulligan is definitely a "wailing wig." His music contains much more patience and care while simultaneously revealing the abandon that comes with sheer love of playing. Or as he told me, with happy resignation, after taping this album, "I'm hooked on the bloody music."

The current Mulligan band - and they've all been bands in the best sense of the word (T-E-A-M, YAY, TEAM!) - is a perfect hexagonal blend of three veterans and three younger players. This interactive, six-pointed star represents the virtues of all Mulligan units and adds some new ones through the member's individual and collective efforts, not the least of which are Gerry's new compositions. On two of these he unveils the curved soprano he has been playing in concert and club appearances during the past two years. Many saxophonists have turned to the soprano as a double in recent times and Mulligan's personal interpretation is a welcome addition. In addition to his original material he also has done his unique version of Waltzing Mathilda which many of us first heard him baritone at the Newport-New York Jazz Festival a couple of seasons back. Immediately after the late November sessions that went into his recording, the new Mulligan sextet took off for Europe to spend the end of 1976 touring in Italy, Germany, Holland and Switzerland. Getting George Duvivier and Bobby Rosengarden, two of the best and busiest of the New York free-lancers, to go off for an extended period is another indicator of the Mulligan appeal. As CIarkTerry at that time a member of the Concert Jazz Band, said: "Gerry's a real leader. He respects all the guys, and knows how much they contribute, and you feel you're part of things. He pays well, too. He's not like one leader I worked for, who used to say, "I want you guys to remember it's me they're paying to see.' " Obviously, Duvivier and Rosengarden were not merely along for the ride or the loot. The same artistic motivation is there for the three relative rookies Tom Fay, David Samuels, Mike Santiago, I was at the recording and can attest first hand to the band's enthusiasm but you can hear it without seeing it.

The set commences with Idol Gossip, a never idle reinterpretation of Bernie Miller's Bernie's Tune, a Mulligan classic of the West Coast period. There is nothing tacit in Gerry's delight with his new band. It is joyfully evident in the leaping cadences of his baritone.

Strayhorn 2 is a second go round for the highly evocative Song For Strayhorn, Gerry's tribute to Swee' Pea, as soul-soothing as a warm bath from which rises a scented mist.

Gerry's soprano is a mellow hydrofoil in Walking On The Water as the band interacts in the manner cited by Mike Santiago.

It's back to baritone for the wistful, nostalgic Waltzing Mathilda with Fay's electric piano a helpful underpinning. Gerry builds his solo with a sense of the dramatic consanguine to the best soloists. Crack open one of those giant cans of Fosters and nestle in the pouch of your favorite kangaroo.

Everyone gets full into it Out Back Of The Barn, a "16"-bar pattern with tag that finds Mulligan at his funky best. And look out for Duvivier!

North Atlantic Run is rife with optimism: sunny day; brisk breeze; flying spray; seagulls dippin' and divin'; destination, Rio, S.A. Fay's electric piano motors blithely and the theme itself is one of the handsomest, most ear-catching Gerry has ever penned.

Taurus Moon is a lunar tune, hot and full as delineated by Mulligan's soprano. Before he returns to melt some green cheese, Fay, Duvivier, Samuels and Santiago offer fine solos. Rosengarden keeps things popping with his loose but insistent swing .

You don't have to ask yourself questions about this album. The happy reality jumps right out of the grooves at you. As for me, I'm going Out Back of the Barn with a Te-Amo "Meditation" or a Louis Armstrong "Panatela."

- Ira Gertler