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
St. Louis Blues
Gerry Mulligan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I hate to see that evening sun go down
Cause my baby, he's gone left this town
Feelin' tomorrow like I feel today
If I'm feelin' tomorrow like I feel today
I'll pack my truck and make my give-a-way
Pulls that man around by her, if it wasn't for her and her
That man I love would have gone nowhere, nowhere
I got the St. Louis blues, blues as I can be
That man's got a heart like a rock cast in the sea
Or else he wouldn't have gone so far from me
I love my baby like a school boy loves his pie
Like a Kentucky colonel loves his mint 'n rye
I love my man till the day I die
The lyrics of Gerry Mulligan's "St. Louis Blues" paint a vivid picture of heartbreak, resilience, and unwavering love. The opening lines convey a deep sense of sadness and loss as the singer expresses his sorrow at seeing the evening sun go down, symbolizing the end of a chapter or a relationship. The repetition of this line emphasizes the reluctance to accept this change, especially since their beloved has left town.
The following lines showcase a sense of resignation and determination to move on, despite the pain. The singer expresses a feeling of continuity in their emotions, suggesting that if they continue to feel as they do today, they will take action to leave and start anew. This shows a sense of agency and a willingness to embrace change in the face of heartbreak.
The mention of the St. Louis woman with her diamond ring introduces a new character and a source of conflict in the narrative. The woman is portrayed as a powerful figure who exerts control over her man, preventing him from leaving. This creates a sense of resentment and bitterness towards her, as the singer feels that without her influence, their loved one would not have strayed.
The final lines of the song express a deep and enduring love that transcends time and distance. The singer compares their love to a schoolboy's affection for a pie or a Kentucky colonel's fondness for mint 'n rye, evoking a sense of nostalgia and devotion. The declaration of loving their man until the day they die encapsulates the depth and sincerity of their emotions, despite the challenges and heartache they may face. Overall, the lyrics of "St. Louis Blues" capture the complexities of love, loss, and resilience in the face of adversity.
Line by Line Meaning
I hate to see that evening sun go down
It pains me to watch the sunset, a reminder that the day is coming to an end
Cause my baby, he's gone left this town
My loved one has departed, leaving me behind in this town
Feelin' tomorrow like I feel today
Anticipating that tomorrow will bring the same emotions as today
I'll pack my trunk and make my give-a-way
Preparing to leave and move on from the current situation
That man I love would have gone nowhere, nowhere
Without the influence of the St. Louis woman, the man I care for would not have progressed
That man's got a heart like a rock cast in the sea
My loved one has a hardened heart, immovable like a rock submerged in the ocean
Or else he wouldn't have gone so far from me
Otherwise, he would not have distanced himself so greatly from me
I love my man till the day I die
My affection for my partner is unwavering and lasting until the end of my days
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, Downtown Music Publishing, Peermusic Publishing, HANDY BROTHERS MUSIC CO.,INC., Warner Chappell Music, Inc.
Written by: William Christopher Handy
Lyrics Licensed & Provided by LyricFind