Top 37 Gerry Mulligan Quotes
#1. Gerry Mulligan and Chet Baker seemed so sophisticated and bad. I wanted to be like that.
Carla Bley
#2. I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.
David Bowie
#3. We sailed to Italy on the Andrea Doria, a year before it sank, and Zoot (Sims) and I played a lot of ping-pong on deck during that trip. Zoot sparked that [Gerry Mulligan's] sextet in an extraordinary way, soloing with joyous abandon and infusing the ensemble parts with his special brand of swing.
Bill Crow
#4. People behind the Iron curtain have such an incredible image of America and jazz. I expected to find a Gerry Mulligan or Miles Davis on every corner ... I almost expected a Shorty Rogers to deliver the milk, a Bud Shank to be the mailman.
Gabor Szabo
#5. People are approaching electronic levels in music; although not all of it happens to tickle my fancy.
Gerry Mulligan
#6. When I began listening to saxophones, I was first attracted to Coleman Hawkins.
Gerry Mulligan
#7. I like what I hear other guys doing, but the thing that really attracts me is melodic playing.
Gerry Mulligan
#9. Actually, when I was very young, first starting to play, I think I probably listened more to clarinet players than to saxophones.
Gerry Mulligan
#10. When we've finished the current tour I'm going to go back to Italy and see if I can do some more writing.
Gerry Mulligan
#11. People talk about innovations and evolutions and that kind of thing; I don't understand about that nonsense. It's like, all instruments are there to use all the time.
Gerry Mulligan
#12. If you've only got one horn playing, I still want the sense of ensemble.
Gerry Mulligan
#13. The first reason for starting to do the symphony concerts was to play this new piece of mine.
Gerry Mulligan
#14. I'm fascinated with the electronic devices that we can mess around with.
Gerry Mulligan
#15. The recording industry has changed; they're enjoying such incredible success in the pop field.
Gerry Mulligan
#16. A very talented player and all around excellent musician. I love hearing his records on radio!
Gerry Mulligan
#17. Actually, it is a fact that I've been doing more writing than playing in recent years.
Gerry Mulligan
#18. Because if you've got the wit, you can make anything into a melody, ultimately.
Gerry Mulligan
#19. So I played alto for quite a while until I saved up the money for the baritone.
Gerry Mulligan
#20. Eliminating the piano means that I've always worked closer with the bass than most players.
Gerry Mulligan
#21. This life of being a transient human being has gotten to a point when it's very hard to bear.
Gerry Mulligan
#22. Then, of course, I played alto and tenor, wherever there were jobs.
Gerry Mulligan
#23. You can make a saxophone into an electric organ; you can do everything with it.
Gerry Mulligan
#25. I've always wanted a C trumpet on top, to have that same kind of facility without shouting.
Gerry Mulligan
#26. The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
Gerry Mulligan
#27. Life on the road is murder. It's as though life begins and ends when you have your horn in your mouth.
Gerry Mulligan
#28. You start way down on a low B flat on the tuba and you have a chromatic scale; you can match the colours all the way up, till you get to the top of the trumpet.
Gerry Mulligan
#29. Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.
Gerry Mulligan
#30. It's true I've always been attracted to the jazz band in an orchestral way, rather than a band way.
Gerry Mulligan
#31. What I came back to is that jazz is a music to be played and not to be intellectualized on.
Gerry Mulligan
#33. Only the French, I guess, really use tenor and alto to any great extent in the orchestra.
Gerry Mulligan
#34. The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.
Gerry Mulligan
#36. The other saxophones, except as solo instruments, really don't have much point in the orchestra.
Gerry Mulligan
#37. In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.
Gerry Mulligan
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