Gerry Mottis

Gerald Joseph Mulligan (April 6, 1927 – January 20, 1996), also known as Jeru, was an American jazz saxophonist, clarinetist, composer and arranger. Though primarily known as one of the leading jazz baritone saxophonists—playing the instrument with a light and airy tone in the era of cool jazz—Mulligan was also a significant arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others…

Son of famed vibist Terry Gibbs, drummer Gerry teams up to record this debut of the second incarnation of The Gerry Gibbs Thrasher Band with 5 multi-talented instrumentalist from all over the state of Texas to create the Gerry Gibbs Thrasher Band 2 ,which played and toured together for 5 years.The 6 musicians of the”Thrasher Band” play 27 instruments between them on this date. Instruments include, Soprano, Alto, Tenor & Baritone Saxophones,Piccolo, Flute, Alto Flute, Bass Flute, Clarinet, Bass Clarinet, Acoustic & Electric Guitars, Vibraphone, Glockenspiel, Acoustic Piano, Mini Moog, Melodica, Harmonica, Trumpet, Acoustic Bass, Drums, Balifone, Kalimba, Recorder, Wood Flute, Gongs, Vocals, & Misc. Percussion.After 5 years the band separated with each member to go on to tour and join the bands of people like Christian McBride, Poncho Sanchez, Billy Childs, Strunz & Farrar and others!

Scottish guitarist, singer and songwriter. Rafferty was best known for his solo hits "Baker Street", "Right Down the Line" and, with the band Stealers Wheel, "Stuck in the Middle with You". Born into a working-class family in Paisley (Scotland), his mother taught him both Irish and Scottish folk songs as a boy; later, he was influenced by the music of The Beatles and Bob Dylan. He joined the folk-pop band The Humblebums - whose line-up included Billy Connolly - in 1969, but left in 1971 and recorded his first solo album "Can I Have My Money Back". Rafferty and Joe Egan formed the group Stealers Wheel in 1972, producing several hits. In 1978, he recorded his second solo album, "City to City", which includes "Baker Street", his most popular song and a radio mainstay…

This is a rather relaxed recording featuring baritonist Gerry Mulligan and some of his top alumni (trumpeter Art Farmer, trombonist Bob Brookmeyer, guitarist Jim Hall, bassist Bill Crow, and drummer Dave Bailey) exploring three of his own songs (including "Festive Minor"), Chopin's Prelude in E minor, "In the Wee Small Hours of the Morning," and "Morning of the Carnival" (from Black Orpheus). The emphasis is on ballads and nothing too innovative occurs, but the results are pleasing and laid-back.

Gerry Mulligan Meets Ben Webster (1960). Make no mistake about it, the swing and bop start right here on this legendary 1959 session between baritone saxophonist Gerry Mulligan and tenor man Ben Webster. The opening track, Billy Strayhorn's "Chelsea Bridge" is lush and emotional and truly sets the tone for this album. With Jimmy Rowles on piano (his intro on "Sunday" sounds like a ragtimer like Willie "The Lion" Smith just pushed him off the stool before the band came in), Mel Lewis on drums, and the always superb Leroy Vinnegar on bass present and accounted for, the rhythm section is superbly swinging with just the right amount of bop lines and chords in the mix to spice things up. The ghost of Duke Ellington hovers over every note on this record (Billy Strayhorn was one of his main arrangers) and that is a very good thing, indeed…

The Gerry Mulligan Quartet with Chet Baker despite its prolific recorded output and its impact on jazz and the American public lasted for less than one year. Ensconced as the house band at The Haig in Los Angeles and able to record at is own discretion for Pacific Jazz (as well as single sessions for two other labels), this revolutionary, pianoless quartet crafted its own repertoire and arrangements and built a solid, prolific legacy.
By January of 1953, when he recorded the tentette, Mulligan felt confident that his quartet was ready to record live at their Los Angeles home The Haig. Dick Bock started bringing down his portable tape recorder to capture the band for possible record releases. One night, Lee Konitz, who was then a member of the confining, pompous, ponderous Stan Kenton Orchestra, came to the club to sit in…

Many of Gerry Mulligan's finest outings for the Verve label featured the great baritone saxophonist in unique meetings with other star saxophonists. On these recordings, Mulligan's playful, adventurous style both complemented and challenged the other players and their work similarly affected him. This collection features ten tracks from these brilliant collaborations - with Ben Webster, Johnny Hodges, Stan Getz, Paul Desmond, and Zoot Sims.

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography.