![]() ![]() Cerra's book is not the only one on Mulligan: Sanford Josephson's biography, JERU'S JOURNEY: THE LIFE AND MUSIC OF GERRY MULLIGAN, appeared in 2015, and two oral histories appeared earlier. He has been categorized as part of the "cool jazz" or "West Coast jazz" school, but those schools are merely names journalists give to groups of musicians when they need a quick and often inaccurate classifier. ![]() and that is not including his arrangements for Lawrence, Krupa, Claude Thornhill, Stan Kenton, and his own groups. To understand him, one has only to make a quick mental list of the people he played with and chose to work with: Bill Crow, Miles Davis, Brew Moore, Charlie Parker, Bob Brookmeyer, Chet Baker, Dave Brubeck, Jimmie Rowles, Dizzy Gillespie, Duke Ellington, Jack Teagarden, Tony Fruscella, Bill Charlap, Zoot Sims, Johnny Hodges, Teddy Wilson, Thelonious Monk, Art Farmer, Ben Webster, Phil Woods, Elliot Lawrence, Joe Sullivan, Gene Krupa, Annie Ross, Billie Holiday, Clark Terry, Stan Getz, Paul Desmond, Lee Konitz, Chubby Jackson, Charles Mingus, Mel Torme, Shorty Rogers, Zoot Sims, Lionel Hampton, Cleo Laine. Mulligan appeared to "move with the times," but in reality he stubbornly chose to be himself, no matter what the context: his piano-less quartet, his Concert Jazz Band, the "Birth of the Cool" group his later recordings that each seem to be jubilant explorations of new landscapes. For some, he would have been slightly behind Ellington's majestic Harry Carney for others, he would have outstripped Carney as an innovator and creative thinker. He had a nearly fifty-year career as a jazz luminary, a deep influence as a singular player of a sometimes-underestimated instrument, the baritone saxophone. To me, Mulligan is in the odd position of being simultaneously celebrated and viewed at a curious distance. But I think it is such a valuable compilation that it should get heralded right now. When I first received a copy, I found it engrossing but I also thought, "I might need a few weeks to do this book justice." So this admiring review comes with the caveat that I, the admiring reviewer, have read here and there in the book. Steve Cerra's new book on Gerry Mulligan is a delightfully overwhelming banquet. CERRA (Amazon, 2023) Posted on Novem| 4 comments “Forgive the culinary metaphor, but some books are snacks, some are satisfying dinners. After much consideration, Joe left Whitey Bernard to go to New York City.Ī difficult year followed, but with Joe’s determination and the help of friends like Sal Salvador, Joe began to be noticed.“GERRY MULLIGAN: WRITINGS ON A JAZZ ORIGINAL,” by STEVEN A. First, there was Hank Garland and the Grand Old Opry, and then Whitey Bernard. Joe’s playing activity increased, and he soon found himself on the road with several groups. Stone, Joe became known as the best drummer in Springfield, and rudimental champion of New England. But most important of all, he made Joe realize his future was in jazz, not “legitimate” percussion, as Joe had hoped. He gave Joe most of the tools for developing technique. He recommended a teacher in Boston, the great George Lawrence Stone. Sefcik decided it was time for Joe to move on. As a result, his musical experiences ranged from rudimental military playing to weddings and social occasions. Joe would play any job he was called for. When he was not sitting in, he and his friends, including Teddy Cohen, Chuck Andrus, Hal Sera, Phil Woods and Sal Salvador, would get together and jam in any place they could find. Joe began sitting in with any group that would allow it. He was an excellent teacher and gave Joe much encouragement. Joe’s first drum teacher, Joe Sefcik, was a pit drummer for all the shows in the Springfield area. So, at the age of fifteen, Joe changed the course of his musical endeavors and began to study drums. But upon meeting and hearing his idol, the great Jascha Heifetz, Joe felt he could never achieve “that sound”. At the age of twelve, he made a second solo appearance with the orchestra. Three years later, he was featured with the Boston Symphony Orchestra as soloist in the Mendelsohn Violin Concerto. At the age of six, his family’s encouragement led him to study violin. Having impaired vision since birth, he devoted himself to indoor activities. Joe was born on July 17, 1928, in Springfield, Mass. ![]()
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