The tentette recordings that Gerry Mulligan (1927-1996) made for Capitol Records in January 1953 were an outgrowth of both the Miles Davis Birth of the Cool sessions of 1949 and 1950, to which he had contributed significantly, and the piano-less quartet featuring trumpeter Chet Baker that had brought the baritone saxophonist his first real recognition. In fact, the latter ensemble was at the peak of its popularity when the tentette recordings were made. Like Shorty Rogers’ 1951 octet recording, the two Mulligan tentette sessions recorded in 1953 were part of the Gene Norman Presents series for Capitol, and his only association with that label.
Although the Mulligan-Baker collaboration produced music that became a cornerstone of the early 1950s West Coast Jazz phenomenon, Mulligan himself was a New York City native and the partnership that began in 1952 was over by the end of the following year, to be reconstituted only occasionally in the years to come. In early 1954, valve trombonist Bob Brookmeyer had replaced Baker who went on to fame and fortune as a vocalist as well as a trumpet player, despite life-long complications associated with substance abuse.
Mulligan’s career began in the 1940s as an arranger for the bands of Gene Krupa, Elliott Lawrence, Georgie Auld and Claude Thornhill, but it would be several years before the West Coast adventure that catapulted him to stardom. Besides the Miles Davis nonet project, he participated in several classic bebop recording sessions in 1949 led by trombonist Kai Winding (Roost, Prestige), pianist George Wallington (Regal), saxophonist Brew Moore (Savoy) and a rehearsal under the direction of Gene Roland recently unearthed by Uptown Records. In March of 1950, he contributed an arrangement of “I May Be Wrong” to a 13-piece ensemble led by bassist Chubby Jackson (Prestige). His first session as a leader took place on September 21, 1951, also for Prestige Records and on three tracks involved a nonet made up of 2 trumpets, valve trombone, three saxophones and rhythm section (Prestige PRLP 120 (10″), 7006 (12″)).
In search of steady work, Mulligan relocated to Los Angeles in 1952 and, around the same time, contributed several arrangements to the Stan Kenton Orchestra including “Young Blood,” “Swing House” and “Walkin’ Shoes,” all original compositions. The fortuitous pairing with Baker led to a long run at The Haig club on South Kenmore Avenue at Wilshire Boulevard in Hollywood as well as many recordings for the Pacific Jazz, Fantasy and Gene Norman Presents labels. Lacking a chord instrument, the quartet’s creative interactions between baritone saxophone and trumpet garnered critical acclaim and offered a welcome alternative to the entrenched bebop of the time which was experiencing a decline resulting from repetition, clichés and a need for fresh material.
Despite being in the right place at the right time, personality conflicts and drugs conspired to end the Mulligan-Baker alliance. In fact, Mulligan himself spent September-December of 1953 in prison as a result of narcotics charges.
From late 1954 to 1956, Mulligan often expanded the quartet to a remarkable piano-less sextet that included tenor saxophonist Zoot Sims and trumpeter Jon Eardley along with Brookmeyer. A reunion with Baker was recorded for Pacific Jazz in December 1957 and the following year, the “New Gerry Mulligan Quartet” came together with Art Farmer on trumpet, Bill Crow on bass and Dave Bailey on drums. The Mulligan-Farmer collaboration lasted through 1959 and was arguably as felicitous as that with Baker. The Columbia album the quartet produced, What Is There to Say, is considered a classic.
Not content to be constrained by time period, Mulligan recorded some noteworthy collaborations with as diverse a group of fellow saxophonists as Ben Webster, Johnny Hodges, Stan Getz and Paul Desmond, mainly for the Verve label and with pianist Thelonious Monk for Riverside. Perhaps his greatest asset as an instrumentalist was an uncanny ability to interact with and inspire other musicians in very spontaneous and creative ways leading to memorable exchanges.
The arranging genius that Mulligan showed early on in his arrangements for big bands, for Miles Davis and the 1953 tentette foreshadowed the unique ensemble that came together in the early 1960s and was known as “The Concert Band.” This 13-piece ensemble featured a number of outstanding soloists including trumpeter Clark Terry, trombonist Willie Dennis, Brookmeyer and saxophonists Al Cohn (who also contributed arrangements), Zoot Sims and Gene Quill. The recordings this band made for the Verve label have been collected in a highly regarded 2003 Mosaic Records box set (Mosaic MD4-221).
Pertinent to the subject at hand, in 1992 Mulligan reassembled ensembles similar to the tentette for a recording and tour as the “Re-birth of the Cool Band.” Featured were former associates including Art Farmer, Phil Woods, John Lewis and Lee Konitz as well as younger stalwarts such as trumpeter Wallace Roney and pianist Ted Rosenthal.
Repertoire
Mulligan composed all the material except the lone standard and arranged all eight pieces. In contrast to the situation with the Davis and Rogers recordings, the January 29, 1953 session included at least one title that has risen to the status of “jazz standard.” After Mulligan died in 1996, a number of tribute albums covered several of these tunes.
“A Ballad”
43-bar (11+12+8+12) structure in C concert
This unimaginatively titled but harmonically rich and emotionally evocative piece debuted at the January 29, 1953 session and became part of The Concert Band repertoire.
Other recordings:
Getz Meets Mulligan in Hi-Fi, Verve MG V-8249, October 12, 1957
Claude Williamson Mulls the Mulligan Scene, Criterion CR-601, 1958
Gerry Mulligan ’63: The Concert Band, Verve V6-8515, December 18, 1961
Les Double Six, Columbia (Fr.) SGXF 108, late 1961
Portrait of a Norwegian Jazz Artist: Kjell Karlsen, Gemini GMOJCD 9507 (2001 CD; rec. 1960 or 1961)
National Jazz Ensemble Featuring Gerry Mulligan, Dot Time DT 8002 (2016 CD; rec. February 2, 1977)
Octobop: Very Early, Mystic Lane 030576 (CD; September 2006)
“Westwood Walk”
32-bar ABAC structure; based on “Fine and Dandy” in F concert
A brightly paced contrafact, this tune had its first official recording at the January 29, 1953 session; however relatively recently issued CDs reveal that it was performed at a live concert in Los Angeles in 1952 with a band that included Chet Baker, Shorty Rogers, John Graas, Art Pepper, Wardell Gray, Mulligan, Hampton Hawes, Joe Mondragon and Larance Marable.
Other recordings:
Chet Baker/Art Pepper: October Session, Interplay (Jpn.) ABCJ-532 (2009 CD) (also on Ascent of the Cool, Lighthouse CD LAJI 009), October 10, 1952
Mulligan’s Music (Vic Lewis Orchestra), Decca (Eng.) LF 1157, January 20, 1954 (10” LP)
A Profile of Mulligan, Mercury MG 20453, September 22, 1955 (10” LP)
Gerry Mulligan: The Emarcy Sextet Recordings, Mosaic MRLP 3008 (2015; rec. January 25, 1956)
Gerry Mulligan: Western Reunion, Dutch Jazz Archive Series MCN 0801 (2008 CD; recorded April 17, 1956)
Claude Williamson Mulls the Mulligan Scene, Criterion CR-601, 1958
Portrait of a Norwegian Jazz Artist: Kjell Karlsen, Gemini GMOJCD 9507 (2001 CD; rec. 1960 or 1961)
Les Double Six, Columbia (Fr.) SGXF 108, late 1961
The Ramon Ricker Improvisation Series Volume 6: Great Jazz Tunes Of Gerry Mulligan, Studio 224 R8101, 1981 (play along)
The Mike Hennessey Chastet: Shades of Chas Burchell, In+Out Records IOR 7025-2 (CD; rec. October 1993)
The Phil Norman Tentette: Yesterday’s Gardenias, Sea Breeze SB 3029 (CD; rec. 1998)
Octobop: After Dark, Mystic Lane 030465 (CD; rec. August 2004)
Night Lights: The Music of Gerry Mulligan & Chick Corea (Steve Waterman Orchestra), Mainstem (Eng.) MSTCD 0050 (CD; rec. 2007)
Jour Après Jour (Yves Nahon Quartet), Black and Blue (Fr.) BB 793-2 (CD; rec. December 2013)
“Walkin’ Shoes” (“Walking Shoes”)
32-bar AABA’ structure in G concert (although often performed in E-flat)
This is Mulligan’s most recorded composition (close to 100 covers – several by him) and certainly has to be considered a “jazz standard” at this point. There are many recordings of it by the Stan Kenton Orchestra. All of the versions will not be listed, but here are a few of the more significant ones:
Gerry Mulligan Quartet, Pacific Jazz PJLP 1 (1952 10” LP; rec. October 1952)
Gerry Mulligan Quartet: Paris Concert, Pacific Jazz PJ 1210 (rec. June 1, 1954)
An Adventure in Sound: Reeds in Hi-Fi (Pete Rugolo Orchestra), Mercury MG 20260 (rec. November 1, 1956)
A Tribute to the Greats (Sal Salvador Quartet), Bethlehem BCP 74 (rec. June 1957)
Coup De Graas (John Graas), EmArcy MG 36117 (rec. August 15, 1957)
Claude Williamson Mulls the Mulligan Scene, Criterion CR-601, 1958
The Big Small Bands (Dave Pell), Capitol T1309 (rec. February 1959; reproduction with solos included!)
Stan Kenton at the Tropicana, Capitol T1460 (rec. February 2, 1959)
Art Pepper+Eleven: Modern Jazz Classics, Contemporary M 3568 (rec. March 14, 1959)
Gerry Mulligan Quartet: A Night in Rome, Vol.1, Fini Jazz FJ 8801-2 (CD; rec. June 19, 1959)
Gerry Mulligan Concert Jazz Band: Concert in the Rain, Jazz Band (Eng.) EBCD 2129-2 (CD; rec. July 1, 1960)
National Jazz Ensemble Featuring Gerry Mulligan, Dot Time DT 8002 (2016 CD; rec. February 2, 1977)
The Ramon Ricker Improvisation Series Volume 6: Great Jazz Tunes Of Gerry Mulligan, Studio 224 R8101, 1981 (play along)
Gerry Mulligan Quartet: Dream a Little Dream, Telarc 83364 (CD; rec. April 1994)
Gerry Mulligan Quartet: Midas Touch – Live in Berlin, Concord Jazz CCD 2169-2 (CD; rec. May 9, 1995)
The Gerry Mulligan Songbook (Bill Charlap/Ted Rosenthal), Chiaroscuro CRD 349 (CD; rec. June 1996)
Three Baritone Sax Band Plays Mulligan (Ronnie Cuber/Nick Brignola/Gary Smulyan), Dreyfus Jazz FDM 36588 (CD; rec. May 21, 1997)
Thank You Gerry! Our Tribute to Gerry Mulligan (Gerry Mulligan All-Star Tribute Band), Arkadia 71191 (CD; rec. August 1997)
Vic Lewis West Coast All Stars: With Love to Gerry, Sea Breeze CB 3051 (CD; rec. April 24, 2000)
Octobop: Night Lights, Mystic Lane 030354 (CD; rec. November 2001)
Jennifer Hall Meets…A West Coast Tribute to Gerry Mulligan, Sea Breeze SBJ 3085 (CD; rec. 2004)
Phil Woods: Groovin’ to Marty Paich, Jazzed Media JM 1005 (CD; rec. May 30, 2004)
Mulligan Moods (Jan Menu), 55 Records (Jpn.) FNCJ-5530 (CD; rec. October 2007)
Night Lights: The Music of Gerry Mulligan & Chick Corea (Steve Waterman Orchestra), Mainstem (Eng.) MSTCD 0050 (CD; rec. 2007)
“Rocker” (“Rock Salt”)
46-bar (8+10+18+10) structure in B-flat concert
This is the only direct cover of a piece from the Davis Birth of the Cool repertoire. Some musicians have suggested a strong harmonic similarity to Leroy Anderson’s classic “Sleigh Ride” that dates back to 1948. It should be noted, however, that “Sleigh Ride” has a 48-bar, 8+8+16+8+8 structure and non-identical chord changes. It’s also in the key of G.
The arrangement is somewhat different from the Davis version, especially the introduction, and the tempo a bit slower. Also, Max Roach uses sticks on the Davis version while Chico Hamilton uses brushes. In fact, neither Hamilton nor Larry Bunker uses sticks on any of the Mulligan tracks.
Other recordings:
Classics in Jazz: Miles Davis, Capitol H459 (1954 10” LP; rec. March 9, 1950)
Norman Granz Jazz Concert #1 (Charlie Parker with strings), Norgran MGN 3501-2 (rec. September 16, 1950)
Rappin’ with Bird, Meexa Discox 1776 (1970 LP; rec. April 7, 1951)
Charlie Parker: Rockland Palace, Charlie Parker Records CP 502 (1983 LP; rec. September 26, 1952)
Elliot Lawrence Plays Gerry Mulligan Arrangements, Fantasy 3-206 (rec. March 4, 1955)
A Tribute to Charlie Parker (Charlie Watts Quintet), Continuum Group 19201-2 (CD; rec. October 31-November 1, 1991)
Re-birth of the Cool (Gerry Mulligan), GRP GRD 9679 (CD; rec. January 1992)
The Gerry Mulligan Songbook (Bill Charlap/Ted Rosenthal), Chiaroscuro CRD 349 (CD; rec. June 1996)
Thank You Gerry! Our Tribute to Gerry Mulligan (Gerry Mulligan All-Star Tribute Band), Arkadia 71191 (CD; rec. August 1997)
Sofia’s Butterfly (Roni Ben-Hur Trio), TCB (Swi.) 98802 (CD; rec. September 10, 1997)
Birds of a Feather: A Tribute to Charlie Parker (Roy Haynes), Dreyfus Jazz FDM 36625-2 (CD; rec. March 2001)
Octobop: Night Lights, Mystic Lane 030354 (CD; rec. November 2001)
Fantasy Exit (Harold Danko), SteepleChase SCCD 31530 (CD; rec. March 2002)
Live at the Village Vanguard (Bill Charlap Trio), Blue Note 7143 5 97044 2 5 (CD; rec. September 2003)
Jennifer Hall Meets…A West Coast Tribute to Gerry Mulligan, Sea Breeze SBJ 3085 (CD; rec. 2004)
Driving Out: Birth of the Cool, A Beat (It.) ABJZ 064 (CD; rec. February 2008)
“Taking a Chance on Love” (Vernon Duke, John Latouche, Ted Fetter)
32-bar (AA’BA’’) structure in E-flat concert but modulates to F concert at the piano solo.
A popular standard first published in 1940, many vocalists have recorded “Taking a Chance on Love” over the years including Ethel Waters and Ella Fitzgerald. This is the only recording of the tune by Mulligan and one of the three tracks on which he plays piano, the others being “Flash” and “Ontet.”
“Flash”
32-bar AABA structure in C concert; solo changes very similar to “I Got Rhythm”
This is the first recording of the tune that should not be confused with the Harry James composition of the same name.
Other recordings:
Gerry Mulligan Quartet: Recorded in Boston at Storyville, Pacific Jazz (Jpn.) CP32-5358 (1987 CD; rec. December 1956)
Mulligan Moods (Jan Menu), 55 Records (Jpn.) FNCJ-5530 (CD; rec. October 2007)
“Simbah”
48-bar (8+8+16+16) structure in E-flat concert with solos over an ostinato
Other recordings:
Claude Williamson Mulls the Mulligan Scene, Criterion CR-601, 1958
“Ontet”
32-bar (AABA) structure in A-flat concert; based on “The Devil and the Deep Blue Sea”
This line is Mulligan’s shout chorus on “Godchild” recorded at the January 21, 1949 Miles Davis session and was called “Symphony Sid’s Symphonette” (“Sid’s Swing Symphony”) at a Gene Roland rehearsal on May 17, 1949 (released in 2014 by Uptown Records).
Other recordings:
Gerry Mulligan: California Concerts, Capitol CDP 7 46860-2 (1988 CD; rec. November 12, 1954)
Gerry Mulligan: Western Reunion, Dutch Jazz Archive Series MCN 0801 (2008 CD; recorded April 17, 1956)
Claude Williamson Mulls the Mulligan Scene, Criterion CR-601, 1958
The Ramon Ricker Improvisation Series Volume 6: Great Jazz Tunes Of Gerry Mulligan, Studio 224 R8101, 1981 (play along)
Mulligan Moods (Jan Menu), 55 Records (Jpn.) FNCJ-5530 (CD; rec. October 2007)
The Participants
Pete Candoli (1923-2008)
A veteran of many big bands as well as the Hollywood studios, Pete is the older brother of trumpeter Conte Candoli and although seldom a leader, he does have a few albums under his one name:
For Pete’s Sake, Kapp 3230 (rec. 1960)
Blues: When Your Lover Has Gone, Somerset SF 17200 (rec. 1961)
Moscow Mule and Many More Kicks, Decca DL (7)4761 (rec. 1966)
From the Top, Dobre Records DR 1023 (rec. 1977)
The 1953 tentette sessions are the only examples of Candoli and Mulligan recording together as instrumentalists but, not unexpectedly, all the trumpet solos are by Chet Baker.
Chet Baker (1929-1988)
An iconic figure in modern jazz, Baker emerged in the early 1950s about the same time as trumpeters Clifford Brown, Art Farmer and a resurgent Miles Davis. The recordings with Mulligan and his unique style as a vocalist immediately propelled him to fame and a long career almost always as leader of small ensembles – trios, quartets, quintets. Many of his later recordings were done in Europe.
Several books have been written about him including:
Chet Baker: His Life and Music by Jeroen de Valk, Aspekt Publishers, 2017
My Funny Valentine: The Story of Chet Baker by Matthew Ruddick, Melrose Books, 2013
Chet Baker: The Missing Years – A Memoir by Artt Frank, BooksEndependent, 2013
Deep in a Dream: The Long Night of Chet Baker by James Gavin, Knopf, 2002
As Though I Had Wings: The Lost Memoir by Carol Baker, St. Martins Press, 1997
Baker is responsible for all the trumpet solos on the tentette recordings.
Bob Enevoldsen (1920-2005)
A multi-instrumentalist (valve trombone, trombone, saxophones, bass), Enevoldesen was an in demand member of the West Coast Jazz scene. Here are the few albums he recorded as a leader:
Bob Enevoldsen Quintet, Nocturne NLP 6 (10” LP; rec. July 1954)
Reflections in Jazz, Tampa TP 14 (rec. August 1955)
Smorgasbord, Liberty LJH 6008 (rec. November 1955)
Sunday Afternoons at the Lighthouse Café, Woofy WPCD 143 (CD; rec. June 2004)
The tentette recordings were a rare example of Enevoldsen and Mulligan in the same ensemble. Others:
The Subterraneans: Original Sound Track Album (André Previn/Gerry Mulligan), MGM SE 3812 (rec. 1959)
The Essential André Previn, Verve V/V6 8565 (rec. 1960 or 1961)
Gerry Mulligan: Provocative Tones (Concert Band), Alto AL 717 (rec. December 1960)
Enevoldsen solos on “Ontet.”
John Grass (1917-1962)
Graas is one of three tentette musicians who were also present on the Shorty Rogers sessions discussed in part 2 of this series (which see for further comments on the French horn player). Mulligan is part of one of the ensembles on his Jazz Studio Three LP (Decca DL 8104; rec. December 16, 1954) but there appears to be no other studio overlap between the two. He does not solo on any of the tentette tracks.
Ray Siegel
Tubist/bassist Siegel has few credits in jazz discographies. Besides the tentette sessions with Mulligan, he also recorded with trombonist Milt Bernhart (Modern Brass, RCA Victor LPM 1123, rec. March 1955), vocalist Nancy Wilson (Tender Loving Care, Capitol T2555, rec. January 1966) and Bud Shank/Michel Legrand (The Windmills of Your Mind, World Pacific ST 20157, rec. 1969).
Bud Shank (1926-2009)
One of the most prolific and versatile of the West Coast Jazz saxophonists, Shank began his career in big bands (Ike Carpenter, Charlie Barnet, Stan Kenton). Between 1954 and 1969, he recorded a number of albums for Pacific Jazz/World Pacific, many of which have been reissued in Mosaic Records collections:
The Pacific Jazz Bud Shank Studio Sessions, Mosaic MD5-180
Mosaic Select: Bud Shank and Bob Cooper, Mosaic MS-010
A frequent collaborator of Shorty Rogers, Shank appears on many of the trumpeter’s albums. Although alto saxophone was his primary instrument, he also played other saxes and flute throughout his career but gave those up in his later years to concentrate on alto.
Quartet recordings he made with guitarist Laurindo Almeida in 1953-4 for Pacific Jazz are considered forerunners of the bossa nova genre that took hold in 1961 (Laurindo Almeida Quartet Featuring Bud Shank, Pacific Jazz PJLP-7, PJ-1204). Shank and Almeida reunited in 1974 to form the L.A. Four (originally with bassist Ray Brown and drummer Shelly Manne), a highly regarded ensemble that produced several albums of Brazilian-influenced music.
While the tentette sessions were the first jazz encounter of Shank and Mulligan, they would also collaborate on:
The Jazz Combo from “I Want to Live”, United Artists UAL 4006 (rec. May 1958)
The Age of Steam, A&M SP 3036 (rec. 1971)
Shank solos on “Flash.”
Don Davidson
Baritone saxophonist Don Davidson is present on these sessions presumably to fill in for Mulligan in the ensemble when the leader was soloing. A native Iowan, he was part of the innovative Tom Talbert band in 1949 (see Tom Talbert Jazz Orchestra 1946-1949, Sea Breeze SB 2069 (1995 CD)) for which organization he also served as copyist. He is often quoted in Tom Talbert: His Life and Music – Voices from a Vanished World of Jazz, Studies in Jazz, No. 45, by Bruce Talbot, The Scarecrow Press, 2004. Davidson also played with the bands of Charlie Barnet, Chico O’Farrill and Stan Kenton.
The tentette sessions are the only time Mulligan and Davidson recorded together.
Joe Mondragon (1920-1987)
Another West Coast Jazz veteran, bassist Joe Mondragon started out in the bands of Boyd Raeburn, Alvino Rey, Woody Herman, Les Brown, Jimmy Dorsey, Harry James, Jerry Gray, Billy May and Georgie Auld (where Mulligan was also a member). Mondragon was actually the bassist on the first recording Mulligan made for Pacific Jazz on July 9, 1952 and returned in January 1953 for some of the quartet’s highly regarded recordings with guest alto saxophonist Lee Konitz, as well as the tentette sessions. After the January 31, 1953 session, there appear to be no further recordings with both Mondragon and Mulligan.
Chico Hamilton (1921-2013)
A native of Los Angeles, drummer Foreststorn “Chico” Hamilton attended Jefferson High School and encountered at an early age many other budding jazz greats including Charles Mingus and Dexter Gordon. Prior to his work with Mulligan, his recording credits include sessions with vocalists Slim Gaillard and Helen Humes, saxophonists Lester Young and Buddy Tate, trumpeter Russell Jacquet and pianist Gerald Wiggins.
As a leader, Hamilton shared with Mulligan a preference for small bands that eschewed piano. It should also be noted that the recordings of both artists brought important early recognition to the Pacific Jazz record label.
The Chico Hamilton Quintet was a unique ensemble whose original incarnation comprised Buddy Collette on flute, saxophones and clarinet, Fred Katz on cello, Jim Hall on guitar and Carson Smith on bass. Their debut album, Chico Hamilton Quintet featuring Buddy Collette, Pacific Jazz PJ 1209 (1955) created quite a stir. Subsequent versions of the group included saxophonists Paul Horn, Eric Dolphy and Charles Lloyd and guitarists John Pisano, Dennis Budimir and Gabor Szabo. Mosaic Records reissued the Pacific Jazz quintet recordings as a box set in 1997 (Mosaic MD6-175).
Hamilton was the original drummer in the Mulligan quartet and participated in the Pacific Jazz and Fantasy sessions of August 16, 1952, September 2, 1952, October 15-16, 1952 and January 3, 1953 as well as the tentette session of January 29, 1953 for Capitol. He then left to accept a lucrative offer with vocalist Lena Horne. The drummer reunited with Mulligan for a couple of live recordings in 1954 but never thereafter. His driving brush work was an important contributor to the success of the early Mulligan-Baker collaborations.
Larry Bunker (1928-2005)
Along with Shelly Manne and Stan Levey, Larry Bunker was one of the most in demand of the West Coast Jazz drummers/percussionists regarding both jazz and studio work. He was also a fine vibraphonist as can be heard on:
Harry Babasin Quintet: Jazz in Hollywood Series, Nocturne NLP 3 (10” LP; rec. April 1954)
Jazz in Four Colors (Lou Levy), RCA Victor LPM-1319 (rec. March 1956)
Sonny Criss Plays Cole Porter, Imperial 9024 (rec. august 1956).
Bunker’s first recordings took place in 1952 with alto saxophonist Art Pepper, about a year before he replaced Chico Hamilton in Mulligan’s quartet. He is present on the January 1953 Pacific Jazz sessions that included those with Lee Konitz added, as well as the second tentette session for Capitol. Between February and May of 1953, he recorded with Mulligan/Baker on five Pacific Jazz quartet sessions and one for Gene Norman Presents.
After Mulligan and Baker parted ways, Bunker participated in a live concert in San Diego on December 14, 1954 as part of a sextet with Jon Eardley replacing Baker and Bob Brookmeyer and Zoot Sims added. The final pairing of Mulligan and Bunker was the John Graas Jazz Studio Three album.
Bunker has several albums as a leader or co-leader:
The Larry Bunker Quartette featuring Gary Burton: Live At Shelly’s Manne-Hole, Vault SLP 9005 (rec. November 1963)
The Larry Bunker Quartette featuring Gary Burton: Live At Shelly’s Manne-Hole – Unissued Session Vol. 1, Interplay (Jpn.) CECC 00176 (1990 CD; rec. December 1963)
The Larry Bunker Quartette featuring Gary Burton: Live At Shelly’s Manne-Hole – Unissued Session Vol. 2, Interplay (Jpn.) CECC 00177 (1991 CD; rec. December 1963)
Concours (with Mike Melvoin, Jim Hughart, Dennis Budimir), Trio (Jpn.) PA 7194 (rec. September 1977)
Taste of Drums (with Max Roach, Phil Kraus, Bobby Rosengarden, Osie Johnson, John Pacheco, Alvin Stoller, Jake Hanna), Time S 2140
A Jazz Band Ball (Second Set) (with Terry Gibbs, Victor Feldman), Mode LP 123 (rec. September 1957)
Complete Discographical Details Including Solo Information
Date: January 29, 1953
Location: Capitol Studios, Hollywood, CA
Label: Capitol (produced by Gene Norman)
Gerry Mulligan Tentette
Gerry Mulligan (ldr), Chet Baker, Pete Candoli (t), Bob Enevoldsen (vtb), John Graas (frh), Ray Siegel (tu), Bud Shank (as), Don Davidson, Gerry Mulligan (bar), Joe Mondragon (b), Chico Hamilton (d)
| a. | 10084 | A Ballad – 2:52 (Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 2-439 — Gerry Mulligan And His Ten-Tette, Part 2 (1954) |
| b. | 11114 | Westwood Walk – 2:34 (Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 2-439 — Gerry Mulligan And His Ten-Tette, Part 2 (1954) |
| c. | 11117 | Walking Shoes – 3:37 (Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 1-439 — Gerry Mulligan And His Ten-Tette, Part 1 (1954) |
| d. | 11118 | Rocker (Rock Salt) – 2:27(Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 1-439 — Gerry Mulligan And His Ten-Tette, Part 1 (1954) |
| All titles on: | Capitol LP 10″ H 439 — Gerry Mulligan And His Ten-Tette (1953)
Capitol LP 12″ T 691 — Gene Norman Presents: Gerry Mulligan And His Tentette/Shorty Rogers And His Giants – Modern Sounds (1956)
Mosaic LP 12″ MR5-102 — The Complete Pacific Jazz And Capitol Recordings Of The Gerry Mulligan Quartet And Tentette With Chet Baker (1983)
Mosaic CD MD3-102 — The Complete Pacific Jazz And Capitol Recordings Of The Gerry Mulligan Quartet And Tentette With Chet Baker (1989) Capitol CD CDP 7 98935 2 — Birth Of The Cool, Vol. 2 (1992)
|
Solos (approximate tempo in parenthesis):
Track a (64 bpm)
| Gerry Mulligan (bar) | 1:26 | 8 bars bridge |
Track b (236 bpm)
| Chet Baker (t) | 0:31 | 2-bar break + 32 bars (1 chorus) |
| Gerry Mulligan (bar) | 1:03 | 32 bars (1 chorus) |
| Gerry Mulligan (bar) | 1:48 | 12 bars |
Track c (132 bpm)
| Gerry Mulligan (bar) | 0:56 | 2-bar break + 32 bars (1 chorus) |
| Chet Baker (t) | 2:12 | 24 bars |
| Gerry Mulligan (bar) | 3:22 | cadenza |
Track d (192 bpm)
| Chet Baker (t) | 1:04 | 32 bars |
| Gerry Mulligan (bar) | 1:42 | 16 bars |
The Ruppli/Daniels/Novitsky Capitol Label Discography (CD-ROM; 2005) has “Taking a Chance on Love” recorded at this session and “A Ballad” recorded at the January 31, 1953 session. All other sources indicate the content of these two sessions as shown here.
Date: January 31, 1953
Location: Capitol Studios, Hollywood, CA
Label: Capitol (produced by Gene Norman)
Gerry Mulligan Tentette
Gerry Mulligan (ldr), Chet Baker, Pete Candoli (t), Bob Enevoldsen (vtb), John Graas (frh), Ray Siegel (tu), Bud Shank (as), Don Davidson (bar), Gerry Mulligan (bar, p), Joe Mondragon (b), Larry Bunker (d)
| a. | 11121 | Taking a Chance on Love – 2:50 (Vernon Duke, John Latouche, Ted Fetter) / arr: Gerry Mulligan
Capitol EP EAP 1-439 — Gerry Mulligan And His Ten-Tette, Part 1 (1954) Capitol LP 12″ T 691 — Gene Norman Presents: Gerry Mulligan And His Tentette/Shorty Rogers And His Giants – Modern Sounds (1956) |
| b. | 11122 | Flash – 3:02 (Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 1-439 — Gerry Mulligan And His Ten-Tette, Part 1 (1954) |
| c. | 11127 | Simbah – 2:57 (Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 2-439 — Gerry Mulligan And His Ten-Tette, Part 2 (1954) Capitol LP 12″ T 691 — Gene Norman Presents: Gerry Mulligan And His Tentette/Shorty Rogers And His Giants – Modern Sounds (1956) |
| d. | 11128 | Ontet (Sid’s Swing Symphony, Symphony Sid’s Symphonette) – 3:14(Gerry Mulligan) / arr: Gerry Mulligan
Capitol EP EAP 2-439 — Gerry Mulligan And His Ten-Tette, Part 2 (1954) |
| All titles on: | Capitol LP 10″ H 439 — Gerry Mulligan And His Ten-Tette (1953)
Mosaic LP 12″ MR5-102 — The Complete Pacific Jazz And Capitol Recordings Of The Gerry Mulligan Quartet And Tentette With Chet Baker (1983) Mosaic CD MD3-102 — The Complete Pacific Jazz And Capitol Recordings Of The Gerry Mulligan Quartet And Tentette With Chet Baker (1989) Capitol CD CDP 7 98935 2 — Birth Of The Cool, Vol. 2 (1992) |
Gerry Mulligan (p) on a-b, d.
Solos (approximate tempo in parenthesis):
Track a (180 bpm)
| Chet Baker (t) | 0:44 | 32 bars (1 chorus) |
| Gerry Mulligan (p) | 1:27 | 32 bars (1 chorus) after key modulation |
Track b (232 bpm)
| Chet Baker (t) | 0:42 | 2-bar break + 32 bars (1 chorus) |
| Bud Shank (as) | 1:18 | 32 bars (1 chorus) |
| Gerry Mulligan (p) | 1:51 | 32 bars (1 chorus) |
Track c (276 bpm)
| Gerry Mulligan (bar) | 1:24 | 24 bars |
| Chet Baker (t) | 1:50 | 24 bars |
| Larry Bunker (d) | 2:33 | 4 bars |
| Larry Bunker (d) | 2:49 | 4 bars |
Track d (126 bpm)
| Chet Baker (t) | 1:01 | 16 bars (0.5 chorus) |
| Gerry Mulligan (p) | 1:32 | 8 bars bridge |
| Chet Baker (t) | 1:47 | 8 bars |
| Gerry Mulligan (p) | 2:03 | 16 bars (0.5 chorus) |
| Bob Enevoldsen (vtb) | 2:34 | 8 bars bridge |
The Ruppli/Daniels/Novitsky Capitol Label Discography (CD-ROM; 2005) has “Taking a Chance on Love” recorded at the January 29, 1953 session and “A Ballad” recorded at this session. All other sources indicate the content of these two sessions as shown here.
Closing Thoughts
Mulligan’s short-lived tentette was a logical extension of the Miles Davis Birth of the Cool ensembles in concept and execution. This is not surprising given Mulligan’s important role in the earlier recording sessions. In contrast to the lukewarm reception reviewers gave to The Shorty Rogers recordings discussed in part 2 of this series, Down Beat Magazine’s appraisal of Capitol H 439 was very positive (5 stars):
Gerry’s dectet (two trumpets, bone, French horn, alto, two baritones, tuba, bass, drums) eschews atonality, polytonality, polyphony and pretention, goes in for strictly jazz sounds that begin where Miles Davis’ famous Capitol sessions (also partly organized by Mulligan) left off.
The rich diversity of orchestrated tonal hues is what gives this set its fifth star. The solos, though secondary, are almost completely and justifiably monopolized by Mulligan and Chet Baker.
If you’re already bored by the Mulligan foursome, this set is the perfect restorative.
In retrospect, it’s a shame that the solo outings are so brief given the talent present, but in early 1953, the 12” jazz LP was in its infancy and track times were still limited. Then there are Mulligan’s piano solos. What was the point? They are much less interesting and skillfully executed than those he performed on baritone saxophone and given the small amount of solo space available overall, it seems like some opportunities were wasted.
Finally, it’s important to reiterate that while the Mulligan quartet and tentette recordings became closely associated with the West Coast Jazz sub-genre, his Los Angeles tenure lasted only around two years after which both he and Chet Baker went on to significant careers elsewhere. In fact, Mulligan would not record again with most of the members of the tentette.
Sources:
Josephson, Sanford. Jeru’s Journey: The Life and Music of Gerry Mulligan, Hal Leonard Books, Milwaukee, 2015
Gioia, Ted. West Coast Jazz: Modern Jazz in California, 1945-1960, Oxford University Press, New York, 1992
Welding, Pete. Liner notes to Mosaic MR5-102 (1983)
Welding, Pete. Liner notes to Capitol CDP 7 98935 2 (1992)
Dugelay, Gérard, Halqvist, Kenneth. Gerry Mulligan Discography (2011)
In part 4 of this series, I will examine the 1955-1957 recordings of Gigi Gryce’s nonets, including those with the Donald Byrd-Gigi Gryce Jazz Lab.
Related installments:
Part 1: The Birth of the Cool Legacy – Miles Davis
Part 2: The Birth of the Cool Legacy – Shorty Rogers
Part 4: The Birth of the Cool Legacy – Gigi Gryce
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