Gerry Mulligan The pianoless quartet with Chet Baker When did he start working with Chet Baker? During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. Mulligan and Baker began recording together,
When did they form the quartet?
When did Gerry Mulligan and Chet Baker form a quartet?
While arranging for Kenton, Mulligan began performing on off-nights at The Haig, a small jazz club on Wilshire Boulevard at Kenmore Street. During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. Mulligan and Baker began recording together, although they were unsatisfied with the results. Around that time, vibraphonist Red Norvo's trio began headlining at The Haig, thus leaving no need to keep the grand piano that had been brought in for Erroll Garner's stay at the club. Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). These early live dates were recorded by Dick Bock on a portable reel-to-reel tape deck. Bock along with Roy Harte would soon after, start the Pacific Jazz label and release Mulligan's records. Mulligan's first recording sessions in Los Angeles were produced by Bock for Pacific Jazz. These three informal sessions took place in June, July, and August 1952 at the Hollywood Hills cottage of recording engineer Phil Turetsky. At these sessions, Mulligan, Chet Baker, and others recorded the material that was released as Pacific Jazz PJ LP-1 and later on PJ-8. Baker's melodic style fit well with Mulligan's, leading them to create improvised contrapuntal textures free from the rigid confines of a piano-enforced chordal structure. While novel at the time in sound and style, this ethos of contrapuntal group improvisation hearkened back to the formative days of jazz. Despite their very different backgrounds - Mulligan, a classically trained New Yorker, and Baker, from Oklahoma and a much more instinctive player - they had an almost psychic rapport and Mulligan later remarked that, "I had never experienced anything like that before and not really since." Their dates at the Haig became sell-outs and the recordings they made in the fall of 1952 became major sellers that led to significant acclaim for Mulligan and Baker. The recordings included singles such as "Motel" (1953) labelled as 'The Gerry Mulligan Quartet Featuring Chet Baker'. This fortuitous collaboration came to an abrupt end with Mulligan's arrest on narcotics charges in mid-1953 leading to six months at Sheriff's Honor Farm. Both Mulligan and Baker had, like many of their peers, become heroin addicts. However, while Mulligan was in prison, Baker transformed his lyrical trumpet style, gentle tenor voice and matinee-idol looks into independent stardom. Thus when upon his release Mulligan attempted to rehire Baker, the trumpeter declined the offer for financial reasons. They did briefly reunite at the 1955 Newport Jazz Festival and would occasionally get together for performances and recordings up through a 1974 performance at Carnegie Hall. But in later years their relationship became strained as Mulligan, with considerable effort, would manage to kick his habit, while Baker's addiction bedevilled him professionally and personally almost constantly until his death in 1988. CANNOTANSWER
These three informal sessions took place in June, July, and August 1952
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. His pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the best cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments. Several of his compositions, such as "Walkin' Shoes" and "Five Brothers", have become standards.

Biography

Early life and career 
Gerry Mulligan was born in Queens Village, Queens, New York, United States, the son of George and Louise Mulligan. His father was a Wilmington, Delaware native of Irish descent; his mother a Philadelphia native of half-Irish and half-German descent. Gerry was the youngest of four sons with George, Phil and Don preceding him.

George Mulligan's career as an engineer necessitated frequent moves through numerous cities. When Gerry was less than a year old, the family moved to Marion, Ohio, where his father accepted a job with the Marion Power Shovel Company.

With the demands of a large home and four young boys to raise, Mulligan's mother hired an African American nanny named Lily Rose, who became especially fond of the youngest Mulligan. As he became older, Mulligan began spending time at Rose's house and was especially amused by Rose's player piano, which Mulligan later recalled as having rolls by numerous players, including Fats Waller. Black musicians sometimes came through town, and because many motels would not take them, they often had to stay at homes within the black community. The young Mulligan occasionally met such musicians staying at Rose's home.

The family's moves continued with stops in southern New Jersey (where Mulligan lived with his maternal grandmother), Chicago, Illinois, and Kalamazoo, Michigan, where Mulligan lived for three years and attended Catholic school. When the school moved into a new building and established music courses, Mulligan decided to play clarinet in the school's nascent orchestra. Mulligan made an attempt at arranging with the Richard Rodgers song "Lover", but the arrangement was seized prior to its first reading by an overzealous nun who was taken aback by the title on the arrangement.

When Gerry Mulligan was 14, his family moved to Detroit and then to Reading, Pennsylvania. While in Reading, Mulligan began studying clarinet with dance-band musician Sammy Correnti, who also encouraged Mulligan's interest in arranging. Mulligan also began playing saxophone professionally in dance bands in Philadelphia, an hour and a half or so away.

The Mulligan family next moved to Philadelphia, where Gerry attended the West Philadelphia Catholic High School for Boys and organized a school big band, for which he also wrote arrangements. When Mulligan was sixteen, he approached Johnny Warrington at local radio station WCAU about writing arrangements for the station's house band. Warrington was impressed and began buying Mulligan's arrangements.

Mulligan dropped out of high school during his senior year to pursue work with a touring band. He contacted bandleader Tommy Tucker when Tucker was visiting Philadelphia's Earle Theatre. While Tucker did not need an additional reedman, he was looking for an arranger and Mulligan was hired at $100 a week to do two or three arrangements a week (including all copying). At the conclusion of Mulligan's three-month contract, Tucker told Mulligan that he should move on to another band that was a little less "tame". Mulligan went back to Philadelphia and began writing for Elliot Lawrence, a pianist and composer who had taken over for Warrington as the band leader at WCAU.

Mulligan moved to New York City in January 1946 and joined the arranging staff on Gene Krupa's bebop-tinged band. Arrangements of Mulligan's work with Krupa include "Birdhouse", "Disc Jockey Jump" and an arrangement of "How High the Moon", quoting Charlie Parker's "Ornithology" as a countermelody.

Mulligan next began arranging for the Claude Thornhill Orchestra, occasionally sitting in as a member of the reed section. Thornhill's arranging staff included Gil Evans, whom Mulligan had met while working with the Krupa band. Mulligan eventually began living with Evans, at the time that Evans' apartment on West 55th Street became a regular hangout for a number of jazz musicians, working on creating a new jazz idiom.

Birth of the Cool
In September 1948, Miles Davis formed a nine-piece band that used arrangements by Mulligan, Evans and John Lewis. The band initially consisted of Davis on trumpet, Mulligan on baritone saxophone, trombonist Mike Zwerin, alto saxophonist Lee Konitz, Junior Collins on French horn, tubist Bill Barber, pianist John Lewis, bassist Al McKibbon and drummer Max Roach.

The band only played a handful of live performances (a two-week engagement at the Royal Roost and two nights at the Clique Club). However, over the next couple of years, Davis reformed the nonet on three occasions to record twelve pieces for release as singles by Capitol Records. They formed the Birth of the Cool 12-inch album released in 1957. Mulligan wrote and arranged three of the tunes recorded ("Rocker", "Venus de Milo", and "Jeru", the last named after himself), and arranged a further three ("Deception", "Godchild", and "Darn That Dream").

He was also one of only four musicians who played on all the recordings, with Davis, Konitz and Barber. Despite the chilly reception by audiences of 1949, the Davis nonet has been judged by history as one of the most influential groups in jazz history, creating a sound that, despite its East Coast origins, became known as West Coast Jazz.

During his period of occasional work with the Davis nonet between 1949 and 1951, Mulligan also regularly performed with and arranged for trombonist Kai Winding. Mulligan's composition "Elevation" and his arrangement of "Between the Devil and the Deep Blue Sea" were recorded by Mulligan's old boss, Elliot Lawrence. This brought Mulligan additional recognition. Mulligan also arranged for and recorded with bands led by Georgie Auld and Chubby Jackson.

In September 1951, Mulligan recorded the first album under his own name, Mulligan Plays Mulligan. By this point, he had mastered a melodic and linear playing style, inspired by Lester Young, that he would retain for the rest of his career.

In early 1952, seeking better employment opportunities, Mulligan headed west to Los Angeles with his girlfriend, pianist Gail Madden. Through an acquaintance with arranger Bob Graettinger, Mulligan started writing arrangements for Stan Kenton's Orchestra. While most of Mulligan's work for Kenton were pedestrian arrangements, that Kenton needed to fill out money-making dance performances, Mulligan was able to throw in some more substantial original works along the way. His compositions "Walking Shoes" and "Young Blood", stand out as embodiments of the contrapuntal style that became Mulligan's signature.

The pianoless quartet with Chet Baker 
While arranging for Kenton, Mulligan began performing on off-nights at The Haig, a small jazz club on Wilshire Boulevard at Kenmore Street in Hollywood, Los Angeles. During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. Mulligan and Baker began recording together, although they were unsatisfied with the results. Around that time, vibraphonist Red Norvo's trio (with guitar and bass) began headlining at The Haig, thus leaving no need to keep the grand piano that had been brought in for Erroll Garner's stay at the club.

Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). These early live dates were recorded by Richard Bock on a portable reel-to-reel tape deck. Bock along with Roy Harte would soon after, start the Pacific Jazz label and release Mulligan's records. Mulligan's first recording sessions in Los Angeles were produced by Bock for Pacific Jazz. These three informal sessions took place in June, July, and August 1952 at the Hollywood Hills home studio of recording engineer Phil Turetsky. At these sessions, Mulligan, Chet Baker, and others recorded the material that was released as Pacific Jazz PJ LP-1 and later on PJ-8.

Baker's melodic style fit well with Mulligan's, leading them to create improvised contrapuntal textures free from the rigid confines of a piano-enforced chordal structure. While novel at the time in sound and style, this ethos of contrapuntal group improvisation hearkened back to the formative days of jazz. Despite their very different backgrounds – Mulligan, a classically trained New Yorker, and Baker, from Oklahoma and a much more instinctive player – they had an almost psychic rapport and Mulligan later remarked that: "I had never experienced anything like that before and not really since." Their dates at the Haig became sell-outs and the recordings they made in late 1952 became major sellers, that led to significant acclaim for Mulligan and Baker. The recordings included singles such as "Motel" (1953) labelled as 'The Gerry Mulligan Quartet Featuring Chet Baker'.

This fortuitous collaboration came to an abrupt end with Mulligan's arrest on narcotics charges in mid-1953, leading to six months at Sheriff's Honor Farm. Both Mulligan and Baker had, like many of their peers, become heroin addicts. However, while Mulligan was in prison, Baker transformed his lyrical trumpet style, gentle tenor voice and matinee-idol looks into independent stardom. Thus when upon his release Mulligan attempted to rehire Baker, the trumpeter declined the offer for financial reasons. They did briefly reunite at the 1955 Newport Jazz Festival and would occasionally get together for performances and recordings up through a 1974 performance at Carnegie Hall. But in later years their relationship became strained as Mulligan, with considerable effort, would manage to kick his habit, while Baker's addiction bedevilled him professionally and personally almost constantly until his death in 1988.

Middle career 

Mulligan continued the quartet format with valve trombonist Bob Brookmeyer replacing Baker, although Mulligan and Brookmeyer both occasionally played piano. The quartet played at the third Paris Jazz Fair in 1954, with Red Mitchell on bass and Frank Isola on drums. This quartet structure remained the core of Mulligan's groups throughout the rest of the 1950s, with sporadic personnel changes and expansions of the group with trumpeters Jon Eardley and Art Farmer, saxophonists Zoot Sims, Al Cohn and Lee Konitz, and vocalist Annie Ross. In 1957, Mulligan and his wife, Arlyne Brown Mulligan (daughter of composer Lew Brown), had a son, Reed Brown Mulligan.

Mulligan also studied piano with Suezenne Fordham, who was a member of the inner circle of jazz players in New York. She was sought out by jazz musicians of the era to coach them to improve their piano technique. She and Mulligan also had a personal relationship from 1966 through 1972.

Mulligan also performed as a soloist or sideman (often in festival settings) with a variety of late-1950s jazz artists: Paul Desmond, Duke Ellington, Ben Webster, Johnny Hodges, Jimmy Witherspoon, André Previn, Billie Holiday, Marian McPartland, Louis Armstrong, Count Basie, Stan Getz, Thelonious Monk, Fletcher Henderson, Manny Albam, Quincy Jones, Kai Winding, Miles Davis, and Dave Brubeck. Mulligan appeared in Art Kane's A Great Day in Harlem portrait of 57 major jazz musicians taken in August 1958.

Mulligan formed his first "Concert Jazz Band" in the spring of 1960. Partly an attempt to revisit big band music in a smaller setting, the band varied in size and personnel, with the core group being six brass, five reeds (including Mulligan) and a pianoless two-piece rhythm section (though as in the earlier quartets Mulligan or Brookmeyer sometimes doubled on piano). The membership included (at various times, among others): trumpeters Conte Candoli, Nick Travis, Clark Terry, Don Ferrara, Al Derisi, Thad Jones and Doc Severinsen, saxophonists Zoot Sims Jim Reider, Gene Allen, Bobby Donovan, Phil Woods and Gene Quill, trombonists Willie Dennis, Alan Raph and Bob Brookmeyer, drummers Mel Lewis and Gus Johnson, and bassists Buddy Clark and Bill Crow. The band also recorded an album of songs sung by Mulligan's girlfriend Judy Holliday in 1961. The band toured and recorded extensively through the end of 1964, eventually recording five albums for Verve Records.

Mulligan resumed work with small groups in 1962 and appeared with other groups sporadically (notably in festival situations). Mulligan continued to work intermittently in small group settings until the end of his life, although performing dates started to become more infrequent during the mid 1960s. After Dave Brubeck's quartet broke up in 1967, Mulligan began appearing regularly with Brubeck as the "Gerry Mulligan / Dave Brubeck Quartet" through 1973. Thereafter, Mulligan and Brubeck would work together sporadically until the final year of Mulligan's life.

In 1971, Mulligan created his most significant work for big band in over a decade, for the album The Age of Steam. At various times in the 1970s, he performed with Charles Mingus. The Concert Jazz Band was "reformed" with younger players, including a full-time pianist in Mitchel Forman, in 1978, and toured during the 1980s.

Orchestral work 
Mulligan, like many jazz musicians of his era, occasionally recorded with strings. Dates included 1957 recordings with Vinnie Burke's String Jazz Quartet, a 1959 orchestra album with André Previn and a 1965 album of the Gerry Mulligan Quintet and Strings. In 1974, Mulligan collaborated with Argentine tango musician Ástor Piazzolla. While in Milan for the recording sessions, Mulligan met his future wife, Countess Franca Rota Borghini Baldovinetti, a freelance photojournalist and reporter. In 1975, Mulligan recorded an album with Italian pianist / composer Enrico Intra, bassist/arranger Pino Presti, flutist Giancarlo Barigozzi and drummer Tullio De Piscopo.
Mulligan's more classical work with orchestras began in May 1970 with a performance of Dave Brubeck's oratorio, The Light in the Wilderness with Erich Kunzel and the Cincinnati Symphony.

In the 1970s and 1980s, Mulligan worked to build and promote a repertoire of baritone saxophone music for orchestra. In 1973, Mulligan commissioned composer Frank Proto to write a Saxophone Concerto that was premiered with the Cincinnati Symphony. In 1977, the Canadian Broadcasting Corporation commissioned Harry Freedman to write the saxophone concerto Celebration, which was performed by Mulligan with the CBC Symphony. In 1982, Zubin Mehta invited Mulligan to play soprano saxophone in a New York Philharmonic performance of Ravel's Boléro.

In 1984, Mulligan commissioned Harry Freedman to write The Sax Chronicles, which was an arrangement of some of Mulligan's melodies in pastiche styles. In April of that year, Mulligan was a soloist with the New American Orchestra in Los Angeles for the premiere of Patrick Williams' Spring Wings.

In June 1984, Mulligan completed and performed his first orchestral commission, Entente for Baritone Saxophone and Orchestra, with the Filarmonia Venetia. In October, Mulligan performed Entente and The Sax Chronicles with the London Symphony Orchestra.

In 1987, Mulligan adapted K-4 Pacific (from his 1971 Age of Steam big band recording) for quartet with orchestra and performed it beside Entente with the Israel Philharmonic in Tel Aviv with Zubin Mehta conducting. Mulligan's orchestral appearances at the time also included the Houston Symphony, Stockholm Philharmonic and New York Philharmonic.

In 1988, Mulligan's Octet for Sea Cliff was premiered. A chamber work, it was commissioned by the Sea Cliff Chamber Players. In 1991, the Concordia Orchestra premiered Momo's Clock, a work for orchestra (without saxophone solo) that was inspired by a book by German author Michael Ende.

Last years 
Throughout Mulligan's orchestral work and until the end of his life, Mulligan maintained an active career performing and recording jazz – usually with a quartet that included a piano.

In June 1988, Mulligan was invited to be the first Composer-in-Residence at the Glasgow International Jazz Festival and was commissioned to write a work, which he titled The Flying Scotsman. In 1991, Mulligan contacted Miles Davis about revisiting the music from the germane 1949 Birth of the Cool album. Davis had recently performed some of his Gil Evans collaborations with Quincy Jones at the Montreux Jazz Festival and was enthusiastic. However, Davis died in September and Mulligan continued the recording project and tour with Wallace Roney and Art Farmer substituting for Davis. Re-Birth of the Cool (released in 1992) featured the charts from Birth of the Cool, and a nonet which included Lewis and Barber from the original Davis band. Mulligan appeared at the Brecon Jazz Festival in 1991. Mulligan's final recording was a quartet album (with guests), Dragonfly, recorded in the summer of 1995 and released on the Telarc label. Mulligan gave his final performance on the 13th Annual Floating Jazz Festival, SS Norway, Caribbean Cruise, November 9, 1995.

Mulligan died in Darien, Connecticut, on January 20, 1996, at the age of 68, following complications from knee surgery. His widow Franca – to whom he had been married since 1976 – said he had also been suffering from liver cancer. Upon Mulligan's death, his library and numerous personal effects (including a gold-plated Conn baritone saxophone) were given to the Library of Congress. 'The Gerry Mulligan Collection' is open to registered public researchers in the library's Performing Arts Research Center. The library placed Mulligan's saxophone on permanent exhibit in early 2009.

Theatre and film
Mulligan's first film appearance was probably with Krupa's orchestra playing alto saxophone in the RKO short film Follow That Music (1946). Mulligan had small roles in the films I Want to Live! (1958), as a jazz combo member; Jazz on a Summer's Day (1960), featuring his performance at the 1958 Newport Jazz Festival; The Rat Race (1960), in which he appears as a tenor saxophonist instead of his usual instrument; The Subterraneans (1960) and Bells Are Ringing (also 1960) with his then partner, Judy Holliday. Mulligan also performed numerous times on television programmes during his career.

As a film composer, Mulligan wrote music for A Thousand Clowns (1965, the title theme), the film version of the Broadway comedy Luv (1967), the French films La Menace (1977) and Les Petites galères (1977, with Ástor Piazzolla) and I'm Not Rappaport (1996, the title theme).

In 1974, Mulligan collaborated on a musical version of Anita Loos' play Happy Birthday. Although the creative team had great hopes for the work, it never made it past a workshop production at the University of Alabama. In 1978, Mulligan wrote incidental music for Dale Wasserman's Broadway play Play with Fire.

In 1995, the Hal Leonard Corporation released the video tape The Gerry Mulligan Workshop – A Master Class on Jazz and Its Legendary Players.

Awards
1981 Grammy Award (Best Jazz Instrumental Performance by a Big Band) for Walk on the Water
Grammy nominations for the albums The Age of Steam, For an Unfinished Woman and Soft Lights and Sweet Music
1982 The Birth of the Cool album inducted into the Grammy Hall of Fame
1982 Connecticut Arts Award
1984 Viotti Prize (Vercelli, Italy)
1984 inducted into the Big Band and Jazz Hall of Fame
1988 Duke Ellington Fellow at Yale University
1989 received keys to the city of Trieste, Italy
1990 Philadelphia Music Foundation Hall of Fame
1991 American Jazz Hall of Fame
1992 Lionel Hampton School of Music Hall of Fame
1992 Guest composer at the Mertens Contemporary American Composer's Festival, University of Bridgeport, Connecticut
1994 Down Beat Jazz Hall of Fame
1995 Artists Committee for the Kennedy Center Honors for the Performing Arts
42 consecutive years (1953–1995) winning the Down Beat magazine reader's poll for outstanding baritone saxophonist

Discography

As leader/co-leader 
 1950 The Gerry Mulligan Quartet/Gerry Mulligan with the Chubby Jackson Big Band – The big band sides are from 1950, the band led by bassist Jackson included Howard McGhee, Zoot Sims, and J. J. Johnson. The quartet sides, with Chet Baker were recorded at two sessions in 1952.
 1951 Mulligan Plays Mulligan (Prestige, 1957) reissued as Historically Speaking
 1952 Gerry Mulligan Quartet Volume 1 (Pacific Jazz, 1952)
 1953 Lee Konitz Plays with the Gerry Mulligan Quartet (Pacific Jazz, 1957)
 1953 Gerry Mulligan Quartet Volume 2 (Pacific Jazz, 1953)
 1953 Gene Norman Presents the Original Gerry Mulligan Tentet and Quartet (GNP, 1954)
 1954 Paris Concert (Vogue/Pacific Jazz, 1955)
 1954 California Concerts (Pacific Jazz, 1955)
 1955 Presenting the Gerry Mulligan Sextet (EmArcy, 1955)
 1955-56 Profil (Mercury, 1958) – a.k.a A Profile of Gerry Mulligan
 1956 Mainstream of Jazz (EmArcy, 1956)

 1956 Recorded in Boston at Storyville with Bob Brookmeyer (Pacific Jazz, 1957)
 1957 The Teddy Wilson Trio & Gerry Mulligan Quartet with Bob Brookmeyer at Newport (Verve, 1957)
 1946–57 The Arranger (Columbia, 1977) – reissued as Mullenium in 1998 with bonus tracks 
 1957 Jazz Giants '58 with Stan Getz and Harry Edison (Verve, 1958) – also issued as Gerry's Time
 1957 Mulligan Meets Monk with Thelonious Monk (Riverside, 1957)
 1957 Blues in Time with Paul Desmond (Verve, 1957) – also released as Gerry Mulligan/Paul Desmond Quartet
 1957 Gerry Mulligan Meets Stan Getz with Stan Getz (Verve, 1957) – also released as Getz Meets Mulligan in Hi–Fi
 1957 Jazz Concerto Grosso with Bob Brookmeyer (ABC–Paramount, 1958) – play Phil Sunkel
 1957 The Gerry Mulligan Songbook (World Pacific, 1958)
 1957 Reunion with Chet Baker with Chet Baker (World Pacific, 1958)
 1958 I Want to Live! with Johnny Mandel (United Artists, 1958) – also with Shelly Manne and Art Farmer
 1957–58 Annie Ross Sings a Song with Mulligan! with Annie Ross (World Pacific, 1959)
 1958–59 What Is There to Say? (Columbia, 1959)
 1959 Gerry Mulligan Meets Johnny Hodges with Johnny Hodges (Verve, 1960)
 1959 Gerry Mulligan Meets Ben Webster with Ben Webster (Verve, 1960)
 1960 The Concert Jazz Band (Verve, 1960)
 1960 Gerry Mulligan and the Concert Jazz Band on Tour (Verve, 1962)
 1960 Gerry Mulligan and the Concert Jazz Band at the Village Vanguard (Verve, 1961)
 1961 Holliday with Mulligan with Judy Holliday (DRG, 1980)
 1961 Gerry Mulligan Presents a Concert in Jazz (Verve, 1961)
 1962 The Gerry Mulligan Quartet (Verve, 1962)
 1962 Jeru (Columbia, 1962)
 1962 Two of a Mind with Paul Desmond (RCA Victor, 1962)
 1962 Spring Is Sprung (Philips, 1963)
 1962 Gerry Mulligan '63 (Verve, 1963)
 1962 Night Lights (Philips, 1963)
 1963–64 Butterfly with Hiccups (Limelight, 1964)
 1965 If You Can't Beat 'Em, Join 'Em! (Limelight, 1965)
 1965 Feelin' Good (Limelight, 1965)
 1966 Something Borrowed - Something Blue (Limelight, 1966)
 1968? Compadres with the Dave Brubeck Trio (Columbia, 1968)
 1968? Blues Roots with the Dave Brubeck Trio (Columbia, 1968)
 1970 Live at the Berlin Philharmonie with the Dave Brubeck Trio (Columbia, 1972)(2LP)
 1971 Age of Steam (A&M, 1972)
 1974 Summit  with Astor Piazzolla (Erre T.V./Festival, 1974)
 1974 Carnegie Hall Concert with Chet Baker (CTI, 1975)
 1975 Gerry Mulligan Meets Enrico Intra with Enrico Intra (Produttori Associati, 1976)
 1980 Walk on the Water with his orchestra (DRG, 1980)
 1983? Little Big Horn (GRP, 1983)
 1986 Soft Lights and Sweet Music with Scott Hamilton (Concord, 1986)
 1987 Symphonic Dreams `Entente with Erich Kunzel, Houston Symphony (PAR, 1987) – live
 1990? Lonesome Boulevard (A&M, 1990)
 1992 Re–Birth of the Cool (GRP, 1992)
 1993 Billy Taylor & Gerry Mulligan: Live at MCG with Billy Taylor (MCG Jazz, 1993) – live
 1993? Paraiso Jazz Brazil with Jane Duboc (Telarc, 1993)
 1994 Gerry Mulligan Quartet, Dream a Little Dream (Telarc, 1994)
 1995? Gerry Mulligan Quartet Dragonfly with guests Dave Grusin, Dave Samuels, John Scofield, Warren Vaché Jr., Grover Washington, Jr (Telarc, 1995)
 1995 Midas Touch: Live in Berlin (Concord, 2003) – live

 As sideman With Manny Albam 1957: The Jazz Greats of Our Time Vol. 1 (MCA, 1957)With Dave Brubeck 1968: Compadres (Columbia, 1968) – live
 1968?: Blues Roots (Columbia, 1968)
 1970: Live at the Berlin Philharmonie (Columbia, 1972) – live
 1971: The Last Set at Newport (Atlantic, 1972) – live
 1972: We're All Together Again for the First Time (Atlantic, 1973) – liveWith Miles Davis 1949-1950: Birth of the Cool (Capitol, 1957)With Stan Getz compilation: Stan Getz Plays Blues (VSP (Verve), 1966)With Lionel Hampton 1977: Lionel Hampton presents Gerry Mulligan (Who's Who in Jazz, 1977)With John Hill 1970: Six Moons Of Jupiter (Finders Keepers, 2009)With Billie Holiday et al. 1958: At Monterey / 1958 (BlackHawk, 1986)With Quincy Jones 1971: The Hot Rock (Prophesy, 1972)With Michel Legrand 1979?: Le Jazz Grand (Gryphon, 1979)With Barry Manilow 1984?: 2:00 AM Paradise Cafe (Arista, 1984)With Jay McShann 1978: The Big Apple Bash (Atlantic, 1979)With Sergio Mendes and Pelé 1977: Pelé (Atlantic, 1977)With Charles Mingus 1972: Charles Mingus and Friends in Concert (Columbia, 1977)
 1977?: Lionel Hampton Presents Charles Mingus (Who's Who in Jazz, 1977)With André Previn and Carmen McRae 1959-60: The Subterraneans (soundtrack) (MGM, 1960)With Billy Taylor 1957: My Fair Lady Loves Jazz(ABC–Paramount, 1964) – 1 track 
 1993?: Dr. T featuring Gerry Mulligan (GRP, 1993)With Mel Tormé and George Shearing'''
 1982: The Classic Concert Live (Concord, 2005) – live

As composer
 1955: Elliot Lawrence - Elliot Lawrence Band Plays Gerry Mulligan Arrangements (Verve) - track 1, "The Rocker"; track 3, "Happy Hooligan"; track 5, "Bweebida Bwobbida"; track 6, "Mullinium"; track 8, "Apple Core"; track 9, "Elegy for Two Clarinets"; track 10, "The Swinging Door"; track 12, "Mr.     President"
 1955: Gene Krupa - Gene Krupa (Columbia) - track 5, "Disc Jockey Jump" (1947) (co-written with Gene Krupa)
 1956: Kenny Clarke's Sextet - Plays André Hodeir (Philips) track 6, "Jeru"
 1956: Chet Baker Chet Baker & Crew - track 4, "Revelation"
 1958: Carl Stevens - "Skin" And Bones (Mercury) - track 1, "Walkin' Shoes"
 1959: Gene Krupa Plays Gerry Mulligan Arrangements (Verve) - track 1, "Bird House"; track 3, "Mulligan Stew"; track 6, "The Way of all Flesh"; track 8, "Birds of a Feather"
 1960: Chet Baker - Sextet & Quartet (Music) (In Milan, Jazzland)  - track 4, "Line for Lyons"
 1961: Brew Moore - '"Live In Europe 1961 (Sonorama) released in 2015 - track 2, "Apple Core"
 1961: Charlie Parker - "Bird" Is Free (Musidisc) - track 1, "Rocker"
 1976: Paul Desmond - Live (2 LP with Ed Bickert) (Horizon)  "Line For Lyons" (Verve reissue CD bonus track)  
 1982: Dave Grusin - Out Of The Shadows (GRP) - track 4, "Five Brothers"
 2004: Keith Jarrett / Gary Peacock / Jack DeJohnette - The Out-Of-Towners (ECM) - track 5, "Five Brothers"
 2008: The Dutch Jazz Orchestra - Moon Dreams - Rediscovered Music Of Gil Evans & Gerry Mulligan (Challenge) -  track 5, "Joost At The Roost"; track 7, "The Major And The Minor"; track 10, "Brew's Tune"
 2010: Trudy Kerr and Ingrid James -  Reunion (Jazzizit) - track 4, "Soft Shoe"

References

External links 

The online Gerry Mulligan Collection and the finding aid to The Gerry Mulligan Collection, circa 1940-1994 at the Library of Congress
A site with information on Mulligan and all the great Jazz baritone saxophonists
Craig Allan Hanley's repository of Mulligan liner notes, articles and information
Excerpts from Mulligan's oral autobiography at the Library of Congress
An extensive Mulligan discography and record of performances by Gérard Dugelay and Kenneth Hallqvist

Gerry Mulligan Interview NAMM Oral History Library (1995)

Further reading

1927 births
1996 deaths
Big band bandleaders
Cool jazz saxophonists
Cool jazz arrangers
Grammy Award winners
American people of German descent
American people of Irish descent
Jazz baritone saxophonists
American jazz baritone saxophonists
American jazz composers
American male jazz composers
American bandleaders
Deaths from liver cancer
People from Queens, New York
Deaths from cancer in Connecticut
Verve Records artists
GRP Records artists
Prestige Records artists
Jazz arrangers
20th-century American composers
20th-century saxophonists
American multi-instrumentalists
Jazz musicians from New York (state)
20th-century American male musicians
Dave Brubeck Quartet members
Orchestra U.S.A. members
20th-century jazz composers
CTI Records artists
EmArcy Records artists
The String Quartet in B minor, Op. 11 was written in 1935–36 by Samuel Barber. Barber arranged the middle movement for string orchestra as his well-known Adagio for Strings in 1936. Barber continued to revise the piece, particularly the finale, until 1943.

Molto allegro e appassionato
Molto adagio [attacca]
Molto allegro (come prima)

Begun while living in Austria with his partner Gian Carlo Menotti after Barber's Prix de Rome, Barber intended that the quartet be premiered by the Curtis String Quartet, but did not finish the piece in time for their concert tour. On September 19, 1936, Barber wrote their cellist Orlando Cole: "I have just finished the slow movement of my quartet today—it is a knockout! Now for a Finale." Having completed a finale, the string quartet was premiered in its provisional form by the Pro Arte Quartet on December 14, 1936, at the Villa Aurelia in Rome. Afterward Barber withdrew the finale so as to rewrite it, which he did by April 1937. He rewrote it again before it was published. The final form was premiered by the Budapest Quartet on May 28, 1943, at the Library of Congress in Washington, D.C.

The opening movement is in sonata form, the second movement a famous adagio, and the final version of the finale, added to the second movement attacca, is shortened, lasting two-minutes, and revisits themes from the opening movement, thereby creating a cyclic form for the quartet. The opening movement has three theme areas, the first a dramatic motif stated in unison by all four instruments, the second slinky chorale like music, and the third a yearning lyrical melody. The quartet as a whole is in the key of B minor; however, the central movement is in B minor. The materials of the second movement consist of "a very slow and extended melody built from stepwise intervals, slightly varied in its numerous repetitions, uncoiling over (or in the midst of) sustained chords that change with note-by-note reluctance, all of it building into a powerful climax at the high end of the instruments' range and then quickly receding to the contemplative quietude that ultimately defines this musical expanse."

Barber accepted a commission for a second string quartet in 1947, but never got past a few pages of sketches.

Discography
Alexander String Quartet – Thealexanderstringquartet (1992, Amplitude CLCD-2009, CD)
Beaux-Arts String Quartet – Diamond: String Quartet No. 4; Barber: String Quartet in B Minor, Op. 11 (1965, Epic LC 3907, LP)
Borodin Quartet – Kvartet (1961, Artia MK 1563, monaural LP; also issued as M[ezhdunarodnaya]K[nyga] KHN 558–63, and MK D 06173(a) – D 06174(a)) 
Chester String Quartet – The Chester String Quartet (1991, Koch International Classics 3-7069-2 H1, CD)
Cleveland Quartet – Barber: String Quartet, op. 11; Ives: String Quartet No. 2 (1976, RCA Red Seal ARL1-1599, LP)
Composers String Quartet – American Classics for String Quartet (1983, Musical Heritage Society MHS 4823, LP)
Concord String Quartet – with George Rochberg, String Quartet No. 7 (with baritone, 1979), and Barber, Dover Beach (1983, Nonesuch 78017, LP)
Dickermann Quartett Frankfurt – Barber: Streichquartett Op. 11 (1984, Thorofon Capella MTH 275, LP)
Emerson String Quartet – American Originals (1993, Deutsche Grammophon)
Endellion String Quartet – Dover Beach, Serenade, Songs, String Quartet (1993, Virgin Classics 7243 5 45033, CD)
Endellion String Quartet – American Classics: Samuel Barber (2009, EMI Classics)
Cypress String Quartet – The American Album (2011, Cypress Performing Arts Association)
Lindsay String Quartet – Twenty-five Years Lindsay String Quartet "Live" (1992, ASV CD DCA 825, CD)
Serafin String Quartet – Serafin String Quartet (2010, Centaur CRC 3050, CD)
Stradivari Records String Quartet – Barber: String Quartet, Opus 11 (1948, Stradivari STR 602, LP)
Tokyo String Quartet – A Way a Lone (1993, RCA Victor Red Seal 09026-61387-2, CD)

Sources

External links
"Sierra Chamber Society Program Notes", FugueMasters.com.

1936 compositions
Compositions by Samuel Barber
Barber
Compositions in B minor The Piano Quartets, WoO 36, by Ludwig van Beethoven are a set of three piano quartets, completed in 1785 when the composer was aged 14. They are scored for piano, violin, viola and cello. He composed a quartet in C major, another in E-flat major, and a third in D major. They were first published posthumously in 1828, however numbered in a different order: Piano Quartet No. 1 in E-flat major, Piano Quartet No. 2 in D major, and Piano Quartet No. 3 in C major.

History 
When Beethoven composed these three pieces, the Piano Quartet was a rarely used ensemble. Two works by Mozart, Piano Quartet No. 1 in G minor (1785) and Piano Quartet No. 2 in E-flat major (1786), are the only significant contemporary contributions that are comparable. Beethoven modeled his piano quartets after a set of Mozart violin sonatas published in 1781, with Beethoven's C major work written in the same key and borrowing some thematic material from Mozart's Violin Sonata No. 17, K. 296. Apart from Beethoven's own arrangement of his Quintet for Piano and Wind Instruments (Op. 16) for piano quartet, these three works are the only compositions he wrote for piano, violin, viola, and cello.

Beethoven later reused material from the C major quartet for two of his early Piano Sonatas: No. 1 and No. 3. In Beethoven's original manuscript, the work in C major comes first, followed by E-flat major and D major. When the quartets were published after his death by Artaria in Vienna, there were in a different order: E-flat major, D major and C major.

Structure and music 
Each quartet is in three movements. They are listed in the order of the original manuscript:

Piano Quartet in C major, No. 3 
 Allegro vivace
 Adagio con espressione
 Rondo: Allegro

In the exposition of the first movement, Beethoven wrote a piano sonata with string accompaniment, but in the development and recapitulation, they play a more individual role. The third movement is in rondo form. The theme is introduced by the piano and then taken by the violin. The first episode is accompanied by plucked strings. A second episode is in A minor.

Beethoven reused the theme of the second movement for the Adagio of his Piano Sonata in F minor, Op. 2/1. He also reused material from the first movement of his Piano Sonata in C major, Op. 2/3, dedicated to Joseph Haydn in 1796.

Piano Quartet in E-flat major, No. 1 
 Adagio assai
 Allegro con spirito
 Theme and variations: Cantabile

In the second quartet, the piano and the strings are equal partners. It opens unusually with an Adagio assai movement. The second movement is in sonata form, in E-flat minor. Some elements seem to anticipate the last movement of the Piano Sonata No. 8, the Pathétique. The finale movement is in seven variations on a theme.

Piano Quartet in D major, No. 2 
 Allegro moderato
 Andante con moto
 Rondo: Allegro

The quartet in D major begins, more conventionally than the others, with a movement in sonata form, with a rather short development section. The second movement, marked Andante con moto, is in F-sharp minor, but has a middle section in A major. The final movement is a rondo, with a theme introduced by the piano and repeated by the violin. The episodes are contrasting, and recall similar movements by Mozart.

Recordings 
The piano quartets were recorded by the Scheuerer Quartet in 1995, the New Zealand Piano Quartet in 2005 and by the Milander Quartet in 2013.

References

External links 
 
 
 

Chamber music by Ludwig van Beethoven
Beethoven 3
1785 compositions
Compositions in C major