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
Polka Dots and Moon Beams
Gerry Mulligan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I felt a bump and heard an "Oh, beg your pardon"
Suddenly I saw polka dots and moonbeams
All around a pug-nosed dream
The music started and was I the perplexed one
I held my breath and said "May I have the next one?"
In my frightened arms, polka dots and moonbeams
There were questions in the eyes of other dancers
As we floated over the floor
There were questions but my heart knew all the answers
And perhaps a few things more
Now in a cottage built of lilacs and laughter
I know the meaning of the words "Ever after"
And I'll always see polka dots and moonbeams
When I kiss the pug-nosed dream
The lyrics to Gerry Mulligan's song "Polka Dots and Moonbeams" tell a romantic tale of a chance encounter at a country dance. The singer bumps into a dreamy object of his affection and is immediately enamored. The music starts, and he nervously asks for the next dance. As they move across the dance floor, he is captivated by the polka dots and moonbeams sparkling on his partner's face. Despite the curious looks from other dancers, he knows in his heart that this is meant to be. The song ends with the singer living happily ever after with his "pug-nosed dream" in a cottage filled with love and laughter, always seeing the magical polka dots and moonbeams when they kiss.
Line by Line Meaning
A country dance was being held in a garden
The song begins with the setting of a country dance in a garden.
I felt a bump and heard an "Oh, beg your pardon"
The singer accidentally bumps into someone at the dance and apologizes.
Suddenly I saw polka dots and moonbeams
The singer experiences a moment of wonder and magic when they see polka dots and moonbeams.
All around a pug-nosed dream
The artist sees these polka dots and moonbeams surrounding a pug-nosed dream, possibly a reference to a romantic interest.
The music started and was I the perplexed one
The artist feels unsure or confused as the music starts at the dance.
I held my breath and said "May I have the next one?"
The singer musters up the courage to ask their romantic interest for a dance.
In my frightened arms, polka dots and moonbeams
The singer continues to see these magical polka dots and moonbeams as they dance with their romantic interest.
Sparkled on a pug-nosed dream
The polka dots and moonbeams continue to surround the artist's romantic interest as they dance.
There were questions in the eyes of other dancers
The other dancers at the event are curious about the relationship between the artist and their romantic interest.
As we floated over the floor
The artist and their romantic interest dance gracefully together.
There were questions but my heart knew all the answers
Although others may be doubtful, the singer's heart knows that they are meant to be with their romantic interest.
And perhaps a few things more
The artist may feel a deeper connection with their romantic interest than even they realize.
Now in a cottage built of lilacs and laughter
The singer has found happiness and contentment in a home with their romantic interest.
I know the meaning of the words "Ever after"
The singer has found true love and knows that they will be together forever.
And I'll always see polka dots and moonbeams
The singer will always associate this magical feeling with their romantic interest.
When I kiss the pug-nosed dream
The artist's love and affection for their romantic interest is still as strong as when they first saw them in the garden dance.
Lyrics © Warner/Chappell Music, Inc.
Written by: JAMES VAN HEUSEN, JIMMY VAN HEUSEN, JOHNNY BURKE
Lyrics Licensed & Provided by LyricFind
@osvaldoemarques2159
Esta gravação foi realizada em
Dezembro de 1954, em Stockton,.
Califórnia. Mulligan, barítono;
Bob Brookmeyer, piano; Red Mitchell, baixo e Larry Bumker,
bateria. Mas infelizmente não
consta do LP postado. Só nos
CDs com a íntegra dos Califórnia
Concerts. Mas parabéns pelo
upload.
@Extommy1
Brilliant! And brilliant again. These giants of jazz always knew how long a tune should last, and kept the improvisation anchored in the tune. Oh to be young again and hearing Mulligan (and Baker) for the firsts time.
@MrJazzohjazz
Gerry's tone and style is like favorite candy ... hard not to take an extra bite ... been listening to this guy for almost 60 years ... and his sound immediately brings me back to the Chicago Ave music store when I first heard him ... how lucky was I?
@MarkInLA
His notes shimmered like diamonds. This probably is my very first turn-on to jazz as a maturing teen in the 1960s. This man, this horn, this towering great example of low-pitched saxophone control, married to the greatest sense of improvisation, melody, scale, and arpeggio. This artist. Oh, Those days....
It bloomed for me from there....I'm a retired professional bassist. I said goodbye to all that when the phone stopped ringing for nearly every live- sightreading musician, circa 1985-ish on, thanks to DJs and then into electronic technology= synthesizer killing live gigs AND studio work !!.. Happily I'm back now on my first love, jazz and classical guitars, starting circa 1963 from suburbs into NYC .... M. Los Angeles
PS. Whomever composed PD&MB : Thanks for your genius !...Sorry, don't know this one [ yet ] ....
@paulphelps7809
Gerry's jazz is among the best available. It's top class.
@MrAlcides1611
This man was the best baritone sax player in all times. A genius, a Master! Thanks to have posted it! Amaizing!!!
@jimbrown1559
The pianist is Bob Brookmeyer, best known as a valve trombonist, a great improvisor with a distinctive and immediately identifiable sound, but also one of the most interesting composers and arrangers of his generation. Bob and Gerry worked together for many years. In Gerry's landmark early '60s Concert Jazz Band, the two shared the piano chair in addition to playing their horns.
@darrinwest6806
Jim Brown yes, wonderful composer and arranger. His contributions to the "birth of the cool" album has stain my brain
@lowellthomasjr.468
Back in my youth, I was blessed to have met him several times. He was one mellow and nice man. His music was so beautiful.
@johnschlee3485
My favorite Mulligan piece for all time, and I have been listening to him since the 1950's. I have a copy of the first Mulligan Quartet, a 10 inch Pacific Jazz lp.
@Pedraga
He simply won 42 times " Down Beat magazine reader's poll for outstanding baritone saxophonist"...