Gerry Mulligan Thank You, Gerry!: Our Tribute To Gerry Mulligan
- Released: June 16, 1998
- Originally Released: 1998
- Label: Arkadia Jazz
- $0.99 on iTunes1.Bark for Barksdale
- $0.99 on iTunes2.Theme for Jobim
- $0.99 on iTunes3.Elevation
- $0.99 on iTunes4.My Funny Valentine
- $0.99 on iTunes5.Rocker
- $0.99 on iTunes6.Walkin' Shoes
- $0.99 on iTunes7.Moonlight in Vermont
- $0.99 on iTunes8.Line for Lyons
- $0.99 on iTunes9.Festive Minor
- $0.99 on iTunes10.Bernie's Tune
- $0.99 on iTunes11.Curtains
Song previews provided courtesy of iTunes
Gerry Mulligan All-Star Tribute Band: Lee Konitz (alto saxophone); Randy Brecker (trumpet, flugelhorn); Bob Brookmeyer (valve trombone); Ted Rosenthal (piano); Dean Johnson (bass); Ron Vincent (drums).
Recorded at Avatar Studio, New York, New York on August 28 & 29, 1997. Includes liner notes by Dave Brubeck, Bob Brookmeyer, Ted Rosenthal, Lee Konitz, Randy Brecker, Dean Johnson and Ron Vincent.
"My Funny Valentine" was nominated for a 1999 Grammy for Best Jazz Instrumental Solo (Randy Brecker).
Personnel: Lee Konitz (alto saxophone); Randy Brecker (trumpet, flugelhorn); Bob Brookmeyer (valve trombone); Ted Rosenthal (piano); Ron Vincent (drums).
Liner Note Author: Dave Brubeck.
Recording information: Avatar Studios, New York, NY (08/28/1997/08/29/1997).
Director: Ted Rosenthal.
Photographers: John Abbott ; Peter Brunner.
Arranger: Ted Rosenthal.
When former Gerry Mulligan sideman Ted Rosenthal assembled a sextet to record his new arrangements of 11 tunes written by or associated with the late Mulligan, he made a clever and unusual decision: there would be no baritone saxophonist. This makes for a most effective tribute--no player in jazz has been more associated with the baritone than Mulligan, and anyone who attempted to step into his shoes would invariably come up wanting.
The decision to feature other instruments puts the collection's focus on Mulligan's true genius for songwriting and arrangement. Rosenthal's second brilliant stroke was to draft tenor Lee Konitz, a longtime friend who seems to understand Mulligan's signature style--melodic yet challenging, pushing the boundaries of the melody yet never destroying it--almost instinctively. Though tenor and baritone are two very different instruments, one consistently finds oneself thinking, "Yes, that's just how Gerry would have played it." There is no higher compliment.
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