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Gerry Mulligan-Chet Baker Quartet THE ORIGINAL GERRY MULLIGAN-CHET BAKER QUARTET COMPLETE RECORDINGS - MASTER TAKES

[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…

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HDO 220. Especial Gerry Mulligan (I)

HDO 220. Especial Gerry Mulligan (I)

Primer programa del especial dedicado a Gerry Mulligan y que estará centrado en la carrera del músico en la década de los años 50.

En HDO 220 suena música de las grabaciones Mulligan Plays Mulligan, Paris Jazz Fair 1954, California Concerts y Gerry Mulligan Quartet featuring Chet Baker.

© Pachi Tapiz, 2017

HDO es un podcast editado, presentado y producido por Pachi Tapiz.

En HDO 220 suenan:

Gerr…

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Gerry Mulligan Quartet with Chico Hamilton, Bob Whitlock & Chet Baker. 10″ vinyl on Pacific Jazz, 1952.

[mosaicrecords]

Bob Whitlock: Significant, Overlooked Bassist

Marc Myers has the gift. He’s not only a knowledgeable and empathetic interviewer, but he somehow finds many of the important but forgotten musicians throughout the history of jazz. This 2012 interview with bassist Bob Whitlock is a perfect example. Wonderful, vital, historical stuff.

-Michael Cuscuna Read Interview... Follow: Mosaic Records Facebook Tumblr Twitter

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Gerry Mulligan with Bob Whitlock, Chico Hamilton and Chet Baker

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Gerry Mulligan with The Pianoless Quartet at Carnegie Hall

"While arranging for Kenton, Mulligan began performing on off-nights at The Haig, a small jazz club on Wilshire Boulevard at Kenmore Street. During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. Mulligan and Baker began recording together, although they were unsatisfied with the results. 

Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). Baker's melodic style fit well with Mulligan's, leading them to create improvised contrapuntal textures free from the rigid confines of a piano-enforced chordal structure. While novel at the time in sound and style, this ethos of contrapuntal group improvisation hearkened back to the formative days of jazz. Despite their very different backgrounds, Mulligan a classically-trained New Yorker and Baker from Oklahoma and a much more instinctive player, they had an almost psychic rapport and Mulligan later remarked that, "I had never experienced anything like that before and not really since." Their dates at the Haig became sell-outs and the recordings they made in the fall of 1952 became major sellers that led to significant acclaim for Mulligan and Baker.

This fortuitous collaboration came to an abrupt end with Mulligan's arrest on narcotics charges in mid-1953 that led to six months at Sheriff's Honor Farm. Both Mulligan and Baker had, like their peers, become heroin addicts. However, while Mulligan was in prison, Baker transformed his lyrical trumpet style, gentle tenor voice and matinee-idol looks into independent stardom. Thus when upon his release Mulligan attempted to rehire Baker, the trumpeter declined the offer for financial reasons. They did briefly reunite at the 1955 Newport Jazz Festival and would occasionally get together for performances and recordings up through a 1974 performance at Carnegie Hall. But in later years their relationship became strained as Mulligan, with considerable effort, would manage to kick his habit, while Baker's addiction would bedevil him professionally and personally almost constantly until his death in 1988.[3]"

Gerry Mulligan, Chet Baker, Chico Hamilton and Bob Whitlock (1974)

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