Description
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.
| 1. | Westwood Walk | 2:33 |
| 2. | Simbah | 2:57 |
| 3. | Walkin’ Shoes | 3:37 |
| 4. | Rocker | 2:27 |
| 5. | A Ballad | 2:53 |
| 6. | Taking a Chance on Love | 2:50 |
| 7. | Flash | 3:14 |
| 8. | Ontet | 3:14 |
| 9. | Varsity Drag | 2:20 |
| 10. | Speak Low | 2:09 |
| 11. | Half Nelson | 3:00 |
| 12. | Lady Bird | 4:28 |
| 13. | Love Me or Leave Me | 3:25 |
| 14. | Swinghouse | 3:18 |
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 done 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 unusual 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 “hear” what he meant. His own piano playing 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 Revival meeting. But all the way, it’s ingenious, challenging and warm. This is what jazz is coming to. In fact, it’s here!
-Gene Norman, 1953
Tentet Personnel
Gerry Mulligan – Baritone Sax (and piano)
Chet Baker – Trumpet
Pete Candoli – Trumpet
Bob Enevoldsen – Trombone
John Graas – French Horn
Ray Seigel – Tuba
Bud Shank – Alto Sax
Don Davison – Baritone Sax
Joe Mondragon – Bass
Chico Hamilton – Drums
Quartet Personnel
Gerry Mulligan – Baritone Sax
Chet Baker – Trumpet
Carson Smith – Bass
Larry Bunker – Drums
This album is available on iTunes and Apple Music, as well as Spotify and many other streaming services.
