Gerry Mulligan Quartet In Concert – Copenhagen, May 21, 1959

Styles: Saxophone Jazz
Year: 2023
Time: 67:18
File: MP3 @ 320K/s
Size: 154,8 MB
Art: Front

( 8:26) 1. Just In Time
( 4:51) 2. What Is There To Say
(10:01) 3. News From Blueport
( 8:03) 4. I Can't Get Started
( 9:45) 5. Spring Is Sprung
( 7:27) 6. Moonlight In Vermont
(14:04) 7. Blueport
( 4:39) 8. Utter Chaos

Never-issued live work from one of our favorite groups ever headed by baritone modernist Gerry Mulligan his wonderful quartet with Art Farmer on trumpet! The mix of Farmer and Mulligan is fantastic here on long tunes that stretch out even more than their studio performances of the period and, like those, given great piano-less accompaniment from the great team of Bill Crow on bass and Dave Bailey on drums!

Farmer is wonderful throughout young and a bit more raspy than later years, maybe in part because he's on trumpet instead of flugelhorn and his pairing really brings out a more relaxed, almost soulful side of Gerry at times. On two tracks, Mulligan switches his horn for a piano equally great on versions of "Spring Is Sprung" and "I Can't Get Started" next to other long tracks that include "Blueport", "What Is There To Say", "Just In Time", and "News From Blueport". © 1996-2023, Dusty Groove, Inc.https://www.dustygroove.com/item/141150/Gerry-Mulligan:Gerry-Mulligan-Quartet-In-Concert-Copenhagen-May-21-1959

Personnel: Gerry Mulligan (baritone sax); Art Farmer (trumpet); Bill Crow (bass); Dave Bailey (drums)

In Concert

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Gerry Mulligan Quartet - Reunion With Chet Baker

Styles: Saxophone And Trumpet Jazz

Year: 1957

File: MP3@320K/s

Time: 68:11

Size: 159,9 MB

Art: Front

(4:08)  1. Reunion

(5:09)  2. When Your Lover Has Gone

(4:46)  3. Stardust

(4:15)  4. My Heart Belongs To Daddy

(4:28)  5. Jersey Bounce

(4:44)  6. The Surrey With The Fringe On Top

(3:44)  7. Trav'lin' Light

(4:34)  8. Trav'lin' Light (Alternate Take)

(5:14)  9. Ornithology

(3:43) 10. People Will Say We're In Love

(3:23) 11. The Song Is You

(3:37) 12. Gee Baby, Ain't I Good To You

(3:33) 13. Gee Baby, Ain't I Good To You (alternate take)

(6:01) 14. I Got Rhythm

(6:46) 15. All The Things You Are

The Gerry Mulligan Quartet of 1952-53 was one of the best-loved jazz groups of the decade and it made stars out of both the leader and trumpeter Chet Baker. Mulligan and Baker had very few reunions after 1953 but this particular CD from 1957 is an exception. Although not quite possessing the magic of the earlier group, the music is quite enjoyable and the interplay between the two horns is still special. With expert backup by bassist Henry Grimes and drummer Dave Bailey, these 13 selections (plus two new alternate takes) should please fans of both Mulligan and Baker.~Scott Yanow http://www.allmusic.com/album/reunion-with-chet-baker-mw0000194443

Personnel:  Chet Baker — trumpet;  Gerry Mulligan — baritone saxophone;  Henry Grimes – bass;  Dave Bailey - drums

Reunion With Chet Baker

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André Previn - The Subterraneans

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 38:36
Size: 91,0 MB
Art: Front

(1:57)  1. Why Are We Afraid?
(3:07)  2. Guido's Blackhawk
(4:01)  3. Two By Two
(4:14)  4. Bread And Wine
(2:44)  5. Coffee Time
(3:27)  6. A Rose And The End
(2:28)  7. Should I
(1:32)  8. Look Ma, No Clothes
(5:37)  9. Things Are Looking Down
(4:20) 10. Analyst
(1:57) 11. Like Blue
(3:06) 12. Raising Caen

MGM director Ronald McDougall didn't do much right in adapting Jack Kerouac's novel The Subterraneans for the big screen first, the lead character of Mardou Fox (played by Leslie Caron) was transformed from black to white, and future A-Team star George Peppard was miscast as Kerouac's alter ego, Leo Percepied. And don't even mention Robert Thom's clumsy, lightweight screenplay. But at least composer André Previn had the good sense to recruit cool jazz giants including Gerry Mulligan, Russ Freeman, and Dave Bailey to perform his Subterraneans score: jazz not only fueled Kerouac's work, but his prose sought to evoke the rhythms and energy of bebop. Indeed, this music comes far closer to accurately capturing Kerouac's writing than any of the film's dialogue. Previn also deserves credit for articulating the sadness of the original novel, deftly combining horns and strings to create a score that is dark and emotive. ~ Jason Ankeny https://www.allmusic.com/album/the-subterraneans-original-soundtrack-mw0000906573

Personnel: André Previn – piano, arranger, conductor; Gerry Mulligan – baritone saxophone (tracks 1, 3, 4, 6 and 8–10);  Carmen McRae – vocals (track 5); Art Farmer (tracks 4 & 9), Jack Sheldon (1, 3, 6, 8 & 10 and 12) – trumpet; Bob Enevoldsen – valve trombone (tracks 1, 3, 4, 6 and 9); Art Pepper – alto saxophone (tracks 1, 3, 4, 6 & 8–10 and 12); Bill Perkins – tenor saxophone (tracks 1, 3, 4, 6 and 9); Russ Freeman – piano (tracks 4, 9 and 12); Buddy Clark (tracks 4 & 9), Red Mitchell (tracks 1-3, 5–8, and 10–12) – bass; Dave Bailey (tracks 4 & 9), Shelly Manne (tracks 1–3, 5–8, and 10–12) – drums

The Subterraneans

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Lee Konitz Quartet - Tranquility

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 34:08
Size: 79,5 MB
Art: Front

(3:56)  1. Stephanie
(3:12)  2. Memories of You
(4:57)  3. People Will Say We're In Love
(3:48)  4. When You're Smiling
(3:27)  5. Sunday
(5:26)  6. Lennie Bird
(6:10)  7. The Nearness of You
(3:09)  8. Jonquil

Lee Konitz' Verve label debut remains the purest expression of the sculpted, geometric aesthetic the altoist honed throughout the Eisenhower era crafted with startling precision and economy, Tranquility extols the virtues of mood and shape with Talmudic zeal, towering astride thought and expression. Supported by the bedrock rhythm section of bassist Henry Grimes and drummer Dave Bailey, Konitz and guitarist Billy Bauer weave melodies as intricate and ephemeral as spider webs. Rarely is music so profoundly cerebral also so deeply heartfelt. ~ Jason Ankeny https://www.allmusic.com/album/tranquility-mw0000765548

Personnel: Lee Konitz – alto saxophone; Billy Bauer – guitar; Henry Grimes – bass; Dave Bailey – drums

Tranquility

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Lou Donaldson - The Time Is Right

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 37:15
Size: 85,9 MB
Art: Front

(5:58)  1. Lou's Blues
(5:46)  2. Be My Love
(5:11)  3. Idaho
(4:42)  4. The Nearness Of You
(5:18)  5. Mack The Knife
(5:15)  6. Crosstown Shuffle
(5:03)  7. Tangerine

Saxophonist Lou Donaldson is best known for his soulful, bluesy approach, although in his formative years he was, as many were of the bebop era, heavily influenced by Charlie Parker. Donaldson has worked with jazz greats including Milt Jackson, Thelonious Monk, Blue Mitchell, Horace Silver and Art Blakey. 

First released in 1959, The Time is Right is a warm, mellow affair overall, definitely post-bop. His group features Horace Parlan on piano, Blue Mitchell on trumpet, Laymon Jackson on bass and Dave Bailey on drums. Ray Baretto is featured on conga, which gives the session a bit of Latin flavor.~ Editorial Reviews https://www.amazon.com/Time-Right-Lou-Donaldson/dp/B004C6QER6

Personnel:  Lou Donaldson - alto saxophone;  Horace Parlan - piano;  Blue Mitchell - trumpet - except track 2;  Laymon Jackson - bass;  Dave Bailey - drums;  Ray Barretto - congas

The Time Is Right

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Billy Taylor - Billy Taylor with Four Flutes

Styles: Piano Jazz
Year: 1959
File: MP3@320K/s
Time: 42:12
Size: 97,1 MB
Art: Front

(3:56)  1. The Song Is Ended
(6:49)  2. Back Home
(2:34)  3. St. Thomas
(4:46)  4. Oh Lady, Be Good
(2:58)  5. No Parking
(4:23)  6. Koolbongo
(7:00)  7. Blue Shutters
(4:47)  8. One for the Woofer
(4:55)  9. How About You?

In the 1950s, pianist Billy Taylor was best known for his work with his trios. For this Riverside set (reissued on CD in the OJC series) Taylor tried something different, writing arrangements for four flutists (including Frank Wess, Herbie Mann, and Jerome Richardson), his rhythm section, and the congas of Chino Pozo. 

The flutists get their opportunities to solo, and the music (which includes "The Song Is Ended," "St. Thomas," "Oh Lady Be Good," "How About You," and four of Taylor's originals) is essentially bop, but the unusual instrumentation gives the set its own personality. Enjoyable music that certainly stands out from the crowd. ~ Scott Yanow https://www.allmusic.com/album/billy-taylor-with-four-flutes-mw0000113827

Personnel: Billy Taylor (piano); Jerry Sanfino, Frank Wess, Herbie Mann, Jerome Richardson, Phil Bodner, Seldon Powell, Billy Slapin (flute); Dave Bailey , Albert "Tootie" Heath (drums); Chano Pozo ( Luciano "Chano" Pozo Gonzales) (congas).

Billy Taylor with Four Flutes

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Tubby Hayes with Clark Terry - New York Sessions

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 74:39
Size: 172,0 MB
Art: Front

(4:39)  1. You For Me
(7:03)  2. Pint Of Bitter
(8:56)  3. Airegin
(7:33)  4. Opus Ocean
(7:36)  5. Soon
(9:14)  6. Doxie
(8:05)  7. Soho Soul
(9:00)  8. The Simple Waltz
(7:16)  9. Half A Sawbuck
(5:13) 10. You're My Everything

One of England's top jazz musicians of the 1950s and '60s, Tubby Hayes was a fine hard bop stylist on tenor and occasionally vibes and flute. A professional at 15, Hayes played with Kenny Baker and in the big bands of Ambrose, Vic Lewis, and Jack Parnell during 1951-1955. He led his own group after that, and started doubling on vibes in 1956. Hayes co-led the Jazz Couriers with Ronnie Scott (1957-1959), and appeared in the U.S. a few times during 1961-1965. He headed his own big band in London, sat in with Duke Ellington's Orchestra in 1964, and was featured at many European festivals. Heart trouble forced him out of action during 1969-1971, and caused his premature death. Tubby Hayes led sessions for Tempo (1955-1959), London, Jazzland (1959), Fontana, Epic (a 1961 date with Clark Terry and Horace Parlan), Smash (a 1962 album which matched him with James Moody and Roland Kirk), 77, Spotlite, and Mole. ~ Scott Yanow https://www.allmusic.com/artist/tubby-hayes-mn0000842398/biography

Possessor of the happiest sound in jazz, flügelhornist Clark Terry always played music that was exuberant, swinging, and fun. A brilliant (and very distinctive) soloist, Terry gained fame for his "Mumbles" vocals (which started as a satire of the less intelligible ancient blues singers) and was also an enthusiastic educator. He gained early experience playing trumpet in the viable St. Louis jazz scene of the early '40s (where he was an inspiration for Miles Davis) and, after performing in a Navy band during World War II, he gained a strong reputation playing with the big band of Charlie Barnet (1947-1948), the orchestra and small groups of Count Basie (1948-1951), and particularly with Duke Ellington (1951-1959). Terry, a versatile swing/bop soloist who started specializing on flügelhorn in the mid-'50s, had many features with Ellington (including "Perdido"), and started leading his own record dates during that era. He visited Europe with Harold Arlen's unsuccessful Free & Easy show of 1959-1960 as part of Quincy Jones' Orchestra, and then joined the staff of NBC where he was a regular member of the Tonight Show Orchestra. He recorded regularly in the '60s, including a classic set with the Oscar Peterson Trio and several dates with the quintet he co-led with valve trombonist Bob Brookmeyer. Throughout the '70s, '80s, and '90s, Terry remained a major force, recording and performing in a wide variety of settings, including as the head of his short-lived big band in the mid-'70s, with all-star groups for Pablo, and as a guest artist who provided happiness in every note he played. Terry died on February 21, 2015, at age 94, after an extended battle with diabetes. ~ Scott Yanow https://www.allmusic.com/artist/clark-terry-mn0000133832/biography

Personnel: Tenor Saxophone – Tubby Hayes;  Trumpet – Clark Terry; Bass – George Duvivier;  Drums –Dave Bailey;  Piano – Horace Parlan;  Vibraphone – Eddie Costa 

New York Sessions

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Gerry Mulligan & Paul Desmond Quartet - Blues In Time

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 45:54
Size: 106,5 MB
Art: Front

(9:03)  1. Blues In Time
(9:40)  2. Body And Soul
(3:29)  3. Stand Still
(3:08)  4. Line For Lyons
(6:59)  5. Wintersong
(7:45)  6. Battle Hymn Of The Republican
(5:47)  7. Fall Out

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth but in this case animated and energized sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener. Weaving in and out of improvised phrases, the two sure sound like they are having a ball during Desmond's compositions  the friendly and carefree discourse of "Blues in Time," the bop vehicle with its jaundiced title "Battle Hymn of the Republican," and "Wintersong" with its subdued blues-based theme where the alto is featured while the bari observantly sits on the side and comments on occasion. Of the three pieces written by Mulligan, one is quintessential in "Line for Lyons," a classic melody and enduring standard enhanced by the harmonic richness of the horns playing together  it's a joy hearing their tones and styles mesh beautifully. "Standstill" and "Fallout" have as much merit as any of Mulligan's witty charts: the former a fun, melodic bop tune; the latter showcasing more of the harmonic compatibility of the two saxophonists. The lone popular standard, "Body and Soul," is mostly Mulligan pining on the age-old lover's plea, with Desmond listening as if to be convinced. Drummer Dave Bailey and bassist Joe Benjamin are along for the ride in this typical Mulligan pianoless quartet, doing their yeoman's work and letting the co-leaders have their spotlight. This is truly a fine example of modern mainstream jazz, another example from that definitive year of 1957, and though it's sadly a one-shot, it's a document thankfully preserved that should be treasured by all fans of jazz. ~ Michael G.Nastos http://www.allmusic.com/album/blues-in-time-mw0000177010

Personnel:  Gerry Mulligan, bari sax;  Paul Desmond, alto sax;  Joe Benjamin, bass;  Dave Bailey, drums

Blues In Time

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Lou Donaldson & Grant Green - Cool Blues

Styles: Saxophone And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 71:01
Size: 162,9 MB
Art: Front

(6:38)  1. A Foggy Day
(9:26)  2. Here 'Tis
(6:53)  3. Cool Blues
(7:32)  4. Watusi Jump
(8:36)  5. Walk Wid Me
(8:33)  6. Misty
(6:08)  7. Please
(5:48)  8. Man With a Horn
(5:11)  9. Prisoner of Love
(6:12) 10. Stardust

Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years. Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.

Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent. However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless. ~ Scott Yanow http://www.allmusic.com/artist/lou-donaldson-mn0000808198/biography

Personnel: Lou Donaldson - alto sax,  Grant Green - guitar,  Baby Face Willette - organ on tracks 1-5,  Dave Bailey - drums on tracks 1-5,  Brother Jack McDuff - organ on tracks 6-10,  Joe Dukes - drums on tracks 6-10.

Cool Blues

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Gerry Mulligan - What Is There To Say?

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 42:34
Size: 97,9 MB
Art: Front

(4:17)  1. What Is There To Say?
(4:23)  2. Just In Time
(5:19)  3. News From Blueport
(6:31)  4. Festive Minor
(4:06)  5. As Catch Can
(4:16)  6. My Funny Valentine
(9:05)  7. Blueport
(4:34)  8. Utter Chaos

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. 

Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.~Scott Yanow http://www.allmusic.com/album/what-is-there-to-say-mw0000110341

Personnel:  Gerry Mulligan - Baritone saxophone;  Art Farmer – Trumpet;  Bill Crow – Bass;  Dave Bailey - Drums

What Is There To Say?

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Gerry Mulligan - Jeru

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 37:27
Size: 86,5 MB
Art: Front

(5:56)  1. Capricious
(5:07)  2. Here I'll Stay
(5:42)  3. Inside Impromptu
(5:49)  4. You've Come Home
(4:19)  5. Get Out Of Town
(4:45)  6. Blue Boy
(5:46)  7. Lonely Town

While Gerry Mulligan was famous in the 1950s for leading pianoless quartets, he never had anything against pianists; in fact he often played piano himself. This 1962 quintet session finds Jeru utilizing the strong talents of pianist Tommy Flanagan along with bassist Ben Tucker, drummer Dave Bailey, and the congas of Alec Dorsey to play seven songs (all but "Get Out of Town" are somewhat obscure). Mulligan is in fine form and, even if the music on this LP is not all that essential, it is quite enjoyable.~Scott Yanow http://www.allmusic.com/album/jeru-mw0000487432

Personnel:  Gerry Mulligan - baritone saxophone;  Tommy Flanagan – piano;  Ben Tucker – bass;  Dave Bailey – drums;  Alec Dorsey - congas

Jeru

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The Dave Bailey Sextet - One Foot In The Gutter

Bitrate: MP3@320K/s
Time: 75:36
Size: 173.1 MB
Styles: Bebop, Contemporary jazz
Year: 2007/2012
Art: Front

[11:02] 1. One Foot In The Gutter
[12:58] 2. Well you needn't
[19:41] 3. Sandu
[17:13] 4. Blues For J.P
[ 7:55] 5. Two Feet In The Gutter
[ 6:44] 6. Our Miss Brooks

Bass – Peck Morrison; Drums – Dave Bailey; Piano – Horace Parlan; Tenor Saxophone – Junior Cook; Trombone – Curtis Fuller; Trumpet – Clark Terry. Recorded at Columbia 30th Street Studio, New York City, on July 19 and 20, 1960. Digitally remastered at La Source Mastering Paris, France.

All sides here were recorded during a series of blowing sessions that put great emphasis on the soloists. The moving spirit behind them was drummer Dave Bailey. All musicians involved play without strain, generating the kind of explosion only jazz can create. The three opening tunes were issued on the album One Foot in the Gutter, the first Bailey did as a leader, and as he himself explained in the original liner notes, “we had unusual freedom throughout, not only in what we played, but in what we did, and at one point you can hear Clark Terry and Junior Cook enthusiastically applauding one of Curtis Fuller’s solos. That was the spirit of the session, and the audience joined right in.”

One Foot In The Gutter

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