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4 4 3 QO cerry MULLIGAN AND HIS TEN-TETTE

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by Gene Norman
Gerry Mulligan is one of the inventors of the contemporary jazz form, and his early promise
experimenting with small forward-looking groups achieves fruition with this extensive
exhibit of his art. Gerry is that rare phenomenon — a truly originative talent. Everything
he does is unique and he has the unalterable courage to do as he “hears” fit. With it all,
there is no restraining self-consciousness. Quite the contrary, Gerry is irresistibly “full of
malarkey!” There’s an impishness about both him and his music that lends great charm.
He’s a young composer who somehow combines the restless intensity of a serious and
sensitive composer with the levity of a leprechaun. And it’s all here in the music. AND
TEN-T
HIS
MULLIGAN
GERRY
Gerry’s early background in the music field is surprisingly orthodox. He even arranged for
Tommy Tucker and Elliot Lawrence, but he quickly espoused the modern sounds and
“gigged” around New York with the small coterie of musicians that spearheaded the search
for new and interesting things to say in jazz. He helped to organize, write for, and play on
one of the milestones of modern jazz, the Miles Davis “Move” record date for Capitol.
But here, perhaps for the first time, he has been given carte blanche — freedom to express
himself without limitation. Notice, for example, the absence of rhythm piano. (While
listening to one of the piano-less numbers, he exclaimed with typical wry wit, “I can’t hear
the piano!” ). For most, the piano is the one immovable ingredient of any ensemble, but
with his usual unconventionality, Gerry says, “The piano seems to get in the way. The group
swings better without it!” The first time they recorded for me, I thought that the piano
player had failed to show up and this was the alibi, but I soon began to see what he means.
Besides his celebrated ability on baritone saxophone, Gerry plays “featured” piano as well.
This is a type of piano playing that.so completely eludes classification that we are compelled
to refer to it as “Mulliganesque:’
The moods and feelings captured here range all the way from something resembling a
German Salvation Army Band playing on a Heidelberg street corner — with a beat — to
the reckless abandon of a Deep South Revivalist meeting. But all the way, it’s ingenious,
challenging, and warm. This is what jazz is coming to. In fact, it’s here!

Gerry Mulligan — Baritone Sax, Piano

Other Gene Norman presentations Che: tales “aTrumpet
on Capitol : Pete Candoli — Trumpet
John Graas — French Horn
MODERN SOUNDS — Shorty Rogers Bud Shank — Alto Sax
Album No. 294 Don Davidson — Baritone Sax
: Bob Enevoldsen — Trombone
JUST JAZZ ALL STARS — Louis Bellson | Ray Siegel — Tuba
Album No. 348 Joe Mondragon — Bass .
MADE IN U.S.A.
Chico Hamilton or Larry Bunker — Drum

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