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
Utter Chaos
Gerry Mulligan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lo Zoo di 105, senti come fa
Lo Zoo di 105, ti muove
Lo Zoo di 105, senti come fa...
Con tutti i problemi che ci sono in Italia
Il loro unico pensiero é farsi una raglia
Il loro programma tira molto,
Si, ma di coca non di dati d′ascolto
Che pensan che la gente sia tutta deficente
Statistiche inventate, ma dopo le serate avete meno fan del treno di Linate (ciuuuuuf)
E la gente mal pensa, la realtà é diversa in Italia comanda lo Zoo!!
Voi che parlate a caso ma state sempre sotto, mettetevi in ginocchio e fateci un chinotto
Voi che fate la radio, ma quando avete rotto
Mettetevi in ginocchio e fateci un chinotto
I vostri pac d'ascolto, io me li gioco al lotto
Mettetevi in ginocchio e fateci un chinotto
Lo Zoo é il numero uno, guarda i dati d′ascolto
Mettetevi in ginocchio e fateci un ginocchio
The lyrics to Gerry Mulligan's song "Utter Chaos" are actually in Italian and refer to an Italian radio program titled "Lo Zoo di 105". The song critiques the program for only caring about superficial things like drug use and partying, while pretending to be concerned with the problems facing Italy. The lyrics accuse the hosts of talking nonsense and thinking that their audience is stupid. Mulligan suggests that the program is popular not because people actually enjoy it, but because of the hosts' drug use and their ability to manipulate ratings. The phrase "fateci un chinotto" is a sarcastic jab at the hosts, as chinotto is a non-alcoholic beverage in Italy that is considered old-fashioned and uncool, and is often associated with being on one's knees, as if begging.
In addition to the sarcastic lyrics, the song is characterized by dissonant and chaotic jazz music, which adds to the satirical tone. Mulligan's use of rapid-fire, overlapping saxophone lines and unpredictable rhythms reflects the chaos and confusion that he sees in the radio program he is critiquing. Overall, "Utter Chaos" is a biting commentary on the state of Italian radio and the superficiality of popular culture.
Line by Line Meaning
Lo Zoo di 105, ti muove
The radio show 'Lo Zoo di 105' moves you
Lo Zoo di 105, senti come fa
You can hear how 'Lo Zoo di 105' moves you
Lo Zoo di 105, ti muove
The radio show 'Lo Zoo di 105' moves you
Lo Zoo di 105, senti come fa...
You can hear how 'Lo Zoo di 105' moves you...
Con tutti i problemi che ci sono in Italia
With all the problems Italy faces
Il loro unico pensiero é farsi una raglia
Their only concern is getting high
Il loro programma tira molto,
Their show is very popular,
Si, ma di coca non di dati d′ascolto
But because of drug use, not good ratings
Fenomeni del niente, che parlano del niente
They are insignificant and talk about nothing
Che pensan che la gente sia tutta deficente
They think people are stupid
Statistiche inventate, ma dopo le serate avete meno fan del treno di Linate (ciuuuuuf)
They make up statistics, and after the shows they have fewer fans than a train to Linate airport
E la gente mal pensa, la realtà é diversa in Italia comanda lo Zoo!!
People misunderstand, the reality is that 'Lo Zoo' dominates in Italy!!
Voi che parlate a caso ma state sempre sotto, mettetevi in ginocchio e fateci un chinotto
Those who randomly talk but never surpass, get on your knees and make us a drink
Voi che fate la radio, ma quando avete rotto
You who do radio, but when you're fed up
Mettetevi in ginocchio e fateci un chinotto
Get on your knees and make us a drink
I vostri pac d'ascolto, io me li gioco al lotto
I'd rather play lotto than use your listening devices
Mettetevi in ginocchio e fateci un chinotto
Get on your knees and make us a drink
Lo Zoo é il numero uno, guarda i dati d′ascolto
'Lo Zoo' is number one, look at the listening data
Mettetevi in ginocchio e fateci un ginocchio
Get on your knees and give us a knee (pun on the Italian word for drink)
Writer(s): Gerry Mulligan
Contributed by Leo G. Suggest a correction in the comments below.
Vincent LaVorgna
one of my favorite records from my teenage years
Alex Nettles
you are one cool man