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(Mulligan) Criterion Music Corp.

(Mulligan) Criterion Music Corp.

(Mulligan) Criterion Music Corp.

(Mulligan) Criterion Music Corp.

(Mulligan) Criterion Music Corp.

« iove (Latouche, Fetter & Duke) EMI/Miller Catalog, Inc

\ (Mulligan) Criterion Music Corp.

\ (Mulligan) Criterion Music Corp.

\ (Brown-Hen4erson-DeSylva/ Chappell Music j (Weill-Nash) Chappell Music

(DaVis) Screen Gems/EMI

(Dameron) Music Sales Corp.

: MF (Kahn-Donaiason) Bregman, Vocco & Conn.

(Mulligan) Benton Publications

14 courtesy of CN?/Crescenao Reco

1. WESTWOOD Wri-K

SiWBRH

3. WKLKiN' SHOES

4. l^OCKiKSy

HALF MELSON

13. LOVE ME OR L1

14 swing house

|r©1996 G^fiBBscendo Record Co., Inc. 8400 Sunset BL Hollywood. CA 90069 i E-Mail: mrgnp@earthlink.net WRITE OR E-MAIL FOR FREE CATALOG

iic Special Markets. Product of EMI-Capitol Music Special Markets, wood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws.

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LOS ANGELES TIMES Thursday, January 25, 1996

Gerry Mulligan, Present at the Creation By DON HECKMAN Gerry Mulligan. In the world of jazz, the

mention of the name alone calls up instant images of sight and sound. Mulligan’s

lean and lanky frame, positioned in an almost balletic equilibrium to stabilize the massive, convoluted brass piping of his baritone saxophone. Topped, in the early years, by flaming red hair; more recently, by a snowy beard and a white mop-top.

And Mulligan’s tone, immediately recogniz¬ able, a rich, warm, inviting timbre. Smooth and flowing in ballads, overflowing with energy and vigor in up-tempos, it was a sound that spoke, always, irresistibly, in the dialect of the urgent, propulsive swing that is at the heart of jazz.

Although the media reports said that Mulligan, who died Saturday at his home in Darien, Conn., at the age of 68, was the victim of the “complications” of surgery and/or a knee infection, there had been recurrent rumors for months, never confirmed, that he had cancer. But he continued to perform until a few weeks ago, and plans were in the work for more concerts and recordings.

In retrospect, Mulligan appears to have been taken for granted by the jazz world. Arguably one of the two (with Harry Carney) important and influential players in the history of the baritone saxophone, he was universally admired and praised. But few seemed willing to elevate him to the top levels of the jazz pantheon.

Part of the problem, of course, was his versatility. Soloist, bandleader, composer, arranger and songwriter, he reached all the important musical bases, inspiring other musicians from the beginning.

“When you get a guy like Gerry Mulligan around a band,” Miles Davis once said,“all the other arrangers start writing a little better.”

Equally problematic, Mulligan was so active, for so long, that it’s easy to overlook the fact that he was present - in significant fashion - at a remarkable number of jazz watersheds.

In the late ’40’s, he was one of the first composers to add the harmonies and rhythms of be-bop to big-band charts, for both Claude Thornhill and Gene Krupa (who recorded Mulligan’s memorable bop line “Disc Jockey Jump” in 1947).

Thursday, January 25, 1996 LOS ANGELES TIMES

In 1949, Miles Davis’ influential “Birth of the Cool” sessions included three Mulligan originals (“Venus De Milo,” “Jeru” and “Rocker) and two of his arrangements. The impact upon a postwar generation of jazz musicians was, and to some extent continues to be, monumental.

West Coast jazz, at the time the most widely popular form of jazz since the Swing Era, was powerfully affected by the melodic, carefully crafted compositions Mulligan wrote for his piano-less quartet with Chet Baker on trumpet in the early 1950’s. Later in the decade, Mulligan, barely 30 years old, turned up in the now-classic television show “The Sound of Jazz” in the exalted company of Billie Holiday, Lester Young and Ben Webster, among others.

Then, in 1960, at a time when big-band jazz was viewed by many as a rapidly departing dinosaur, Mulligan organized his Concert Jazz Band, bringing new life to style and providing musical direction for such talented young composer-arrangers as Garry McFarland and Bob Brookmeyer. When Paul Desmond left the Dave Brubeck Quartet in 1967, Mulligan filled in as “Guest soloist” on and off for nearly six years, maintaining a strong voice in the wilder¬ ness for straight-ahead jazz at a time when pop, rock and fusion were beginning to seize the day.

As with so many jazz artists, Mulligan’s visibility went into a state of eclipse during the ‘70s. But in the ‘80s, he once again emerged as bright and animated as ever, recording quartet music, symphonic music, a remake of the “Birth of the Cool” recording and, in the ‘90s, several appealing, albums (the most recent, “Dragonfly,” was released in November).

Mulligan also took part in another watershed event, the famous 1958 Esquire magazine photo¬ graph, taken in Harlem, of an assemblage of many of the world’s prominent jazz musicians. A few months ago, Life magazine gathered together the surviving participants for a similar photograph.

Ironically, it was published Monday two days after Mulligan’s death. Ten of the 12 original musicians (Sonny Rollins and Ernie Wilkins were unable to make the session) are present in the now grim and empty-looking setting. Among them is Mulligan, appearing somewhat wan and aged. Twelve survivors from a cast of players who, 37 years ago, virtually defined the world of jazz. Now there are only 11.

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2nd

Other Albums Vni May Eqjoy on GNP/CRESCENDO RECORDS

GNPD 18 The Best of

Max Roach and Clifford Brown

in Concert

GNPD 23 Dizzy Gillespie and his Big Band

in Concert

ipsas A T1411: FOR I.IIVE

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GNPD 9045 Duke Ellington

The 1953 Pasadena Concert

GNPD 9055 George Shearing On The Sunny Side

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GNPD 1001 Louis Armstrong

and His All-Stars In Concert at the Pasadena Civic

Auditorium

GNPD 56

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Gerry Mulligan - BarfTofle Sax (and piano) QERRy MVLLiGKN qt/BRTET

Chet Baker- Trumpet Gerry Mulligan - Baritone Sax

Pete CanJoli - Trumpet Chet Baker - Trumpet

Bol> EneVoldsen - Trombone Carson Smith - Bass

John Graas - French horn Larry Bunker - Brums Ray Seigel - Tuba

BuJ Shank-Alto Sax

Bon BaVison -Baritone Sax 3ENE Mormkn

Joe Mondragon - Bass JoRPRN" ^'"sworth

Chico Hamilton -Brums K"RL LLEWELLyN

©1996 GNP/Crescendo Record Co., Inc. 8400 Sunset Boulevard, Hollywood, CA 90069 ©1996 EMI-Capitol Music Special Markets. Product of EMI-Capitol Music Special Markets, 1750 N. Vine St.,

Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws.