Gerry Mulligan

Baritone Saxophone · born 6 April 1927 died 20 January 1996

Click for Richard Cook Bio

Mulligan was a man of paradoxes. He wrote many of the most precise and considered scores in modern jazz, yet he loved the freedom and spontaneity of jam sessions. He was one of the prime architects of cool, yet his own playing could be as fiercely hot as that of any hard bopper. He ran one of the most famous small groups in jazz, but his heart was surely with the big-band form. Born in New York, he started on piano (which he sometimes returned to on recordings), then tried out virtually the whole saxophone family. Moving to Philadelphia in 1944, he began writing arrangements, and then joined Gene Krupa as staff arranger in Los Angeles. Back in New York, he wrote for Claude Thornhill and was a key contributor to the Miles Davis Birth Of The Cool sessions: it rankled with him in later years that he never got that much credit for his involvement. He made some sides with a tentet in New York, then went back to Los Angeles and formed a new quartet with trumpeter Chet Baker and no pianist. Their residency at a little club called The Haig caused a sensation, with queues around the block, and the subsequent recordings for Dick Bock's Pacific Jazz label showed why: irresistible Mulligan originals such as Walkin' Shoes mixed with standards in clean, sonorous lines, and the results sounded like evergreen classics from the first auditioning. But Mulligan was using heroin, and only a three-month incarceration enabled him to get off the habit. He carried on with various four-man line-ups after Baker's departure, with Bob Brookmeyer, Jon Eardley and Art Farmer among his partners, and 'met' various saxophonists in the Verve recording studios, including Johnny Hodges, Ben Webster and Stan Getz. On the celebrated Sound Of Jazz telecast, he plays in the band that accompanies Billie Holiday and stands tallest of all.

In 1960, he assembled his Concert Jazz Band, which also recorded for Verve: a very different animal to the typical shouting big band, its light feel and sometimes silky sound was a beautiful vehicle for Mulligan scores such as Blueport, but it flew in the face of jazz trends and economies and didn't last long. After this, Mulligan became a star sideman with Dave Brubeck and eventually mustered a new big band, The Age Of Steam (referring to the saxophonist's long-standing love of locomotives). The Concert Jazz Band was also occasionally brought together again, as was a 'Rebirth Of The Cool' band which took a fresh look at Mulligan's old scores (and settled them to his satisfaction). 'Jeru' went from the cool uniform of shades and crew-cut in the 50s to bearded longhair in his old age, but while he never again quite found the popular audience he had enjoyed with the quartet, his later music and recordings still have the mark of greatness on them, and his achievements as arranger and composer now seem among the most formidable in any jazz era. As a saxophonist, he made the baritone seem both light and limber while never shying away from its deep-sea timbre: another paradox.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.

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