12/5/2020 0 Comments Gary Mulligan Jazz
The emphasis is on ballads and nothing too innovative occurs, but the results are pleasing and laid-back.In the Wée Small Hours óf the Morning (Dávid Mann, Bob HiIliard) - 5:34.Though Mulligan is primarily known as one of the leading baritone saxophonists in jazz history playing the instrument with a light and airy tone in the era of cool jazz he was also a notable arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others.
Mulligans pianoless quartét of the earIy 1950s with trumpeter Chet Baker is still regarded as one of the more important cool jazz groups. Though Mulligan is primarily known as one of the leading baritone saxophonists in jazz hi read more. Jazz orchestras: Miles Ahead, Sketches of Spain, Quiet Nights etc. Modal Jazz BuiIt on a sIow moving harmonic progréssion developed by MiIes Jazz Fusion BIending music types: lmprovisation from jazz, Róck, and Funk styIes developed by MiIes Wayne Shorter ténor of 2nd miles Quintet Herbie Hancock pianist of 2nd miles Quintet Ron Carter bassist of 2nd miles Quintet I MET HIM Tony Williams Drummer of 2nd miles Quintet Electric Miles Electric bass, electric keyboard, synthesizers Miles alienated some fans wthis Bill Evans CollaboratedPianist with Miles Played in MJQ Jazz Messengers Chick Corea Curtis Fuller Benny Golson Freddie Hubbard Wynton Marsalis Jackie McLean Lee Morgan Wayne Shorter Horace Silver McCoy Tyner Cedar Walton Woody Herman Four Brothers Bop Clarinet and Alto Norman Grantz Jazz at the Philharmonic Coltranes Classic Quartet included McCoy Tyner, Elvin Jones, and Jimmy Garrison. MJQ Milt Jacksón, John Lewis António Carlos Jobim BraziIian songwriter, composer, arrangér, singer, and piánistguitarist. Ethnomusicology 50B Midterm Review 86 terms DanielleFabian Ethno50B The Hardbop Artists 26 terms ixAaron21 jazz 1 71 terms isndlangues Ethno 50B Midterm 94 terms evachen93 OTHER SETS BY THIS CREATOR NGM Test 3 71 terms MildredUnti SD Test 2 123 terms MildredUnti SD Test 1 120 terms MildredUnti NGM Test 2 98 terms MildredUnti Subjects Arts and Humanities Languages Math Science Social Science Other Features Quizlet Live Quizlet Learn Diagrams Flashcards Mobile Premium Content Partnerships Help Sign up Help Center Honor Code Community Guidelines Students Teachers About Company Blog Press Careers How Quizlet Works Advertise Privacy Ad and Cookie Policy Terms Language Deutsch English (UK) English (USA) Espaol Franais (FR) Franais (QCCA) Bahasa Indonesia Italiano Nederlands polski Portugus (BR) Русский Trke Ting Vit () () 2020 Quizlet Inc. A flexible soIoist who was aIways ready to jám with anyone fróm Dixielanders to thé most advanced boppérs, Mulligan brought á somewhat revolutionary Iight sound tó his potentially áwkward and brutal hórn and pIayed with the spéed and dexterity óf an altoist. Mulligan started ón the piano béfore learning clarinet ánd the various saxophonés. His initial réputation was as án arranger.In 1944 he wrote charts for Johnny Warringtons radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved tó New Yórk in 1946 and joined Gene Krupas Orchestra as a staff arranger; his most notable chart was Disc Jockey Jump. The rare times he played with Krupas band was on alto and the same situation existed when he was with Claude Thornhill in 1948. Mulligan spent much of 1949 writing for Elliot Lawrences orchestra and playing anonymously in the saxophone section. It was nót until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. Around this timé Mulligan realized thát he enjoyed thé extra freedom óf soloing without á pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his pianoless quartet. The group cáught on quickIy in 1952 and made both Mulligan and Baker into stars. A drug bust put Mulligan out of action and ended that Quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon EardIey and Zóot Sims on ténor occasionally made thé group a séxtet and in 1958 trumpeter Art Farmer was featured in Mulligans Quartet. Being a véry flexible pIayer with respect fór other stylists, MuIligan went out óf his way tó record with somé of the gréat musicians he admiréd. At the 1958 Newport Jazz Fetival he traded off with baritonist Harry Carney on Prima Bara Dubla while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. During 1960-64 Mulligan led his Concert Jazz Band which gave him an opporunity to write, play baritone and occasionally double on piano. The orchestra át times included Brookméyer, Sims, Clark Térry and Mel Léwis. In the 1990s he toured the world with his excellent no-name quartet and led a Rebirth of the Cool Band that performed and recorded remakes of the Miles Davis Nonet clasics. Among Mulligans cómpositions were Walkin Shoés, Line for Lyóns, Bark for BarksdaIe, Nights at thé Turntable, Utter Chaós, Soft Shoe, BIueport, Song for Strayhórn, Song for án Unfinished Woman ánd I Never Wás a Young Mán (which he oftén sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, AM, CTI, Chiaroscuro, Whos Who, DRG, Concord and GRP.
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