Gerry Mulligan

by admin on January 19, 2009

Gerry Mulligan

The first major change in the life of Miles Davis was when he started started his recording career in 1945 in New York. Initially, it was heavily influenced by Charlie Parker became a member of his unofficial quintet and appearing on numerous recordings bebop originative Parker in the fall this year.

In Davis's first recordings he was accompanied by tenor saxophonist fields Herby and blues singer Rubberlegg Williams. It was still so early and Davis, although already a distinctive style and lack of trust necessary technical development. It was known to play his notes a little stifled at times and he stumbles in his solos occasionally.

This segment novice in his career would not last long because in 1948 he began to blossom as a solo performer. He has now served his apprenticeship on stage and record as a sideman and began work with a nonet that is, for those unfamiliar with the name of a song or group for nine instruments or voices. Unusually for the time this nonet particular featured the French horn and tuba.

After a number of concerts at the Royal Roost in New York the group were signed by Capitol Records and recorded several singles that were released in 1949 in 1950. These recordings featured arrangements by Gerry Mulligan, John Lewis and Gil Evans. Davis found now a fruitful collaboration with Gil Evans, who will continue over the next 20 years, several of his major works. Records produced at this time saw little use until 1957, until they are released as the album's birth "freshness".

The year 1949 saw the artists first visit to Europe where he played in the Paris Jazz Festival in May this year. This visit was prove key to Davis' life if for no other reason than the fact that for the French that they had become something of a cult. The experience of this cult, the statute was so different then hewas used in America that are heavily affected, so that Davis dated her problems with drugs From that time. Back in America, Davis was while playing in jazz clubs in New York in frequent contact with people who have used and narcotics and sold as much at the time became addicted to heroin.

Between 1950 and 55 Davis mainly recorded as a leader in a variety of settings in small groups. Included were a sideman as Sonny Holland, John Lewis, Kenny Clarke, Jackie McLean, Art Blakey, Horace Silver, Thelonious Monk, JJ Johnson, Percy Heath, Milt Jackson and Charles Mingus. It was a productive time, but Davis is now a heroin addict and for this reason it is become unreliable and has developed a reputation for unreliability.

It was a big problem and its solution was to return to St. Louis, where in the winter of 1953 at 54, he locked himself in a guest room. It was in the farm of his father and took for 12 days until the drug was out of his system. It is noteworthy that during this period, he had to help his addiction the famous boxer Sugar Ray Robinson.

After this and in 1954 after going clean, Davis made a series of important documents which were ultimately been collected on albums including: Walkin 'Bags' Groove and Miles Davis and the Modern Jazz Giants. Another very important development has product in 1954 to be made note and that was that Davis began to use the Harmon mute.

For those who are not familiar with expression of the Harmon mute trumpet is a device which darkens and subdues the sound of the trumpet. If you've already seen many trumpeters Davis or others live, you've seen using this device in front of his trumpet. You could not help noticing the distinctive tone of muted trumpet that it creates. This was this tone that would be associated with Davis for the rest of his life.

Gerry Mulligan – Walking Shoes – 1956

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Mulligan, Gerry Andre Previn Carmen McRae The Subterraneans 1960 Jazz LP Signed Autograph


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Part concert documentary, part pop-cultural time capsule, Bert Stern’s Jazz on a Summer’s Day chronicles the 1958 Newport Jazz Festival with an approach as deceptively relaxed, even impulsive, as the music itself. Still photographer Stern sidesteps more formal documentary conventions such as narrative voiceovers to wander purposefully from festival stage to boarding-house jam sessions, taking in t…


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