Relevant bibliographies by topics / Gerry Mulligan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gerry Mulligan'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Gerry Mulligan"

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Rosenthal, David H. "Jazz in the ghetto: 1950–70." Popular Music 7, no. 1 (1988): 51–56. http://dx.doi.org/10.1017/s026114300000252x.

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According to the schemata normally used by critics, jazz ceased to be ‘popular music’ with the arrival of bebop in the mid-1940s. While this statement has some truth to it, it also requires a good deal of qualification. Like blues, jazz remained economically viable in black neighbourhoods until driven out by the slicker pop sounds of the late 1960s. That jazz (with the exception of the ‘cool’ style played by Stan Getz, Gerry Mulligan, etc.) had a primarily black audience is confirmed by Joe Fields, currently with Muse Records and formerly employed by Prestige and Columbia:Our records sold to s
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Dissertations / Theses on the topic "Gerry Mulligan"

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Bartlett, Simon John. "An Exploration of the Origins and Expression of Implied Harmony in The Gerry Mulligan Quartet with Chet Baker (1952-1953)." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14927.

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This research thesis examines the role of implied harmony in the repertoire of the Gerry Mulligan Quartet with Chet Baker, focusing on their initial period (1952-1953). The significance of the Gerry Mulligan Quartet (GMQ) in the history of jazz (particularly West Coast ‘Cool’ jazz) will be explored, with particular reference to its departure from contemporaneous small jazz ensemble practices, and the influence it had on subsequent ensembles. A definition of implied harmony is then put forward, along with historical examples. The thesis covers some of the musical experiences that led Mulliga
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Uzukwu, Elochukwu Eugene. "Book Reviews: Susan Fitzpatrick-Behrens. "The Maryknoll Catholic Mission in Peru, 1943-1989: Transnational Faith and Transformation," and Mulligan, Suzanne (ed.), Jim Corkery and Gerry O'Hanlon, "Reaping the Harvest: Fifty Years after Vatican II."." Bulletin of Ecumenical Theology, 2012. http://digital.library.duq.edu/u?/bet,1006.

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Books on the topic "Gerry Mulligan"

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Horricks, Raymond. Gerry Mulligan. Spellmount, 1985.

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Astrup, Arne. The Gerry Mulligan discography. Bidstrup Discographical Pub., 1989.

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Klinkowitz, Jerome. Listen--Gerry Mulligan: An aural narrative in jazz. Schirmer Books, 1991.

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Horricks, Raymond. Gerry Mulligan's ark. Owlet Press, 2003.

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Mulligan, Gerry. Gerry Mulligan. Leonard Corporation, Hal, 2007.

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Mulligan, Gerry. Gerry Mulligan Classics. Leonard Corporation, Hal, 2006.

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Shipton, Alyn. Gerry Mulligan 1950s Quartets. Oxford University Press, Incorporated, 2023.

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Shipton, Alyn. Gerry Mulligan 1950s Quartets. Oxford University Press, Incorporated, 2023.

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Mulligan, Gerry. Gerry Mulligan Play-Along Collection. Hal Leonard Corporation, 1997.

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Mulligan, Gerry. Gerry Mulligan Collection: Baritone Sax. Leonard Corporation, Hal, 2005.

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Book chapters on the topic "Gerry Mulligan"

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Crow, Bill. "Gerry Mulligan." In From Bird land to Broadway. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0029.

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Abstract Stan Getz’ s quintet broke up in California not long after I left him. Bob Brookmeyer stayed in Los Angeles for a while, sometimes playing with Zoot Sim and Gerry Mulligan, who had both moved out there. Bob eventually became a regular member of Gerry’ s quartet. Then, on one job, Gerry added Zoot and Jon Eardley, and the Gerry Mulligan Sextet was born.
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"MULLIGAN, GERRY." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-335.

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"Gerry Mulligan." In Jazz Matters. University of Arkansas Press, 1989. http://dx.doi.org/10.2307/j.ctv2vt056v.37.

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Crow, Bill. "The Gerry Mulligan Quartet." In From Bird land to Broadway. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195069884.003.0035.

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Abstract In July 1958 I got a call from Gerry Mulligan to rejoin his quartet. Joe Benjamin had replaced me when I left, and then Henry Grimes had replaced him. Now Henry was leaving to go with Sonny Rollins. Dave Bailey was still Gerry’ s drummer, and Art Farmer had just joined him on trumpet. I liked Art and admired his playing tremendously. We just had time for one rehearsal before our first appearance at Newport.
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Shipton, Alyn. "The Quartet with Art Farmer." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0004.

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Abstract The chapter opens with the Mulligan Meets Monk sessions for Orrin Keepnews at Riverside records. It discusses this very different quartet in which the piano takes a central role, notably on Thelonious Monk’s “I Mean You.” This was followed by a pianoless quartet recording with Paul Desmond, and a tour with Lee Konitz, prior to a studio quintet with Stan Getz. The chapter progresses to Mulligan’s recordings with Annie Ross, initially involving a reunion with Chet Baker, but then featuring the quartet’s new trumpeter Art Farmer. Dave Bailey regards this as the “best quartet that Gerry M
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Shipton, Alyn. "Antecedents." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0001.

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Abstract By his late teens, Gerry Mulligan was already arranging music and playing the saxophone, working with Elliot Lawrence and then touring nationally with Gene Krupa, for whom he wrote the hit “Disc Jockey Jump.” From there he went to New York, and played and arranged for Claude Thornhill’s orchestra, as a result of which he started to cooperate with several of the musicians who would go on to work in Miles Davis’s “Birth of the Cool” nonet. Mulligan himself was to arrange half the material that this group recorded for Capitol, including “Jeru” and “Venus De Milo,” which were central to i
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Giddins, Gary. "All Duke’s Chillun Got Melody (Gerry Mulligan)." In Weather Bird. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195304497.003.0143.

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Abstract At long last, Gerry Mulligan’s five Concert Jazz Band albums, recorded for Verve between 1960 and 1962, have been collected, though not by Verve. Mosaic (the mail-order company in Stamford, Conn.) has done a consummate job with The Complete Verve Gerry Mulligan Concert Band Sessions. These much-loved but long unavailable records have never sounded better—even the muzzy Milan sides gleam. The integrity of the original LPs is preserved, with unreleased takes placed at the end of appropriate discs. From the first measures of Al Cohn’s arrangement of “Sweet and Low,” you know you are on e
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Shipton, Alyn. "The Second Quartet." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0003.

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Abstract Valve trombonist Bob Brookmeyer became Mulligan’s new frontline partner in 1954, and after crossing the United States to the East Coast, the band left for Paris to play a week of concerts at the Salle Pleyel in June 1954. At this point Brookmeyer quit and was eventually replaced by Jon Eardley. The quartet was expanded by early 1956 on some concerts into a sextet with Brookmeyer and Zoot Sims, and this band toured and recorded, with drummer Dave Bailey beginning a long association with Mulligan. Bassist Peck Morrison was replaced by Bill Crow, who became another long-term colleague. T
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Shipton, Alyn. "The First Quartet." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0002.

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Abstract After hitchhiking to Los Angeles from New York, Mulligan began arranging for Stan Kenton, before forming his pianoless quartet with Chet Baker at the Haig Club. They began recording for Richard Bock’s new Pacific Jazz label with such pieces as “Bernie’s Tune” and “Walkin’ Shoes.” Exchanging club residencies with Dave Brubeck, they traveled to San Francisco and recorded for Fantasy including their famous “My Funny Valentine.” Mulligan also honed his arranger’s skills by writing for a Tentette that recorded for Capitol under the aegis of Gene Norman. The quartet continued to record, inc
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Shipton, Alyn. "The Aftermath and Legacy." In The Gerry Mulligan 1950s Quartets. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197579756.003.0005.

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Abstract Returning from Hollywood in 1960, Mulligan founds his Concert Jazz Band (CJB) and is reunited with Brookmeyer. The band debuts at Basin Street East, before playing at the Village Vanguard, where the band later recorded for Norman Granz at Verve. Mel Lewis replaced Bailey on drums. The chapter explores the relationship between the CJB and the Quartet, notably on “You Took Advantage of Me.” It also explores the CJB records from its extensive overseas touring. Financial and other pressures forced Mulligan to disband in July 1961, apart from occasional reunions, and his final group discus
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