Mulligan Soupis a piano-less jazz quartet, formed in tribute to the music of Gerry Mulligan's famous 1950's recordings with Chet Baker, Bob Brookmeyer, Art Farmer and many others.. The quartet sides, with Chet Baker were recorded at two sessions in 1952. They were now in a quandary over what to do about the off night because they didn't have a piano and they certainly weren't going to rent a grand piano to play on the one night. Gerry Mulligan Quartet was similarly a 10 inch album, the original issue in red vinyl, that featured a batch of well crafted originals and it is here we hear how Mulligan was working towards an integrated “group sound”, rather than the hastily thrown together head arrangements of their first recording session, mixed with well arranged standards. Chet had a very melodic sense, and I fell into a natural role of accompanying, being the bridge between the bass line and the solo line, and it worked. Mulligan's interplay with Baker looked back toward the collective improvisation of Dixieland but utilized up-to-date harmonies. Baritonist Gerry Mulligan's pianoless quartet of 1952-1953 with trumpeter Chet Baker was one of the most popular groups of the period and an influential force on West Coast Jazz. During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. I said, "No man, you must play with same stuff you’ve been rehearsing with, because this is the sound of group. Caption for lead image: In the meantime Dick had said that he would like me to put a group together to play the off nights. You could see through it, and Chico brought this kind of extroverted quality to it that kept the thing alive so that there was noticeable vitality there. With his white sidewalls crewcut and short-sleeved shirts, Gerry Mulligan was a 50s icon. And we were lucky to get a bass player [Carson Smith] who also had a good sound and good time, but who also thought like an arranger. A big factor in the appeal of the group was that Chico had such a good show sense that he brought that out in all of us, and so the group wasn't as introverted as Chet and I were. One of the things that gave me a lot of confidence to do that was that when we were still in New York and Gail [Madden] and I were organizing some things, we organized a record date with Prestige, but the rhythm section that she had (with maracas that kind of made a swishing sound, that she made go with the cymbal sound) had no piano in it. Gerry Mulligan with The Pianoless Quartet at Carnegie Hall “While arranging for Kenton, Mulligan began performing on off-nights at The Haig, a small jazz club on Wilshire Boulevard at Kenmore Street. Mulligan's interplay with Baker looked back toward the collective improvisation of Dixieland but utilized up-to-date harmonies. Gail had been enthusiastic about Chico Hamilton's playing. Gerry clarifies the history of the quartet. But, he explained that, for years, he wanted “to do a variety show based around a band. And we were lucky to get a bass player [Carson Smith] who also had a good sound and good time, but who also thought like an arranger. Of course, when Erroll was there they had this beautiful nine-foot concert grand Baldwin on the stage for him and it remained pretty much the same for the couple of months Erroll was there. All tracks composed by Gerry Mulligan except where indicated I guess I knew about him because he had put together some dates for Discovery Records. Chico had his unique approach. The pianoless quartet, which Gerry formed in 1952 and with which he recorded for the new Pacific Jazz label the same year, was an instant success and received glowing if not fully accurate press concerning its inspirations and aspirations. Chet had a very melodic sense, and I fell into a natural role of accompanying, being the bridge between the bass line and the solo line, and it worked. He had a whole set of drums back there. Mrs. Mulligan. In the meantime Dick had said that he would like me to put a group together to play the off nights. I said, "Great," but when John said this about the piano I said, "No, I don't think I want a studio upright. The quartet sides, with Chet Baker were recorded at … I said, "Yeah, but you're not going to use all that stuff are you?" Baritonist Gerry Mulligan's pianoless quartet of 1952-1953 with trumpeter Chet Baker was one of the most popular groups of the period and an influential force on West Coast Jazz. It's going to be different if you come in with a whole set of drums." I said, "Yeah, but you're not going to use all that stuff are you?" Mulligan's “pianoless” quartet with Chet Baker caused an immediate sensation in 1952 and put West Coast Jazz on the map. Shop for Vinyl, CDs and more from Gerry Mulligan Quartet at the Discogs Marketplace. John Bennett, who was one of the owners of the place, said, "What they should do is get one of those little sixty-six-key studio uprights for the off night." But he used to do things in solos that put me away. Acerca de Gerry Mulligan. Baritonist Gerry Mulligan's pianoless quartet of 1952-1953 with trumpeter Chet Baker was one of the most popular groups of the period and an influential force on West Coast Jazz. He said, "Well, we're going to work tonight." Because everything was supported by the bass, since you didn't have a piano stating the chords, it had to come from the combination of the bass, bass line, and whatever we were doing with harmonies. And I remember the first time we had been rehearsing down at a house that Chet rented in Watts, and we were getting ready after rehearsing to pack up to go up into the city to play the job, and I looked in the back of Chico's car. He started me playing there on Tuesday nights, and at first I would always be playing rhythm section with Don Trenner, and the main attraction was Erroll Garner. Chico had his unique approach. So, because of the things she had tried, it gave me kind of an idea of what I might try and what not to do and so on. But he used to do things in solos that put me away. With his white sidewalls crewcut and short-sleeved shirts, Gerry Mulligan was a 50s icon. Though 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—Mulligan was also a significant arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. He finally gave in, so that's what he played on: the snare, the sock cymbal, the one standing tom, and the one standing cymbal, and he played a good deal of the time on brushes. Following these introductory remarks, the remainder of chapter one is a biographical sketch of Baker. This recording is a little skimpy on … Thank you. Mulligan's interplay with Baker looked back toward the collective improvisation of Dixieland but utilized up-to-date harmonies. [Gerry's sextet in the 1950s]. As it turned out he was booking the room at the Haig, especially the off nights. [photographer unknown]. The pianoless quartet, which Gerry formed in 1952 and with which he recorded for the new Pacific Jazz label the same year, was an instant success and received glowing if not fully accurate press concerning its inspirations and aspirations. The memoirs address such topics as his childhood; his associations with Gil Evans, Miles Davis, Charlie Parker, Thelonious Monk, and Gene Krupa; his pianoless quartet with Chet Baker; his ideas about counterpoint; and his heroin addiction. While relegated to writing mostly dance arrangements, Gerry was asked to write an original composition, the now classic “Young Blood.” He started me playing there on Tuesday nights, and at first I would always be playing rhythm section with Don Trenner, and the main attraction was Erroll Garner. With his white sidewalls crewcut and short-sleeved shirts, Gerry Mulligan was a 50s icon. And I had played around at a number of sessions in the Valley at which Chet [Baker] had played, so I played with him a couple of times and was very impressed with his melodic playing, which you don't usually hear in players at jam sessions. In 2001 Pacific Jazz released an album on CD with additional tracks from Mulligan… As it turned out he was booking the room at the Haig, especially the off nights. I guess I knew about him because he had put together some dates for Discovery Records. All the time we rehearsed we only had a small set, maybe a snare drum and high hat, a standing tom-tom, and one top cymbal on a stand–no bass drum, no set of tom-toms–and so it was a minimal set. Gerald Joseph Mulligan (April 6, 1927 – January 20, 1996), also known as Jeru, was an American jazz saxophonist, clarinetist, composer and arranger. Explore releases from Gerry Mulligan Quartet at Discogs. It was very accessible, what we were doing, and it was clear. [Gerry's sextet in the 1950s]. Listen to Audio: RealAudio - MP3 He realized that he was doing two things at once; it was like being part of the ensemble plus part of the rhythm section. Chasanoff/Elozua "Amazing Grace" Collection, It's Showtime! I said, "Great," but when John said this about the piano I said, "No, I don't think I want a studio upright. Transcriptions, produced by the author, of the Gerry Mulligan Quartet's first LP will be presented and discussed to illustrate characteristics of Baker's early solo style. I asked, "What have you got your drums here for?" Sheet Music from Stage and Screen. He said, "Well, we're going to work tonight." Then they started to make plans about what to do because Erroll was getting near the end of his stay, and they were bringing in Red Norvo and his trio, who didn't use a piano at all. All the time we rehearsed we only had a small set, maybe a snare drum and high hat, a standing tom-tom, and one top cymbal on a stand–no bass drum, no set of tom-toms–and so it was a minimal set. His pianoless quartet of the early 1950s with trumpeter Chet Bakeris still regarded as one of the best cool ja… 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. Let me think of something else." They were now in a quandary over what to do about the off night because they didn't have a piano and they certainly weren't going to rent a grand piano to play on the one night. São 42 faixas, todas gravadas na Califórnia entre 1952 e 1953, divididas em dois discos. People are so busy playing their horn and trying techniques, but Chet was such a melodic player that I thought we could try it with no piano. With his white sidewalls crewcut and short-sleeved shirts, Gerry Mulligan was a 50s icon. After that I met Dick Bock. The Gerry Mulligan Collection, The Library of Congress Presents: Music, Theater and Dance, Performing Arts Reading Room. Mulligan had already been working on his trademark relaxed, Cool Jazz sound with his arrangements for Claude Thornhill and Miles Davis. The 'Cool' West Coast style was kick-started by Mulligan and Baker with the famous quartet concerts at The Haig, and recordings for Pacific Jazz. People are so busy playing their horn and trying techniques, but Chet was such a melodic player that I thought we could try it with no piano. He would bring in the guys who were to play on the night that the main attraction wasn't playing. Each one of us brought something particular to the group; it wasn"t just playing the instrument, it was bringing a point of view to it. And I had played around at a number of sessions in the Valley at which Chet [Baker] had played, so I played with him a couple of times and was very impressed with his melodic playing, which you don't usually hear in players at jam sessions. It's going to be different if you come in with a whole set of drums." Mulligan's pianoless quartet with Chet Baker caused an immediate sensation in 1952 and put West Coast Jazz on the map. Let me think of something else." I asked, "What have you got your drums here for?" Gail had been enthusiastic about Chico Hamilton's playing. He realized that he was doing two things at once; it was like being part of the ensemble plus part of the rhythm section. 1950: The Gerry Mulligan Quartet/Gerry Mulligan with the Chubby Jackson Big Band - The big band sides are from 1950, the band led by bassist Jackson included Howard McGhee, Zoot Sims, and trombonist J. J. Johnson. Pianoless Quartet – Gerry moved to Los Angeles in the spring of 1952 with girlfriend, Gail Madden, and got work there as an arranger with Stan Kenton. In 1995, Gerry Mulligan recorded his oral history by way of a series of interviews. 1953 - Pacific Jazz Gênero: Jazz - Cool/West Coast Avaliação: ••••• Esta pérola do jazz consiste em uma coletânea de tudo que foi gravado pelo lendário Quarteto Sem Piano (Pianoless Quartet) de Gerry Mulligan e Chet Baker na Pacific Jazz Records. 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