Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948.
Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars.
A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans.
During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play. Gerry Mulligan died on January 20th, 1996 in Darien, CT.
Among Mulligan's compositions were "Walkin' Shoes," "Line for Lyons," "Bark for Barksdale," "Nights at the Turntable," "Utter Chaos," "Soft Shoe," "Bernie's Tune," "Blueport," "Song for Strayhorn," "Song for an Unfinished Woman" and "I Never Was a Young Man" (which he often sang). He recorded extensively through the years for such labels as Prestige, Pacific Jazz, Capitol, Vogue, EmArcy, Columbia, Verve, Milestone, United Artists, Philips, Limelight, A&M, CTI, Chiaroscuro, Who's Who, DRG, Concord and GRP. ~ Scott Yanow, All Music Guide
MAY
Gerry Mulligan Lyrics
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I may be wrong but I think you're swell
I like your style say, I think it's marvelous
I'm always wrong so how can I tell
Deuces to me are all aces
Life is to me just a bore
Faces are all open spaces
You came along say I think you're wonderful
I think you're grand but I may be wrong
I may be wrong but I think you're wonderful
I may be wrong but I think you're swell
I like your style say, I really think it's marvelous
I'm always wrong so how can I tell
Deuces to me are all aces
Life is to me just a bore
Faces are all open spaces
You might be John Barrymore
You came along say I think you're wonderful
I think you're grand but I may be wrong
You said that Edison would never make that light
You laughed at Mr. Franklin with his key and kite
The point of the song is I'm always wrong
But with you baby I'm oh so right.
In Gerry Mulligan's song "I May Be Wrong," the singer addresses their admiration for another individual. The lyrics "I may be wrong but I think you're wonderful, I may be wrong but I think you're swell" indicate that the singer has some hesitancy about their own judgment, but they still hold a high opinion of the person they’re singing to. The singer goes on to praise the other person's style and says they think it's marvelous. However, the singer acknowledges their tendency to be wrong and questions whether they can even trust their own judgment. The final line, "But with you baby I'm oh so right," implies that this individual has finally found someone they trust and admire.
The song also references historical figures like John Barrymore, Thomas Edison, and Benjamin Franklin, suggesting that the singer is well-read and informed. The repetition of lines like "Deuces to me are all aces, life is to me just a bore, faces are all open spaces" further convey the singer's disillusionment and boredom with life until they encountered this person who they think is wonderful.
Overall, the lyrics of the song express both admiration and self-doubt. This combination creates a pensive but optimistic view about life and love.
Line by Line Meaning
I may be wrong but I think you're wonderful
I'm not always right, but I believe you are amazing
I may be wrong but I think you're swell
I may not be accurate, but I believe you are delightful
I like your style say, I think it's marvelous
Your mannerisms are incredible and impressive to me
I'm always wrong so how can I tell
I tend to be mistaken frequently, so I'm uncertain if I'm correct
Deuces to me are all aces
Cards with a value of two seem the same as those with a value of one to me
Life is to me just a bore
I find life unexciting and tedious
Faces are all open spaces
People's expressions give away everything they are feeling
You might be John Barrymore
You could be a famous actor like John Barrymore
You came along say I think you're wonderful
Since you arrived, I find you to be fantastic
I think you're grand but I may be wrong
I think you are admirable, though I may be mistaken
You said that Edison would never make that light
You didn't think that Edison would create the electric light
You laughed at Mr. Franklin with his key and kite
You found it amusing when Mr. Franklin flew his kite with a key attached
The point of the song is I'm always wrong
The song is about how I am usually incorrect about things
But with you baby I'm oh so right.
However, when it pertains to you, my intuition is precise
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: RUSKIN HARRY, HENRY SULLIVAN
Lyrics Licensed & Provided by LyricFind