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Gerry Mulligan Quartet Pacific Jazz Rar Torrent License Is IncludedA copy of the license is included in the section entitled GNU Free Documentation License.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 Its All About, another potent blues.A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist.
Gerry Mulligan Quartet Pacific Jazz Rar Torrent Free Documentation LicenseMulligan started on the piano before learning clarinet and the various saxophones. In 1944 he wrote charts for Johnny Warringtons radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupas Orchestra as a staff arranger; his most notable chart was Disc Jockey Jump. The rare times he played with Krupas band was on alto and the same situation existed when he was with Claude Thornhill in 1948. Mulligan spent much of 1949 writing for Elliot Lawrences orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. ![]() He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars. A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligans Quartet. Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on Prima Bara Dubla while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans. During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent no-name quartet and led a Rebirth of the Cool Band that performed and recorded remakes of the Miles Davis Nonet classics. Among Mulligans compositions were Walkin Shoes, Line for Lyons, Bark for Barksdale, Nights at the Turntable, Utter Chaos, Soft Shoe, Blueport, Song for Strayhorn, Song for an Unfinished Woman and I Never Was a Young Man (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, AM, CTI, Chiaroscuro, Whos Who, DRG, Concord and GRP. 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 Hentoffs assertions) to reach their final form. Mulligan contributed the gorgeous ballad Whats 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.
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