Gerry Mulligan Quartet & Bob Brookmeyer - Paris

Styles: Saxophone And Trombone Jazz
Year: 1954
File: MP3@320K/s
Time: 61:58
Size: 142,3 MB
Scans:

(3:38) 1. The Lady Is a Tramp
(4:58) 2. I May Be Wrong
(6:25) 3. Gold Rush
(3:35) 4. Makin' Whoopee
(4:16) 5. Laura
(4:25) 6. Soft Shoes
(4:36) 7. The Nearness of You
(6:04) 8. Bark for Barksdale
(4:18) 9. Bernie's Tune
(4:31) 10. Five Brothers
(3:14) 11. Lullaby of the Leaves
(4:50) 12. Limelight
(3:45) 13. Come out Wherever You Are
(3:16) 14. Moonlight in Vermont


Personnel: Baritone Saxophone – Gerry Mulligan; Bass – Red Mitchell; Drums – Frank Isola; Trombone – Bob Brookmeyer

Paris

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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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Billy Taylor & Gerry Mulligan - Live at MCG

Styles: Piano And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 68:35
Size: 160,1 MB
Art: Front

(6:11)  1. Stompin' At The Savoy
(4:57)  2. Just You Just Me
(7:11)  3. Darn That Dream
(5:11)  4. All The Things You Are
(8:19)  5. Laura
(7:27)  6. Line For Lyons
(8:10)  7. Body And Soul
(6:14)  8. Indiana (Back Home Again In Indiana)
(8:23)  9. Come Sunday
(6:28) 10. Capricious

The typical jazz listener easily tires of hearing standards covered by newer artists. However, it's occasionally good to hear the masters revisit some of these old compositions a way of staying connected. Jazz legends Billy Taylor and Gerry Mulligan have done that with Live at MCG. The Manchester Craftsmen's Guild is a non-profit organization in Pittsburgh, USA whose mission is to preserve, present and promote jazz. In doing so, MCG brings in artists such as Taylor and Mulligan to entertain and educate the jazz public. Taylor is a pianist, composer, teacher, lecturer, radio and television personality, recording artist and author. His career began in 1944, and he's enjoyed working alongside such musical powerhouses as Charlie Parker, Dizzy Gillespie and Miles Davis. Mulligan, who passed away in 1996, was an arranger, composer, saxophonist and conductor, and has shared the stage or studio with icons including Louis Armstrong, Count Basie, Lester Young, Duke Ellington, Dave Brubeck and Billie Holliday. Live at MCG captures the pair, backed by Taylor's regular sidemen, during a series of 1993 concerts at the MCG Music Hall. The ensemble performs ten songs, including two originals. Mulligan's baritone sax carries most of the lead on the delightful "Stompin' at the Savoy, though Taylor also licks his chops. 

Drummer Carl Allen helps underscore "Just You Just Me with some crisp work on the cymbals and snare. Bassist Chip Jackson opens up during Taylor's solo. One of the original songs is Mulligan's "Line for Lyons. Here, the quartet functions more as a unit than on most other tracks. Mulligan carries the lead, but Taylor, Allen and Jackson also give strong performances. Again, Jackson shows his skills during Taylor's solo, and later delivers a solo of his own. The other original is Taylor's "Capricious, an energetic closer to this collection. As with "Line for Lyons, the foursome is more of a unit than on other tracks. Allen's rim shots and variances on the toms and cymbals help give this an extra kick. Live at MCG serves a dual purpose: It entertains while providing a subliminal lesson in improvisation, a hallmark of jazz past and present. Having these two masters work together enhances the experience. ~ Woodrow Wilkins https://www.allaboutjazz.com/live-at-mcg-billy-taylor-mcg-jazz-review-by-woodrow-wilkins.php

Personnel: Billy Taylor; piano; Gerry Mulligan; baritone saxophone; Chip Jackson; bass; Carl Allen; drums.

Live at MCG

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Dave Brubeck - Young Lions & Old Tigers

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 63:28
Size: 146,0 MB
Art: Front

(5:29)  1. Roy Hargrove
(2:33)  2. How High the Moon
(4:57)  3. Michael Brecker Waltz
(3:27)  4. Here Comes McBride
(3:51)  5. Joe Lovano Tango
(7:52)  6. In Your Own Sweet Way
(6:22)  7. Joshua Redman
(5:43)  8. Together
(6:59)  9. Moody
(4:46) 10. Gerry-Go-Round
(6:43) 11. Ronnie Buttacavoli
(4:41) 12. Deep in a Dream

To celebrate his 75th birthday, Dave Brubeck recorded one number apiece with quite a variety of top jazz stars, both young and old. Some of the performances (which alternate duets with quartets) work better than others (eight are recent Brubeck compositions) but all of the musicians display mutual respect, and it is obvious that the guests are all fans of the still-masterful pianist. Trumpeter Roy Hargrove plays beautifully on his lyrical feature but Jon Hendricks, who sings "How High the Moon" as a ballad, takes it at such a slow tempo as to be dreary. Tenor-saxophonist Michael Brecker is fine on "Michael Brecker Waltz," although he sounds a bit restrained, the wittily-titled "Here Comes McBride" is a good-humored romp with bassist Christian McBride; Joe Lovano (on tenor) works well with Brubeck, and particularly memorable is the first meeting on record between Brubeck and fellow pianist George Shearing, with a chance-taking interpretation of "In Your Own Sweet Way." 

Joshua Redman performs fine hard bop on one song, "Together," is a well-conceived duet for baritonist Gerry Mulligan and Brubeck, James Moody plays tenor, sings, and yodels on the minor blues "Moody," Mulligan returns for the contrapuntal "Gerry-Go-Round," and, although the obscure flugelhornist Ronnie Buttacavoli sounds very out of place on his boring feature, the set closes with one of the strongest performances, a solo piano showcase for Brubeck on "Deep in a Dream." Overall, this is quite a mixed bag but, even with its occasional misses, the CD is a must for Dave Brubeck fans, because the pianist is consistently inventive throughout the unusual set. ~ Scott Yanow  http://www.allmusic.com/album/young-lions-old-tigers-mw0000176313

Personnel: Dave Brubeck (piano); James Moody (vocals, tenor saxophone); Jon Hendricks (vocals); Michael Brecker, Joe Lovano, Joshua Redman (tenor saxophone); Gerry Mulligan (baritone saxophone); Roy Hargrove (trumpet); Ronnie Buttacavoli (flugelhorn); George Shearing (piano); Chris Brubeck (electric bass); Christian McBride, Jack Six (bass); Randy Jones (drums).

Young Lions & Old Tigers

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Gerry Mulligan - California Concerts - Volume 1, Volume 2

Album: California Concerts - Volume 1

Gerry Mulligan - The Original Sextet: Complete Studio Master Takes

Styles: Saxophone And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 152:17
Size: 353,3 MB
Art: Front

(5:07) 1. Mud Bug
(5:07) 2. Sweet and Lovely
(5:29) 3. Apple Core
(4:39) 4. Nights at the Turntable
(6:39) 5. Broadway
(5:25) 6. Everything Happens to Me
(5:13) 7. Lady Is a Tramp
(6:46) 8. Benie's Tune
(4:07) 9. Makin' Whoopee
(5:43) 10. Demanton
(4:29) 11. Duke Ellington Medley: Moon Mist,In a Sentimental Mood
(4:26) 12. Westward Walk
(3:30) 13. La Plus Que Lente
(8:17) 14. Blues
(6:52) 15. Elevation
(6:49) 16. Mainstream
(5:24) 17. Ain't It the Truth
(6:58) 18. Igloo
(5:44) 19. Blues at the Roots
(5:53) 20. Lollypop
(7:02) 21. Blues (Bonus Track)
(5:42) 22. Lady Is a Tramp (Bonus Track)
(5:41) 23. Demanton (Bonus Track)
(6:37) 24. Broadway (Bonus Track)
(2:46) 25. Sweet and Lovely [Feat. Jon Eardley, Bob Brookmeyer & Zoot Sims] (Short Version, Bonus Track)
(2:40) 26. Bernie's Tune [Feat. Jon Eardley, Bob Brookmeyer & Zoot Sims] (Short Version, Bonus Track)
(5:22) 27. Westwood Walk (Bonus Track)
(3:39) 28. La Plus Que Lente (Bonus Track)

This two-disc, 28-track compilation gathers all of Gerry Mulligan's sides recorded with a short-lived sextet lineup in 1955 and 1956. Originally released as three LPs on the Emarcy and Mercury labels 1955's Presenting the Gerry Mulligan Sextet and A Profile of Gerry Mulligan and 1956's Mainstream of Jazz this material was recorded in New York City after Mulligan had returned to his hometown following the 1954 drug bust that ended his star-making Los Angeles group with Chet Baker. As a result, some call these sessions the first flowering of "West Coast" cool jazz on the Eastern Seaboard, but in point of fact, these tracks can be traced directly back to Mulligan's work with Miles Davis and Gil Evans on the Birth of the Cool sessions in 1949.

As on those sides, Mulligan's primary musical sparring partner is a trombonist, Bob Brookmeyer, and the unusual pairing of Mulligan's baritone and Brookmeyer's trombone takes precedence over the more conventional trumpet (Jon Eardley and Don Ferrara) and tenor (Zoot Sims) parts. The primary difference here is in the rhythm section (drummer Dave Bailey and either Peck Morrison or Bill Crow on bass, with both Mulligan and Brookmeyer doubling on piano when necessary), which gooses the tempos in a way that Mulligan's more languid early groups rarely managed. Furthermore, unlike the earlier recordings, which had to be edited for 78 rpm play, this group is allowed to stretch out, leading to longer and more daring solos. The sextet never became the hot group of the moment in the way that the Mulligan and Baker lineup did, but this set beautifully showcases their gifts. As an added gift, the second disc includes eight rare and unissued alternate takes, including both sides of a 1955 single pairing greatly reduced versions of "Sweet and Lovely" and "Bernie's Tune."~ Stewart Mason https://www.allmusic.com/album/the-original-sextet-complete-studio-master-takes-mw0001170379

Personnel: Baritone Saxophone, Piano – Gerry Mulligan; Bass – Bill Crow, Peck Morrison; Tenor Saxophone – Zoot Sims; Trombone, Piano – Bob Brookmeyer; Trumpet – Don Ferrara, Jon Eardley

The Original Sextet: Complete Studio Master Takes (Bonus Track Version)

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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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Illinois Jacquet - Birthday Party

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 38:57
Size: 89,5 MB
Art: Front

( 4:06)  1. Ebb Tide
(10:37)  2. Birthday Party Blues
( 5:24)  3. The Shadow Of Your Smile
(12:59)  4. On The Beach
( 5:48)  5. Polka Dots & Moon Beams

Recorded to celebrate Jacquet's 50th birthday, this date is an all-star collaboration with some of the greatest names in jazz: Kenny Burrell, James Moody, Joe Newman, Art Farmer, Jimmy Smith (on piano,) Gerry Mulligan, Jack Six, and Roy Haynes. It comes off loose and free, as if no charts were thrown at the musicians and they simply went at these three standards (two being movie-theme ballads), along with two of Jacquet's numbers, completely off the cuff. Moody leads on flute for the sultry bossa "Ebb Tide," with Farmer playing flugelhorn and Jacquet only getting his feet wet later in the bridge; all three counter jab near the end. "The Shadow of Your Smile" is more typical, with Burrell leading, Jacquet's mushy, blues-drenched tenor playing the melody, and Moody's flute filling whatever cracks crop up. The low-down "Birthday Party Blues" ballad is set up by Burrell and Six; Mulligan and Newman traipse through the midsection of this ten-minute jam, while Illinois' woodwind howls and the others chime in a bit. "Polka Dots & Moonbeams" is all Jacquet's, and he takes the baton, although Six goes it alone twice, and Burrell takes the rhythm section on solos. The cover of "On the Beach" is a hard, rip-roaring swinger that runs over 13 minutes, with the birthday boy leading and others to follow. Moody's smoother tenor provides a fine contrast to Jacquet's signature Texas edge; Newman's great muted trumpet with the rhythm trio is only further evidence that he should not continue being an uncrowned king. As short as it is (36 minutes), it's a shame there isn't more material  too bad, for this was an incredible band. ~ Michael G.Nastos https://www.allmusic.com/album/birthday-party-mw0000667247

Personnel: Illinois Jacquet - tenor saxophone; Joe Newman - trumpet; Art Farmer - flugelhorn; Jimmie Smith - piano; Kenny Burrell - guitar; Jack Six - bass; Roy Haynes - drums;  Gerry Mulligan - baritone saxophone;  James Moody - tenor saxophone, flute.

Birthday Party

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Gerry Mulligan - Lonesome Boulevard

Bitrate: MP3@320K/s
Time: 48:52
Size: 111.9 MB
Styles: Bop, West Coast jazz
Year: 1990/2009
Art: Front

[3:33] 1. Rico Apollo
[5:16] 2. I Heard The Shadows Dancing
[4:16] 3. Lonesome Boulevard
[8:02] 4. Curtains
[4:26] 5. Ring Around A Bright Star
[4:46] 6. Splendor In The Grass
[4:58] 7. Good Neighbor Thelonius
[5:31] 8. Wallflower
[5:28] 9. The Flying Scotsman
[2:30] 10. Etude For Franca

Gerry Mulligan's quartet recorded this studio date about seven years before his death, and it's a beautiful statement of where the refined, seasoned veteran of cool jazz was at in the later years of his life. A young Bill Charlap on the piano (rare unto itself in that Mulligan often excluded a keyboardist) was essentially introduced to the jazz world with this album, and proved to be a perfect foil for the baritone saxophonist's leaner notions. Charlap is also quite substantive, never grabbing the spotlight for himself, but tastefully adding chord progressions and comping to Mulligan's world-class musings. Only David Amram's patient California-styled "Splendor in the Grass" is not penned by Mulligan, with the rest of the set spilt between Brazilian songs, a little bop, and mostly the laid-back easygoing jazz that the leader specialized in. Always the epitome of cool even in his advanced years, Mulligan chills on the serene "Curtains" with some classical overtones, is even more Baroque in style during "Etude for Franca," and merges into a Billy Strayhorn/Duke Ellington indigo mood for the ballad "Wallflower." Heated up in hot samba territory, the quartet steams through a deep-throated "Rico Apollo," and works more in the upper register of the baritone range for "Ring Around a Bright Star." The sleek and clean easy swinger "I Heard the Shadows Dancing" is played close to the vest and the heart in a singsong style, while an only slightly angular stance is taken on "Good Neighbor Thelonious." Mulligan has not forgotten his bop roots, as literally proven on "The Flying Scotsman," using ascending and descending scales before cutting loose on an urgent but basic line. This solid, unspectacular, thoroughly professional mainstream jazz recording is finally available on CD with no extra tracks, but full of the good feelings Gerry Mulligan always had for finely crafted jazz. ~Michael G. Nastos

Lonesome Boulevard mc
Lonesome Boulevard zippy

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Cleo Laine - Blue And Sentimental

Styles: Vocal
Year: 1993
File: MP3@320K/s
Time: 50:58
Size: 117,2 MB
Art:  Front

(4:44)  1. Lies of Handsome Men
(4:57)  2. I've Got a Crush on You
(3:34)  3. Blue and Sentimental
(5:55)  4. Afterglow
(6:24)  5. Not You Again
(3:55)  6. Primrose Colour Blue
(4:31)  7. Love Me
(5:26)  8. Dreamsville
(3:54)  9. A Cryin' Shame
(3:32) 10. Love Comes and Goes
(4:01) 11. Soft Pedal Blues

This album would be worth buying for one track alone, a faultless version of "The Lies Of Handsome Men", Francesca Blumenthal's unsettling little song about self-deception. Not only does Cleo Laine have the musicality and dramatic skill to do justice to a delicate piece like this, she also has the best possible musical director in John Dankworth, who plays some very good alto saxophone here, too. The programme of 13 songs is impeccably chosen, as usual. Few singers, jazz or otherwise, have ever commanded a stylistic range anywhere near Cleo Laine's. For example, after opening with the Blumenthal song she goes on, via Gershwin and Irving Berlin, to Bessie Smith. The most remarkable thing of all about her is that she and Dankworth have been making intelligent, enterprising albums like this for more than 40 years and there is absolutely no sign of wear and tear. Quite the reverse, in fact. The work just goes on getting better. ~ Dave Gelly https://www.amazon.com/Blue-Sentimental-Cleo-Laine/dp/B000003FCX

?Personnel: Cleo Laine, Joe Williams (vocals); John Dankworth (conductor, soprano & alto saxophones, clarinet); Ray Loeckle (soprano & tenor saxophones, flute, bass clarinet); Gerry Mulligan (baritone saxophone); Allen Smith (trumpet); Dean Hubbard (trombone); David Sprung (horn); Jeremy Cohen (violin, Concertmaster); Roxanne Jacobson (viola); Terry Adams (cello); Larry Dunlop (piano, synthesizer); Mark Renzi, George Shearing (piano); Mark Whitfield (guitar); Rich Girard (bass); Jay Leonhart (bass); Jim Zimmerman (drums, percussion); Keith Copeland (drums)

Blue And Sentimental

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Gerry Mulligan - Gerry Mulligan In New York

Bitrate: MP3@320K/s
Time: 71:35
Size: 163.9 MB
Styles: Bop, West Coast jazz
Year: 1952/2008
Art: Front

[ 3:02] 1. Flying The Coop
[ 3:27] 2. I May Be Wrong (But I Think You're Wonderful)
[ 3:27] 3. New York
[ 2:52] 4. Sax Appeal
[ 3:23] 5. Hot Dog
[ 3:23] 6. Why Not
[ 2:28] 7. Leavin' Town
[ 2:44] 8. So What (Hoo Hah)
[ 3:32] 9. Roundhouse
[ 3:19] 10. Ide's Side
[ 2:59] 11. Bweebida Bwobbida
[ 3:09] 12. Kaper
[ 3:12] 13. Funhouse
[ 4:04] 14. Mullenium
[17:36] 15. Mulligan's Too
[ 2:30] 16. Get Happy
[ 3:32] 17. Funny Face/'s Wonderful!
[ 2:49] 18. Godchild

“There are some words that have been lost from modern usage that I like to bring to my music and have striven all my life to do, BEAUTY, GRACE, NOBILITY, these are the things that music can bring to us as human beings. I think it is well that we who make music keep that in our consciousness.” -GERRY MULLIGAN

Gerald Joseph Mulligan (April 6, 1927 – January 20, 1996) was an American jazz saxophonist, clarinetist, composer and arranger. Though Mulligan is primarily known as one of the leading jazz baritone saxophonists – playing the instrument with a light and airy tone in the era of cool jazz – he was also a significant arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. Mulligan's pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the best cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments. Several of his compositions, such as "Walkin' Shoes" and "Five Brothers", have become jazz standards.

Gerry Mulligan In New York

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Jimmy Witherspoon - Witherspoon Mulligan Webster At The Renaissance

Bitrate: MP3@320K/s
Time: 41:54
Size: 95.9 MB
Styles: Jazz/Blues
Year: 2009
Art: Front

[3:34] 1. Introduction
[3:25] 2. Time's Gettin' Tougher Than Tough
[3:22] 3. How Long Blues
[4:41] 4. Corrine, Corrina
[4:24] 5. C.C. Rider
[2:42] 6. Roll 'em Pete
[3:10] 7. Every Day I Have The Blues
[3:46] 8. Kansas City
[3:25] 9. I'm Gonna Move To The Outskirts Of Town
[5:32] 10. St. Louis Blues
[3:49] 11. Trouble In Mind

Bass – Leroy Vinnegar; Drums – Mel Lewis; Piano – Jimmy Rowles; Saxophone – Ben Webster, Gerry Mulligan; Vocals – Jimmy Witherspoon. Recorded live at the Rennaissance Club, L.A., California, Dec. 2 & 9 1959.

In what sounds like a late-'50s session at the Renaissance Club in Los Angeles, blues belter Jimmy Witherspoon is backed by an all-star quintet featuring soloists Ben Webster and Gerry Mulligan, with pianist Jimmy Rowles and his trio. There are ten classic selections: first-rate familiar tunes to all fans of the blues, and not a speck of cereal filler. 'Spoon and his band sound on the money, but the only problem lies in the production values, where the musicians -- and especially the vocalist -- are distant, and recorded a bit thinly. Regardless, this is a collection most fans of the legendary Witherspoon should want and search for. ~Michael G. Nastos

Witherspoon Mulligan Webster At The Renaissance

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Gerry Mulligan - Gerry Mulligan Meets Johnny Hodges

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:25
Size: 76,8 MB
Art: Front

(5:47)  1. Bunny
(3:45)  2. What's The Rush
(7:28)  3. Back Beat
(4:02)  4. What's It All About
(5:16)  5. 18 Carrots For Rabbit
(7:04)  6. Shady Side

Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio meeting with Ben Webster), and "What It's All About," another potent blues. Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio. Sadly, no alternate takes or unissued numbers (at least two of which exist) have been added to this long anticipated reissue. ~ Ken Dryden http://www.allmusic.com/album/gerry-mulligan-meets-johnny-hodges-mw0000029368

Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Buddy Clark (bass); Mel Lewis (drums).

Gerry Mulligan Meets Johnny Hodges

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Lee Konitz - Rhapsody II

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 70:52
Size: 163,1 MB
Art: Front

(8:09)  1. Body And Soul
(1:12)  2. Short Cut #1
(4:38)  3. Another View
(4:10)  4. Lover Man
(1:02)  5. Short Cut #2
(5:48)  6. Kary's Trance
(3:40)  7. Trio #2
(0:59)  8. Indiana Jones #1
(6:49)  9. You Don't Know What Love Is
(2:09) 10. Variation #1
(5:48) 11. Variation #2
(7:53) 12. Some Blues
(1:17) 13. Short Cut #3
(1:31) 14. Indiana Jones #2
(3:33) 15. Round And Round And Round
(4:31) 16. Sittin' In
(1:33) 17. Indiana Jones #3
(6:02) 18. Body and Soul, Finale

This follow-up to Rhapsody is another eclectic mix, with 19 tracks featuring the veteran alto saxophonist in various small group settings. Baritone sax great Gerry Mulligan and the leader flesh out an inspired duet of "Lover Man" and pianist Peggy Stern joins them for the spacy, extemporaneous "Trio #2." The brilliant flugelhornist Clark Terry is only featured on three very brief improvisations based on "Indiana," which is wasting a great talent. Konitz switches to soprano sax for a moody version of "You Don't Know What Love Is" with vocalist Sheila Jordan and bassist Harvie Swartz. This is an interesting but not essential CD that falls short of its namesake predecessor and The Lee Konitz Duets (Original Jazz Classics). ~ Ken Dryden http://www.allmusic.com/album/rhapsody-vol-2-mw0000081654

Personnel: Lee Konitz (soprano saxophone, alto saxophone, tenor saxophone); Judy Niemack, Sheila Jordan (vocals); Jeanfrançois Prins, John Scofield (guitar); Mark Feldman (violin); Toots Thielemans (harmonica); Gerry Mulligan (baritone saxophone); Clark Terry (flugelhorn); Kenny Werner (piano, synthesizer); Frank Wunsch, Peggy Stern, Yuko Fujiyama (piano); Jeff Williams (drums).

Rhapsody II

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Lee Konitz - Rhapsody

Styles: Saxophone Jazz

Year: 1993

File: MP3@320K/s

Time: 62:44

Size: 143,9 MB

Art: Front

( 4:31)  1. I Hear a Rhapsody

(12:05)  2. Lo Ko Mo And Frizz

( 7:11)  3. The Aerie

( 8:52)  4. Trio No 1

( 5:07)  5. All The Things You Are

(19:00)  6. Exposition

( 5:55)  7. Flyin' - Mumbles and Jumbles

Lee Konitz's Evidence release has seven selections from the veteran altoist that utilize different all-star personnel. The performances all have a similar commitment to relaxed and melodic freedom, but some work better than others. "I Hear a Rhapsody" (featuring a haunting vocal by Helen Merrill) precedes a more abstract "Rhapsody" (titled "Lo-Ko-Mo-And Frizz") which has wandering interplay by Konitz (on alto, soprano, and tenor), Joe Lovano (switching between tenor, alto clarinet, and soprano), guitarist Bill Frisell, and drummer Paul Motian. Jay Clayton's beautiful voice and adventurous style is well displayed on "The Aerie," and baritone great Gerry Mulligan sounds reasonably comfortable on a free improvisation with Konitz and pianist Peggy Stern, but a fairly straightforward vocal by Judy Niemack on "All the Things You Are" is followed by an overlong (19-minute) exploration of the same chord changes (renamed "Exposition") by the quartet of Konitz, clarinetist Jimmy Giuffre, pianist Paul Bley, and bassist Gary Peacock; their different approaches never really mesh together, and this selection is a bit of a bore. The final performance, an extroverted duet by Konitz (on soprano) and flügelhornist Clark Terry (titled "Flyin': Mumbles and Jumbles") adds some badly needed humor to the set. While one can admire Lee Konitz for still challenging himself after all this time, some of the dryer material on the CD (especially the two quartet numbers) should have been performed again; maybe the next versions would have been more inspired. ~ Scott Yanow http://www.allmusic.com/album/rhapsody-mw0000174310

Personnel:  Alto Saxophone – Lee Konitz; Baritone Saxophone – Gerry Mulligan;   Piano – Peggy Stern;  Vocals – Helen Merrill, Judy Niemack, Jay Clayton;  Bass – Ben Allison;  Drums – Jeff Williams

Rhapsody

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Annie Ross, The Gerry Mulligan Quartet - Annie Ross Sings A Song With Mulligan

Bitrate: MP3@320K/s
Time: 31:37
Size: 72.4 MB
Styles: Vocal jazz
Year: 1959/2010
Art: Front

[3:29] 1. I Feel Pretty
[2:47] 2. How About You
[2:58] 3. I've Grown Accustomed To Your Face
[3:20] 4. This Time The Dream's On Me
[3:40] 5. Let There Be Love
[2:16] 6. All Of You
[3:31] 7. Give Me The Simple Life
[4:17] 8. This Is Always
[3:37] 9. Between The Devil And The Deep Blue Sea
[1:38] 10. It Don't Mean A Thing

Baritone Saxophone – Gerry Mulligan; Bass – Bill Crow, Henry Grimes; Drums – Dave Bailey; Trumpet – Art Farmer, Chet Baker; Vocals – Annie Ross.

Singer Annie Ross' first solo album after joining Lambert, Hendricks & Ross finds her at the peak of her powers. Ross is joined by two versions of the Gerry Mulligan Quartet with either Chet Baker or Art Farmer on trumpet, Bill Crow or Henry Grimes on bass, and drummer Dave Bailey. Annie Ross is at her best (and most appealing) on "I've Grown Accustomed to Your Face," "Give Me the Simple Life," "How About You," and "The Lady's in Love With You," but all the selections are quite rewarding and her interplay with baritonist Mulligan is consistently memorable. This date plus its follow-up A Gasser are both essential. ~Scott Yanow

Annie Ross Sings A Song With Mulligan

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Teddy Wilson Trio & Gerry Mulligan Quartet With Bob Brookmeyer - At Newport

Styles: Piano And Saxophone Jazz, Swing

Year: 1957

File: MP3@320K/s

Time: 51:46

Size: 121,1 MB

Art: Front

(4:36)  1. Stompin' At The Savoy

(3:47)  2. Airmail Special

(5:07)  3. Basin Street Blues

(4:24)  4. I Got Rhythm

(7:37)  5. Sweet Georgia Brown

(5:16)  6. My Funny Valentine

(4:43)  7. Utter Chaos

(6:22)  8. Dancing In The Dark

(4:30)  9. I Love You

(5:18) 10. 'S Wonderful

Although in 1957 some listeners considered swing and cool jazz to be at the extreme poles of the jazz world, this LP, recorded at that year's Newport Jazz Festival, shows just how similar the two idioms were. The Teddy Wilson Trio (with bassist Milt Hinton and drummer Specs Powell) plays lightly swinging versions of four swing era standards and welcomes baritonist Gerry Mulligan to sit in on a spirited rendition of "Sweet Georgia Brown," and then Jeru's quartet (with trombonist Bob Brookmeyer, bassist Joe Benjamin, and drummer Dave Bailey) plays cooly exciting versions of "My Funny Valentine" and "Utter Chaos"; one could easily imagine Wilson helping out on those two songs. Strangely enough, this LP reissue of the original set also contains three standards by the Don Elliott Quartet with pianist Bill Evans, but never lists the full personnel (mellophonist Elliott, bassist Ernie Furtado, and drummer Al Beldini) or acknowledges the music in the liner notes. Worth acquiring anyway. ~ Scott Yanow http://www.allmusic.com/album/teddy-wilson-gerry-mulligan-at-newport-mw0000964250

Personnel:  Baritone Saxophone – Gerry Mulligan;  Bass – Ernie Furtado, Joe Benjamin,  Milt Hinton;  Drums – Al Beldini, Dave Bailey, Specs Powell;  Mellophone – Don Elliott;  Piano – Bill Evans, Teddy Wilson;  Trombone – Bob Brookmeyer.

At Newport

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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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Gerry Mulligan Quartet - Gerry Mulligan Quartet Featuring Chet Baker

Bitrate: MP3@320K/s
Time: 49:15
Size: 112.8 MB
Styles: West Coast jazz, Saxophone jazz
Year: 1992
Art: Front

[2:26] 1. Carioca
[2:31] 2. Line For Lyons
[4:05] 3. Moonlight In Vermont
[3:12] 4. Bark For Barksdale
[2:55] 5. Turnstile
[3:11] 6. The Lady Is A Tramp
[2:54] 7. My Funny Valentine
[2:46] 8. Limelight
[0:20] 9. Gerry Mulligan Signing Off
[3:02] 10. Flying The Coop
[3:23] 11. Why Not
[2:44] 12. So What
[3:27] 13. I May Be Wrong But I Think You're Wonderful
[3:27] 14. New York
[2:28] 15. Leavin' Town
[3:23] 16. Hot Dog
[2:52] 17. Sax Appeal

This CD is a compilation of two separate recording sessions, one led by Gerry Mulligan with Chet Baker on trumpet, the other by the Chubby Jackson Big Band. Half the Mulligan-Baker quartet material was recorded at the Black Hawk in San Francisco in September 1952, the other half four months later in LA. The personnel remains the same for both. The two horn men, along with Carson Smith (b) and Chico Hamilton (d) were laying down the foundation of what soon would be referred to as West Coast or Cool jazz, a sound just as swinging as its East coast rival, but tempered somewhat by a more introspective rhythm approach (the use of brushes over sticks by the drummer, for example) and in the case of this group, no piano. Many who disparage West Coast jazz make the claim that it was cold, pensive, and unswinging, which makes one wonder if such people ever really listened to the music. Such tunes as BARK FOR BARKSDALE, TURNSTILE, and LIMELIGHT are modern dynamos, far from retiring wallflowers. Baker, who supposedly couldn't read music, is truly inspired on these early sides.

The Jackson sides were recorded at one session for Prestige in 1950 in New York and feature an all-star modern big band, including Mulligan (bar sax) Howard McGhee (tp) Zoot Sims (ts) JJ Johnson (tb) and Jackson (b) among many other top players. Best might be the up-tempo rouser FLYING THE COOP, written by Tiny Kahn, a performance that sets the band off well, especially Sims and Johnson. I MAY BE WRONG is also a great tune done to perfection here, thanks to Mulligan's playing and arranging.

The music on this CD is fresh and exciting. The playing is top-notch. This is a must-have CD for anyone interested in modern jazz, especially during its earlier years. ~Bomojazz

Gerry Mulligan Quartet Featuring Chet Baker

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