#Gerry Mulligan Quartet

[musicwithoutborders]

Gerry Mulligan Quartet, Lullaby Of The Leaves I Gerry Mulligan Quartet Vol.1, 1954

[tfc2211]

The Complete Pacific Jazz And Capitol Recordings Of The Original Gerry Mulligan Quartet And Tentette With Chet Baker

[radiophd]

gerry mulligan quartet ft. chet baker -- when your lover has gone

[rastronomicals]

6:57 PM EDT September 20, 2023:

Gerry Mulligan & Chet Baker - "Freeway" From the album   The Best of The Gerry Mulligan Quartet with Chet Baker (March 18, 1991)

Last song scrobbled from iTunes at Last.fm

File under: Pacific Jazz

[tocafitas]

'Round midnight

Desde meados dos anos 2000, quando conheci o programa “Linha Imaginária” na Cultura FM (São Paulo/SP), tenho o costume de dormir algumas noites escutando jazz bem baixinho, mesmo sendo semi-analfabeto em repertório do gênero desde sempre. Ainda escuto o “Cultura Jazz”, substituto do “Linha Imaginária” na mesma Cultura FM, mas nem tudo que toca é muito apropriado pra quem tá tentando…

[jazzdailyblog]

Gerry Mulligan Quartet Volume 1: The Art of Cool Jazz

Introduction: Certain recordings stand out as timeless masterpieces that perfectly capture the spirit of a certain moment or style in the vast fabric of jazz history. One such record is “Gerry Mulligan Quartet Volume 1,” which was released in 1952. This album, which is led by renowned baritone saxophonist Gerry Mulligan, perfectly captures the sophistication and originality of the Cool Jazz…

[jazzplusplus]

1960 - Gerry Mulligan Concert Jazz Band - Berlin

Featuring the Gerry Mulligan Quartet, the Zoot Sims Quartet, the Bob Brookmeyer Quintet

[jazzandother-blog]

PAUL DESMOND

photo by Jan Persson

(English / Español)

The main influences of alto saxophonist Paul Desmond (1924-1977) were Johnny Hodges and above all the sound of Pete Brown's saxophone, but also the melodic tone of Lester Young and Art Pepper. Paul Desmond's playing was fluid and airy, with little vibrato, with a much smoother sound than that of other saxophonists, which was his charm. His very pure sound, his uninhibited and inspired phrasing and his sense of swing made him one of the most popular musicians in West Coast jazz. Desmond produced a light, melodic tone on the alto saxophone. He said he tried to sound "like a dry martini". With a style similar to Lee Konitz, another of his influences, he quickly became one of the best-known jazz saxophonists of his time. Much of the success of Dave Brubeck's classic quartet was due to the juxtaposition of his fluid style over Brubeck's sometimes relatively heavy, polytonal piano.

An underrated saxophonist in the 1980s, today's critics recognise him as one of the great jazz musicians of the West Coast of the United States and a master in the art of improvisation, his sound being recognisable from the first note. His rare facility for improvised counterpoint is perhaps most evident on the two albums he recorded with baritone saxophonist Gerry Mulligan (Mulligan-Desmond Quartet and Two of a Mind). Desmond's playing was also notable for his ability to produce extremely high notes on his saxophone.

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Las principales influencias del saxofonista alto Paul Desmond (1924-1977) fueron Johnny Hodges y sobre todo el sonido del saxo de Pete Brown, también el tono melódico de Lester Young y Art Pepper. La forma de tocar de Paul Desmond era fluida y aérea, con poco vibrato, con un sonido mucho más suave que el de otros saxofonistas, lo que constituía su encanto. Su sonido muy puro, su fraseo desenvuelto e inspirado y su sentido del swing lo hicieron uno de los músicos más populares del jazz de la Costa Oeste. Desmond produjo un tono ligero y melódico en el saxofón alto. Dijo que trataba de sonar "como un martini seco". Con un estilo similar al de Lee Konitz, otra de sus influencias, se convirtió rápidamente en uno de los saxofonistas más conocidos del jazz de su época. Gran parte del éxito del clásico cuarteto de Dave Brubeck se debió a la yuxtaposición de su estilo fluido sobre el piano a veces relativamente pesado y politonal de Brubeck.

Saxofonista infravalorado en los años ochenta, la crítica actual le reconoce como uno de los grandes músicos de jazz de la Costa Oeste de los Estados Unidos y un maestro en el arte de la improvisación, siendo su sonido reconocible desde la primera nota. Su rara facilidad para el contrapunto improvisado es quizás más evidente en los dos álbumes que grabó con el saxo barítono Gerry Mulligan (Mulligan-Desmond Quartet y Two of a Mind). El toque de Desmond también fue notable por su capacidad para producir notas extremadamente altas en su saxofón.

source: pasión por el jazz y blues

[projazznet]

Gerry Mulligan – Gerry Mulligan Quartet, Vol. 1

Gerry Mulligan Quartet Volume 1 is an album by saxophonist and bandleader Gerry Mulligan featuring performances recorded in 1952 and originally released as the first 10-inch LP on the Pacific Jazz label.

[jpbjazz]

LÉGENDES DU JAZZ

BUD SHANK, PIONNIER DES MUSIQUES DU MONDE

Né le 27 mai 1926 à Dayton, en Ohio, Clifford Everett "Bud" Shank Jr. avait commencé à jouer de la clarinette à Vandalia, en Ohio, mais avait adopté le saxophone alto avant de commencer à fréquenter l’Université de North Carolina. Durant son séjour à l’université, Shank avait été admis dans la Pi Kappa Alpha fraternity, une organisation humanitaire.

DÉBUTS DE CARRIÈRE

Shank a commencé sa carrière en 1946 en jouant avec le groupe de Charlie Barnet. Quatre ans plus tard, il s’était joint à l’orchestre de Stan Kenton sur la Côte ouest. Un des membres de l’orchestre de Kenton était le contrebassiste Howard Rumsey. Après avoir quitté le groupe de Kenton, Rumsey avait formé un groupe tout-étoile appelé les Lighthouse All Stars, d’après le nom du club où il se produisait, le Hermosa Beach Lighthouse Club. Shank s’était éventuellement joint au groupe. Décrivant son séjour avec le groupe de Rumsey, Shank avait commenté: ‘’I had been working at the Lighthouse for a long time before I knew anything at all about chord changes. I finally went and studied with Shorty Rogers, and learned what chords were. Because I'd played totally by ear prior to that time.’’ À cette époque, Shank avait également formé son propre quartet avec le saxophoniste et oboïste Bob Cooper et des pianistes comme Hampton Hawes et Jimmy Rowles.

En 1953-54, Shank avait commencé à s’intéresser à ce qu’on appelle aujourd’hui les musiques du monde, et avait joué du jazz influencé par des compositeurs brésiliens comme le guitariste Laurindo Almeida, ce qui avait éventuellement contribué à accroître la popularité de la bossa nova chez des musiciens comme Stan Getz par exemple. Shank avait d’ailleurs travaillé avec des pionniers de la bossa nova comme Sergio Mendes. Shank avait éventuellement abandonné les musiques du monde à la fin de la même décennie pour se concentrer sur son travail de musicien de studio. Shank avait d’ailleurs remporté un grand succès en jouant un solo de flûte sur la pièce ‘’California Dreamin'' du groupe the Mamas and the Papas.

En 1958, Shank était devenu le premier musicien de jazz américain à enregistrer en Italie. L’enregistrement avait été effectué par un orchestre dirigé par Ezio Leoni (également connu sous le nom de Len Mercer). Shank avait ainsi ouvert la voie à des musiciens comme Chet Baker qui avaient également enregistré avec Leoni à Milan plus tard. En 1958 et 1960, Shank avait aussi composé la bande sonore des films de surf de Bruce Brown: ‘’Slippery When Wet’’ et ‘’Barefoot Adventure.’’ Shank avait continué de travailler dans le secteur e la musique du monde en 1962, en fusionnant le jazz avec la musique indienne dans le cadre d’une collaboration avec le compositeur et joueur de cithare indien Ravi Shankar.

DERNIÈRES ANNÉES

En 1974, Shank s’était joint à Ray Brown, Shelly Manne (qui avait été remplacé par Jeff Hamilton après 1977) et Laurindo Almeida pour former le groupe L.A. Four, un groupe de cool bob influencé par le jazz latin avec il avait enregistré et joué en tournée jusqu’en 1982. Le groupe avait également collaboré avec l’excellent trompettiste Bobby Shew. En 2005, dans le cadre du 40e anniversaire du Neophonic Orchestra de Stan Kenton, Shank avait fondé son propre big band, le Bud Shank Big Band.

Dans les années 1990, Shank avait créé une performance multimédia sous le titre de The Lost Cathedral. Il avait aussi augmenté la taille du Bud Shank Jazz Workshop tout en se produisant dans de nombreux festivals de jazz, dont le Jazz Southwest Festival d’Albuquerque au Nouveau-Mexique.

Shank avait également enregistré des albums en hommage à Frank Sinatra et Gerry Mulligan. En 2004, Shank avait enregistré avec le saxophoniste alto Phil Woods. Deux ans plus tard, il avait enregistré en duo avec le pianiste Bill Mays.

Même s’il avait souffert de problèmes respiratoires à la fin de sa carrière, Shank n’avait jamais abandonnné et avait continué de faire des tournées et d’animer des cliniques de jazz.

Bud Shank est mort le 2 avril 2009 d’une embolie pulmonaire à sa résidence de Tucson, en Arizona. Il était âgé de quatre-vingt-deux ans. La veille, Shank venait de finir d’enregistrer un nouvel album à San Diego, en Californie. Shank laissait dans le deuil son épouse Linda.

Reconnu comme un des principaux responsables de la popularisation du jazz latin et du jazz de chambre, Shank s’était produit avec plusieurs orchestres au cours de sa carrière, dont le Royal Philharmonic, le New American Orchestra, le Gerald Wilson Big Band, le Neophonic Orchestra de Stan Kenton et l’orchestre de Duke Ellington.

En 2008, le réalisateur et producteur Graham Carter avait rendu hommage à Shank dans un documentaire intitulé "Against the Tide, Portrait of a Jazz Legend.’’ La film s’est mérité quatre prix Indie, dont le prix Aurora Awards Gold.

Shank, qui jouait également du saxophone ténor, du saxophone baryton, de la clarinette et de la flûte (qu’il avait abandonnée en 1986 pour se consacrer au saxophone alto), s’était acquis la réputation d’être un improvisateur d’une grande originalité et d’une grande intelligence. Souvent comparé à Art Pepper, le jeu de Shantz était cependant moins langoureux et intense que celui de Pepper, et se distinguait par un ton mélancolique qui rappelait à la fois le style de Charlie Parker et de Benny Carter.

Shank a remporté le prix de National Academy of Recording Arts and Sciences (NARAS) à quatre reprises. Shank avait enregistré plus de cinquante albums au cours de sa carrière.

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

‘’Bud Shank.’’ Wikipedia, 2023.

‘’Bud Shank.’’ All About Jazz, 2023.

‘’Bud Shank (1926-2009).’’ National Jazz Archives, 2023.

FORDHAM, John. ‘’Obituary: Bud Shank.’’ Guardian News, 6 avril 2009.

[themusicaldesk]

Remembering Bob Brookmeyer on his birthday... R.I.P. ஆܔ

Robert Edward "Bob" Brookmeyer (December 19, 1929 – December 15, 2011) was an American jazz valve trombonist, pianist, arranger, and composer. Brookmeyer began playing professionally in his teens. Born in Kansas City, Missouri, Brookmeyer first gained widespread public attention as a member of Gerry Mulligan's quartet from 1954 to 1957. He later worked with Jimmy Giuffre, before rejoining Mulligan's Concert Jazz Band. He was part of small groups led by Stan Getz, Jimmy Giuffre, and Gerry Mulligan in the 1950s. He garnered 8 Grammy Award nominations during his lifetime.His eighth Grammy Award nomination was for an arrangement from the Vanguard Jazz Orchestra's album, Forever Lasting, shortly before his death. That same album was also nominated in the 57th Annual Grammy Awards for the category of Best Large Jazz Ensemble Album; the CD was entirely made up of Brookmeyer's compositions.Photo: Bill Crow, Gerry Mulligan and Bob Brookmeyer of the Gerry Mulligan Quartet. Photo © PoPsie 

RandolphFacebook.com/JazzImprovisers

[tfc2211]

The Complete Pacific Jazz And Capitol Recordings Of The Original Gerry Mulligan Quartet And Tentette With Chet Baker

[radiophd]

the gerry mulligan quartet -- what is there to say? [album, 1959]

[rastronomicals]

10:10 PM EDT April 10, 2024:

Gerry Mulligan & Chet Baker - "Swinghouse" From the Compilation album   The Best of The Gerry Mulligan Quartet with Chet Baker (March 18, 1991)

Last song scrobbled from iTunes at Last.fm

File under: Pacific Jazz

[tristan-v-saxophone]

Losing History in Modern jazz music

Most of the topics I write about, I choose to do so in a relatively lighthearted manner, but this topic is different. As a white musician who’s very new to the scene, I have been surprised and appalled with what I have seen and continue to see among the new generation of musicians. 

I intend to particularly narrow in on the music itself, rather than jazz as a scene, but a bit of context is necessary 

Every jam session I have been too has had almost entirely white musicians, every modern quartet I have seen has been entirely white, something 95% of the top trending jazz musicians on social media are white. More people are exposed to jazz through white musicians like Paul Desmond, Michael Brecker, and Frank Sinatra then the black musicians who created this music, like Coleman Hawkins, Fats Navarro, Oscar Pettiford, etc.

Let me be clear, this has always been an issue. During the big band era, Benny Goodman and Glenn Miller were far more popular than Duke Ellington and Count Basie, during the bebop era, Stan Getz and Chet Baker were more popular than Clifford Brown and Sonny Stitt, during the hard bop era, Gerry Mulligan was more popular than Leo Parker. The list can go on forever. Today I can think of a dozen white saxophonists that are FAR more popular than black saxophonists who are, in many cases, far better musicians.

Now, the issue is not just about the musicians who are seen and heard, in which white washing is a substantial issue, but it also affects the music being played.  You see, Jazz is an African American art born from the aural tradition of music from Africa being intensified when African slaves suffered from American slavery. The music evolved from 5 types of songs used by slaves, either for communication or for community: Sorrow Songs, Field Hollars, Work Songs, Gospel, and Blues. As these 5 aural traditions survived as slavery was abolished and African Americans were given freedom, evolving into the style now recognized as Jazz. 

But many modern jazz musicians, especially white jazz musicians, do not properly learn, understand, or respect this history. Through the age old push among jazz musicians for more and more complex music, somewhere along the way, the history has gotten clouded. People don’t play the blues anymore, not like they did. Cats today take more from late white musicians like Steve Grossman, Michael Brecker, and Chris Potter (all phenomenal musicians in their own right) and ignore the build to that. As a result, the virtuosity may be higher than ever, but it is without the soul, the spark that made this music so unique to begin with. Musicians like Ben Webster, Illinois Jacquet, Jimmy Forrest and Gene Ammons aren’t ever looked at, their music is not heard by the modern musicians. 

There are a number of reasons behind this. 

The Aural Tradition has been lost. People still learn stuff by ear, but it’s all through the scope of wester classical music theory. Every melody and rhythm notated in western notation, even though it *never* quite matches accurately.

New Musicians don’t have the patience to explore the whole history, and often start with their favorite musician, often times getting the language and vocabulary of mostly one or two newer musicians without the context of how that language was developed.

Most importantly, the systemic suppression of black musicians who do continue to play the history. Musicians like Jesse Davis and Wayne Escoffery, who are absolutely incredible, struggle to get gigs frequently while musicians like Chad LB are winning awards and making hundreds of thousands of dollars.

The history is being lost.