chet baker's role in the 'piano-less quartet' of gerry

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LSU Historical Dissertations and Theses Graduate School

1996

Chet Baker's Role in the "Piano-Less Quartet" ofGerry Mulligan.Charles Lester Quinn JrLouisiana State University and Agricultural & Mechanical College

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CHET BAKER’S ROLE IN THE "PIANO-LESS QUARTET"

OF GERRY MULLIGAN

A Written Document

Submitted to the Graduate Faculty of the Louisiana State University and

Agricultural and Mechanical College in partial fullfillment of the

requirements for the degree of Doctor of Music

in

The School of Music

byCharles L. Quinn Jr.

B . M ., University of Montevallo, 1990 M . M ., University of Mississippi, 1991

August 1996


UMI Number: 9706359

UMI Microform 9706359 Copyright 1996, by UMI Company. All rights reserved.

This microform edition is protected against unauthorized copying under Title 17, United States Code.

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ACKNOWLEDGEMENTS

I owe a great deal of thanks to a number of people. First and foremost to Dr.

William F. Grimes for his patience and guidance in every aspect of this project. Not

only did Dr. Grimes proof-read and suggest areas o f revision for this manuscript, he also

spent many hours editing my transcriptions. I would also like to thank Mr. James West,

Mr. Larry Campbell, and Dr. Stephen D. Beck for their helpful suggestions concerning

this project.

To my good friend, Charles Flanagan, I offer my sincere gratitude for his

assistance with many aspects of this project. I must also thank my brother, Brad for

sparking my interest in Chet Baker. I certainly could have never completed this project

without the emotional support and encouragement from my mother, Sandra Nash. I

would also like to extend my heart-felt thanks to Adrianna Hulscher, Lester Quinn, Lois

Stringer, Anne McManus, and Klaus Hugl-Mohr for their support and friendship.

ii


TABLE OF CONTENTS

ACKNOWLEDGEMENTS................................................................................................... ii

LIST OF T A B L E S .................................................................................................................. v

ABSTRACT............................................................................................................................... vi

CHAPTER1 INTRODUCTION: CHET B A K E R .......................................................... 1

2 THE GERRY MULLIGAN Q U A R T E T ................................................. 14

3 FORMAL ANALYSIS .............................................................................. 25

4 CHET BAKER'S SOLO STYLE .............................................................. 39

5 CONCLUSION............................................................................................. 48

REFERENCES ...................................................................................................................... 51

APPENDIXESA BERNEE'S TU N E.......................................................................................... 52

B LULLABY OF THE LEAVES .................................................................. 62

C NIGHTS AT THE TU RN TA BLE............................................................. 69

D WALKIN' SH O E S........................................................................................ 75

E SOFT SHOE ................................................................................................. 84


F AREN'T YOU GLAD YOU’RE Y O U ....................................................... 92

G FREEWAY .................................................................................................. 99

H FR E N E SI..................................................................................................... 112

VTTA .................................................................................................................................... 122

iv


LIST OF TABLES

1. FORMAL ANALYSIS OF BERNIE'S TUNE ........................................................... 30

2. FORMAL ANALYSIS OF LULLABY OF THE LEAVES ..................................... 31

3. FORMAL ANALYSIS OF NIGHTS AT THE TURNTABLE................................. 32

4. FORMAL ANALYSIS OF WALKIN' SH O ES........................................................... 34

5. FORMAL ANALYSIS OF SOFT SHOE ................................................................... 35

6. FORMAL ANALYSIS OF AREN'T YOU GLAD YOU’RE Y O U .......................... 36

7. FORMAL ANALYSIS OF FREEWAY ...................................................................... 37

8. FORMAL ANALYSIS OF FR E N E SI.......................................................................... 38

v


a b st r a c t

The purpose of this study was to discover common traits and characteristics

about Chet Baker's early solo style. The primary sources for this investigation were the

initial recordings of the "Original Gerry Mulligan Quartet." Since this music was

improvised, rather than notated, it was necessary to transcribe the pieces in order to

create a musical score. The transcription process included the transfer of the scores to a

computerized musical notation program. The resulting scores were then analyzed in

order to determine the characteristics of Baker's early playing and solo style, as well as

formal structures of the compositions.

Chapter one served as an introduction to Chet Baker and includes biographical

information. The second chapter focuses on the eleven-month partnership of Gerry

Mulligan and Chet Baker. A formal analysis of each piece is contained in chapter three

and chapter four emphasizes various characteristics of Chet Baker's early trumpet style.

The appendixes contain eight analyzed transcriptions of the "Gerry Mulligan Quartet's"

first recordings.


CHAPTER 1

INTRODUCTION: CHET BAKER

Chet Baker was an important jazz musician of the 1950s. Baker's association

with Gerry Mulligan in the celebrated "piano-less" quartet signaled the arrival of West

Coast cool jazz. Although the quartet worked together for a mere eleven months, they

were widely imitated. Baker's relaxed style of playing and soft warm tone became a

significant aspect of the West Coast cool jazz aesthetic.

This study will describe several characteristics of Chet Baker's early solo and

playing style. Transcriptions, produced by the author, of the Gerry Mulligan Quartet's

first LP will be presented and discussed to illustrate characteristics of Baker's early solo

style. Following these introductory remarks, the remainder of chapter one is a

biographical sketch of Baker. Chapter two describes the Gerry Mulligan Quartet and

Baker's role in the quartet. A discography and an outline of the quartets major

performances are also found in this chapter. An analysis of formal structures found on

the quartet's first LP are presented in chapter three. A detailed discussion of Baker's

trumpet style as revealed in the transcriptions is contained in chapter four. Concluding

remarks are offered in chapter five.


2

Early Musical Influences

Chesney Henry Baker was bom in Yale, Oklahoma on December 23,1929, but

spent most of his first ten years living with his aunt in Oklahoma City. One of Baker's

earliest musical influences came from his father, who played guitar in a western band

that broadcast regularly on local radio. His father also encouraged him to listen to the

music of Jack Teagarden. According to James Collier, "Teagarden (1905-1964) is

considered by many critics to be the finest of all jazz trombonists, but his style was so

personal that he had few followers, and founded no school."1 After moving to Glendale

California in 1940, his father brought home a trombone in an attempt to build upon his

son's enthusiasm for Teagarden. "It was too big, and I could hardly reach the bottom

position,"2 Baker later recalled. Soon the trombone disappeared, and a trumpet

appeared in its place. In Junior High School, Baker received his first formal music

training, but he remembers having difficulties because, "I would rely too much on my

ear, instead of the notes."3 In his high school band Baker played marches and standard

repertoire by ear. By this time he was listening to cometist Bix Beiderbecke and

trumpeter Harry James.

‘Barry Kemfeld, The New Grove Dictionary of Jazz. New York: St. Martin's Press, 1994, p. 1192.

2Ted Gioia, West Coast Jazz: Modem Jazz in California 1945-1960. New York: Oxford University Press, 1992, p. 170.

3Robert Gordan, Jazz West Coast. London: Quartet Books Limited, 1986,p.72.


Military Career

At the age of sixteen he abandoned his high school education to join the Army.

Baker was originally assigned to a clerk’s position, but was soon transferred to the

298th Army Band in Berlin, Germany. "I stayed in Germany for a year, and it was the

first time I got to listen to any jazz. They had V-discs coming over the Armed Forces

Network, Stan Kenton and Dizzy Gillespie, so I guess those were my earliest influences,

especially Dizzy. Before that I heard more of Harry James than anyone else-tunes like

You Made Me Love You."4

Following his discharge in 1948, Baker devoted much of his time listening to

prominent jazz trumpet players like Red Rodney, Fats Navaro, Miles Davis, and other

musicians participating in the Los Angeles jazz scene at that time. Baker also took a

music theory and harmony course at El Camino Community College. Although he

played a lot during this time, he felt that he had accomplished more during his tenure in

the army. Consequently, in 1950 he left college and joined the Presidio Army Band in

San Francisco. "I played in the band all day, went to sleep in the evening, got up about

one a.m., I'd go and play until six, then I'd race back for reveille, play in the band and

go back to sleep."5 That routine continued for about a year, until Baker received a

transfer to Fort Watchuka, Arizona. Baker had already become disenchanted with army

life while stationed in San Francisco and the isolation of living in the Arizona desert, far

4Bruce Weber, Let's Get Lost. New York: BMG Video, 1990.

5Ted Gioia, West Coast Jazz: Modern Jazz in California 1945-1960. New York: Oxford University Press, 1992, p i70.


4

from any significant musical activity, drove him to go AWOL. Baker explained:

Before I got transferred I'd made up my mind that I wanted out of the Army. So I started seeing the post psychiatrist and complaining about not being able to go down to thelatrine in the morning, and do my business, while sitting along side the twelve other guys reading newspapers and smoking. And I started going across the street in a clump of bushes and I told him that. And of course he checked all that out and found out it was true and that helped a great deal. That and the multiple answer questionnaires that they give you. You know they ask you if you want to be a mechanic, a florist, or work for the forestry department and I would always give the feminine one. I told him that I smoked marijuana and played Bebop. Then I got transferred out into the middle of the desert and I stayed there for a few months and went AWOL. I turned myself back in to this post psychiatrist in San Francisco who accompanied me to the M.P.s. I got sent to the stockade and stayed there for a few days. To get high in the stockade what these guys were doing was sniffing fumes, from a rag stuffed into an Army truck gasoline tank, and I saw that and I said I got to get out of here. There's got to be a better way. So I kinda put myself in a trance and nobody could get through to me for hours on end you know. I'd just sit there staring into the distance. They gave me a seconal and put me in a private cell that night and the next day I was transferred to the neuro-psychiatric ward. So it was kind of tricky business trying to keep from getting the shock treatments and at the same time getting what I wanted which was out of the army.6

Early Professional Career

Mr. Baker was found "unadaptable to army life" and was discharged. In 1952,

Baker moved to Los Angeles and one of his first jobs was playing in saxophonist Vito

Musso's band. Later he began playing in a Dixieland band led by Freddie Fisher. Baker

found few opportunities to play and his jazz career was temporarily at a standstill.

However, Dick Bock (founder of Pacific Jazz Records) was instrumental in launching

6Bruce Weber, Let's Get Lost. New York: BMG Video, 1990.


5

the career of Baker.

I was twenty-two. I came home one day and there was a telegram from Dick Bock, saying that there was an audition for an engagement with Charlie Parker at the Tiffany Club at three o'clock. So I raced up there and you know it has kind of swinging doors, it's very dark inside and was very bright outside, so I couldn't see anything for about five minutes, and then as my eyes got accustomed to the darkness I looked around the room and every trumpet player in Los Angeles was in there. Evidently someone had spoken to him about me, probably Dick Bock again, and he asked over the microphone if I had arrived yet. And I said, yes that I was in the room, and he invited me up to the stand and we played two tunes together and he made an announcement over the mic that the audition was at an end and that I had won.7

This audition led to Chet Baker playing a three-week engagement in Southern

California with Charlie (Bird) Parker. After this three-week engagement, Baker's

association with Parker extended to venues in other cities. He played with Bird at the

Say When in San Francisco, and in clubs in Oregon, and Canada. The job with Parker

lasted several months before the alto saxophonist returned to New York. When Parker

returned to the East Coast, he reportedly told Dizzy and Miles: "There's a little white

cat out in California who's going to eat you up."8

This was only the beginning. The fame that Baker gained by playing with Parker

was modest in comparison with the recognition that he received from his eleven-month

collaboration with Gerry Mulligan. The recordings that Baker made with the Mulligan

Quartet represent an important milestone in Baker's young career, his first studio

recordings. The Gerry Mulligan Quartet will be discussed in detail in chapter two.

7Chesney Baker, Elvis Costello Interview with Chet Baker at Ronnie Scott's London. Wadham Films, 1986.

8Ted Gioia, West Coast Jazz: Modern Jazz in California 1945- I960. New York: Oxford University Press, 1992, p. 172.


6

Mulligan provides insightful comments about the level of Baker's musicianship at this

time.

Chet was a kind of fresh talent. He came along, there's no figuring where his influences were, where he learned what he knew. And his facility.. . I've never been around anybody who had a quicker relationship between his ears and his fingers. He was just uncanny with that kind of real control; it's as simple as breathing with him. It's something that seldom happens, a talent that comes out in full bloom.9

The Chet Baker Quartet

The end of the Gerry Mulligan quartet left Dick Bock (founder of Pacific Jazz Records)

scrambling to find new acts to record. Consequently, Bock turned to Chet Baker who

had formed a new quartet. The result was a series of records that made Chet a star in his

own right. On July 29 and 30,1953, he recorded fourteen pieces with his new quartet

that featured Russ Freeman on piano, Carson Smith on bass, and Larry Bunker on

drums. There were enough tunes for two ten-inch LPs and several singles. The

recordings Baker made with his own quartet provide a far better sense of the trumpeter's

skills as a soloist than the Mulligan recordings did. They show that Baker continued to

grow after his apprenticeship with M ulligan.10

The music Baker and Freeman recorded for Pacific Jazz Records forms the

trumpeter's most important legacy of the 1950s. Baker’s playing would never again be

9Raymond Horricks, Gerrv Mulligan. London: Apollo Press Limited, 1986,p.33.

10Ted Gioia, West Coast Jazz: Modern Jazz in California 1945-1960. New York: Oxford University Press, 1992, p. 178.


7

at such a consistently high level. This was also the period when Baker received the

most critical and popular acclaim of his career. He won top trumpet honors in the

Down Beat polls of 1953 and 1954, the Metronome polls of 1954 and 1955, and Melody

Maker 1955. To further capitalize on the popularity of Chet Baker, the group recorded

again in February 1954. This was the first record to feature Chet Baker singing as well

as playing the trumpet. Eight standard tunes were recorded and released as "Chet Baker

Sings." From now on, Baker would sing at most of his public performances and on

many subsequent studio recordings.

European Tours

On September 6 1954, Baker left for a four-month European tour that included

Iceland, England, Holland, Switzerland, Germany, Italy, and France. The scheduled

itinerary soon gave way to more spontaneous demands, and eight months elapsed before

the Baker group returned to the United States. In September, 1955, Baker returned to

Europe with a new quartet featuring Dick Twardzik (piano), Jimmy Bond (bass), and

Peter Littman (drums). The tour included performances in France, Holland, Germany,

Switzerland, Belgium, England, Denmark, Sweden, Italy, and Iceland. The nine-month

tour was the longest European tour by an American jazz musician to date.11 While in

Paris, the Chet Baker Quartet took time to record four albums for the French Barclay

label. According to Baker, it was after this European tour that he began

uHans Lerfelt and Thorbj0m Sjpgren, Chet: The Discography of Chesnev Henry Baker. Copenhagen: Privately Published, 1985, p.14.


8

experimentation with drugs.12 Drug addiction would plague Baker for the rest of his

life.

Chet Baker Quintet

In spite of his experimentation with drugs, 1956 was a prolific year for Baker in

the recording studio. After the Barclay sessions, Baker formed a quintet with Phil Urso

(tenor sax), Bobby Timmons (piano), Jimmy Bond (bass), and Peter Littman (drums).

In July the quintet recorded sixteen tunes for Pacific Jazz and eight of them were

released as Chet Baker and Crew. By October Baker was recording with a new group, a

sextet, which featured Art Pepper (alto sax), Phil Urso (tenor), Lawrence Marable

(drums), Carl Perkins (piano), and Curtis Counce (bass). The seven tunes recorded for

Pacific Jazz were released on an album called Playboys: Chet Baker and Art Pepper.

The year 1956 also saw the release of the Chet Baker Big Band album that featured

many well known west coast musicians including: Norman Raye, Conte Condolli-

trumpets; Art Pepper, Bud Shank, Fred Waters, Phil Urso, Bill Perkins, Bob Graf, Bill

Hood-saxophones; Bobby Timmons-piano, Jimmy Bond-bass, Frank Rosolino-

trombone, Lawrence Marable, and Peter Littman-drums.

Riverside Recordings

As the 1950's progressed, Chet Baker's drug addiction slowly began to

overshadow his musical achievements. Around the time he signed with the Riverside

12IraGitler, "Chet Baker's Tale of Woe," Down B ea t. July 1964. p.22.


label (1958), he was arrested for narcotics possession and sent to the federal hospital in

Lexington. Shortly after his release, he was arrested again, on drug charges, and spent

four months on Riker's Island.13 However, his musical popularity was still in evidence

with continued success in the Playboy Jazz and Pop poll of 1958 and the German Echo

polls of 1956 and 1958.

He recorded four albums for the Riverside label during 1958 and 1959. Chet

Baker in New York was recorded in September of 1958, an ambitious album that

features virtuoso jazz playing by Baker, Johnny Griffin (tenor sax), A1 Haig (piano),

Paul Chambers (bass), and Philly Joe Jones (drums). To capitalize on Baker's

reputation as a singer Riverside released its own version of Chet Baker sings, entitled

It Could Happen to You. The two other Riverside albums are Chet and Chet Baker

Plays the Best of Lemer and Lowe. These latter two albums feature many well-known

jazz figures of the 1950s including: Pepper Adams, Herbie Mann, Kenny Burrell, Bill

Evans, Paul Chambers, Connie Kay, Philly Joe Jones, and Zoot Sims.

Imprisonment

In July 1959 Baker departed for Italy and on his arrival formed a quartet with

local musicians. In August 1960 he was arrested at a resort in Lucca, Italy, where he

had been working with pianist Romano Mussolini, the son of the late dictator. Baker

was sentenced to seven years in prison for forging prescriptions, importing narcotics,

and drug abuse. However, in 1961, an appeal court in Florence reduced his sentence to

l3Ibid.


10

seventeen months. During his confinement, Baker spent his time composing and

playing the trumpet. Unfortunately, Baker continued to use drugs and was arrested only

six months later, this time in Germany. He was charged with narcotics law violations,

theft, and forgery. He spent the next three weeks in a Munich clinic. When he was

released, he was ordered to stay out of Germany for the next three years. After being

denied entrance into Italy, Baker settled in Paris, where he began a lengthy engagement

at the Blue Note.

From the late 1950s until his death, Baker's struggle with drug addiction severely

undermined his continued musical success. For brief moments, Baker appeared back on

track. For example, in 1962 he received an offer to do a movie in England with Susan

Hayward called Stolen Hours. After spending nine months in England, he was deported

to France. Baker received an offer to play at the Blue Note in Berlin. He played there

one night and was promptly arrested, committed to forty days in a German psychiatric

hospital, and was again deported, but this time back to the United States.

At New York's John F. Kennedy International Airport, where he was detained by customs agents for interrogation and search of his luggage and person, Baker said, "I haven't had anything for forty days. I'm cured.It is not a question of whether I can stay off it. I must stay off it. I have no more time for police, hospitals, clinics, and courts."14

Artistic Low

By the middle 1960s he had hit an artistic low. Pressed by the financial necessity of

needing from $800-$ 1000 a week for his drug habit, Baker recorded frequently. He

I4"Chet Baker Returns to the United States," Down Beat. April 9, 1964, p. 13.


11

would record anything with anyone in an attempt to support his increasing drug habit.

For example, Baker made six albums for Liberty Records with a group called the

Mariachi Brass, a poor imitation of Herb Alpert's successful Tijuana Brass. This was by

far the worst music of his career, economic quick fixes to support his drug habit. Baker

recalled his experience with Liberty records:

I made six albums for them, two with strings and four of those Mariachi Brass things which were . . . outrageous, terrible. It's what they wanted, so it's what they got. We made one and they liked it and it sold fairly well, so we made another one a few months later and it didn't do so well, and after a while we did another and sold even less, and then another. . . they really did it into the ground.15

San Francisco

In 1968, after moving to San Francisco, he was severely beaten by five young

men which resulted in the loss of several teeth. After the attack Baker found himself

unable to play the trumpet and was forced to work, as a service station attendant,

pumping gas and wiping windshields from 7:00 a.m. till 11:00 p.m. During his five

years of forced retirement, Baker supplemented his paychecks through government

assistance programs. The only positive result from this was that Baker could no longer

afford his drug habit and was forced to participate in a methadone program for three

years.16

l5Hans Henrik Lerfelt and Thorbjprn Sjpgren, Chet: The Discography of Chesnev Henry Baker. Copenhagen: Privately Published, 1985, p . l l .

16 Ted Gioia, West Coast Jazz: Modern Jazz in California 1945-1960. New York: Oxford University Press, 1992, p. 193.


12

Elvis Costello

Baker made more mediocre records during the 1970s and 1980s. Yet he was

still able to benefit from the musical reputation that he had built during the 1950s. This

reputation led to an interesting collaboration in 1983, when Baker made a record with

British pop star Elvis Costello. Costello had been listening to the Miles Davis record

Sketches of Spain and was inspired to add a trumpet solo to his composition called

Shipbuilding. In the liner notes to the album Punch the Clock by Elvis Costello and the

Attractions, Costello recalls his first meeting with Baker,

I opened the paper to find that Chet Baker was playing a hurriedly announced residency at the Canteen. I went along to find Chet in wonderful musical form despite the presence of several drunken bores who would loudly call for more booze in the middle of some of his most delicate playing. You got the feeling that this happened most nights but it seemed particularly appropriate that the main culprit was said to be one of London's leading jazz critics.Between sets I introduced myself to Chet who was wandering about in the club untroubled by the patrons. There is no false modesty in saying that he had no idea who I was. Why the hell should he? However he accepted my invitation to come and play on the "Shipbuilding" session the next day. I mentioned a fee.He said "Scale." I think we probably doubled it.

It was a tense but rewarding session. Chet took a little time to grasp the unusual structure of the song but once he had it he played beautifully even if he looks pretty deathly in the studio photos. I'd also say that it was one of The Attractions very best performances. At the end of the session I handed Chet a copy of "Almost Blue" a song which was modelled on his style. He ended up recording it but that's another story.17

During Baker's career he became somewhat of a cult hero, with a devoted

following that transcended jazz aficionados and included pop music figures like Elvis

Costello, Van Morrison, and Chris Isaak. For example,in 1994 Alex Chilton (formerly

17Elvis Costello, Punch the Clock Liner Notes. Salem, M A .: Rykodisc, 1995, p. 10.


13

of the pop groups The Box Tops and Big Star) played a concert at the Varsity Theater in

Baton Rouge, Louisiana. During his encore Chilton played an old standard, Look for

the Silver Lining. His guitar solo was the same solo that Chet Baker played on Look for

the Silver Lining from his 1955 Chet Baker Sings record.18 Additionally, in 1993

Chilton was featured on a Chet Baker tribute album.

The Last Great Concert

The recordings Baker made in the 1980's were often trios or quartets that frequently

omitted the piano and/or drums. Although these recordings are superior to those made

in the middle sixties they do not live up to the recordings that Baker made in the 1950's.

However in 1987 and 1988, Baker made two excellent records for the European ENJA

label. The most successful, musically, was a recording of a live concert, called Chet

Baker: The Last Great Concert: My Favorite Songs. It featured Baker in a variety of

musical settings including: small group, big band, and orchestra. Two weeks later Chet

Baker died in Amsterdam at the age of fifty-nine from a fall out of a second-story

window. The exact circumstances of his death have never been satisfactorily explained.

18 Alex Chilton. Personal Communication. Baton Rouge: 1993.


CHAPTER 2

THE GERRY MULLIGAN QUARTET

This chapter describes the Gerry Mulligan Quartet and Baker's role in the

quartet. A discography and an outline of the quartets major performances are included.

In the spring of 1952 baritone saxophonist Gerry Mulligan secured a regular

Monday night job at the Haig, a small Los Angeles jazz club on Wilshire Boulevard.

Chet Baker began sitting in with the group at the club's regular Monday night jam

sessions in June, 1953. Over a period of three months, the Gerry Mulligan Quartet

evolved from these weekly jam sessions. The most unorthodox feature of the quartet

was its instrumentation: baritone saxophone, trumpet, bass, and drums. The omission

of a chord producing instrument resulted in an intriguing contrapuntal interplay between

saxophone, trumpet, and bass. However, the reason that the group did not use a piano

was more practical than musical. Dick Bock explained:

In mid-July of 1952, The Haig booked the Red NorvoTrio for an engagement of indefinite length. The trio at that time consisted of Red Mitchell on bass and Tal Farlow on guitar. Inasmuch as the trio did not use a piano and since Gerry had insisted that he would rather play the Monday-night sessions without the piano, Haig owner John Bennet

14


15

decided to put the piano in storage. It was this decision that brought Chet Baker, Chico Hamilton and a bass player from Long Beach by the name of Bob Whitlock to form the first Mulligan pianoless quartet.1

The Piano-less Quartet

Much of the publicity surrounding the Mulligan Quartet stemmed from the

absence of a pianist. The jazz journals frequently called this the "pianoless quartet," as

if the group were more noteworthy for what it lacked than how it played. Today the

omission of a harmonic instrument does not sound unusual. Other virtues of this group

are more prominent: 1) its effective use of counterpoint, 2) its simple, yet functional

rhythm section, and 3) its melodic clarity. The group was often accused of playing neo-

Dixieland. Although this was meant as a criticism, it is an observation to which

Mulligan would readily assent. "The idea of a band without a piano is not new," he

wrote, in the liner notes introducing his first Pacific Jazz album. "The very first jazz

bands didn't use them (how could they? They were either marching or riding around in

wagons.)" The following is Mulligan's explanation of the fundamental concept behind

the quartet.

I consider the string bass to be the basis of the sound of the group; the foundation on which the soloist builds his line, the main thread around which the two horns weave their contrapuntal interplay. It is possible with two voices to imply the sound of or impart the feeling of any chord or series of chords as Bach shows us so thoroughly and enjoyably in his inventions.

When a piano is used in a group it necessarily plays the dominant role; the homs and bass must tune to it as it cannot tune to them, making it the dominant tonality. The piano's accepted function of constantly

‘Robert Gordon, Jazz West Coast. London: Quartet Books Limited, 1986,p. 73.


16

stating the chords of the progression makes the solo horn a slave to the whims of the piano player. The soloist is forced to adapt his line and alterations made by the pianist in the chords of the progression.

It is obvious that the bass does not possess as wide a range of volume and dynamic possibilities as the drums and homs. It is therefore necessary to keep the overall volume in proportion to that of the bass in order to achieve an integrated group sound.2

Mulligan and his group experimented with this piano-less format in front of the

live audiences at the Haig. At first there were problems. For example, an entire chorus

would often consist of only the bass and drums playing together. However, in just a few

short weeks the quartet was able to develop arrangements that would work in the piano

less format. Mulligan exploited the resources of two and three voice linear writing by

using the instruments in a variety of combinations including: in unison, in octaves, in

two or three part harmony, and contrapuntally. What is even more remarkable is that

many of the arrangements were developed spontaneously while playing!3 According to

Mulligan, Baker was instrumental in this development. Referring to Baker, Mulligan

said,

He was the most perfect foil to work with. I've never yet to this day played with a musician who's quicker or less afraid to make a mistake. We'd sail into some song as a group... we'd never played it before, never discussed it, it'd sound like an arrangement. People would think it was an arrangement!4

2Ibid, p.75.

3Pete Welding, The Complete Pacific Jazz and Capitol Recordings of the Original Gerrv Mulligan Quartet and Tentette with Chet Baker. Santa Monica: Mosaic Records, 1983, p. 1.

4Raymond Horricks, Gerry Mulligan. London: Apollo Press Limited, 1986,p. 33.


17

Pacific Jazz Records

Meanwhile, Dick Bock was very impressed with the group's musical direction.

Consequently, Bock borrowed the necessary money to start a new record company.

This became the Pacific Jazz label, which was founded specifically to record the Gerry

Mulligan Quartet. This project also resulted in the first studio recordings of Chet Baker.

Bock explains the circumstances surrounding the quartets initial recording session.

After five Monday nights, Gerry felt the quartet was ready to record. On the afternoon of 16 August 1952, at the Turetsky bungalow, we recorded the memorable Bemie s Tune and Lullaby of the Leaves.That record, released as a single in the autumn of 1952, put Pacific Jazz in business. The quartet rapidly became a West Coast sensation.5

Technology

It is important to note that the singles released during this period were 78 RPM.

This technology had a direct influence on the musical product. With the maximum

duration of a single fixed at approximately three minutes per side, Mulligan and Baker

were required to take short solos, perhaps only one chorus each. Often Mulligan and

Baker would share a chorus with each player improvising for just sixteen bars. At other

times the recapitulation would be abbreviated in order to maintain the three minute

format. However, Mulligan was able to use this technological limitation to his

advantage. The use of the three minute form not only eliminated the need for long

sections o f just bass and drums, but shorter pieces are generally more accessible to

5Robert Gordan, Jazz West Coast. London: Quartet Books Limited, 1986,p. 73.


18

popular music audiences. Additionally, part of the group's appeal was the result of

applying its unique instrumentation to familiar standards in familiar dimensions.

Fantasy Records

In September, less than a month after their Pacific Jazz recording session the

quartet traveled to San Francisco for an engagement at the Blackhawk. Since bassist

Bob Whitlock had prior commitments, Carson Smith served as his temporary

replacement. While in San Francisco, jazz pianist and composer Dave Brubeck

recommended that the quartet record for the independent Fantasy label.

The results of that recording session would contribute significantly to the

group's fame. First of all, there were two original compositions by Mulligan, Line for

Lyons and Bark for Barksdale which feature quality solos by Mulligan, Baker, and

Chico Hamilton. Next they recorded two standards, Carioca (Kahn-Eliscu-Youmans)

and the classic Rodgers and Hart ballad Mv Funnv Valentine. The quartet's arrangement

of My Funny Valentine easily eclipsed Bemie's Tune as the group's most popular

recording. Mv Funny Valentine featured Chet Baker's gently lyrical style accompanied

by a walking bass. Layers were gradually added to the texture, a subtle baritone sax line

led to vocal harmony provided by the other members of the quartet. A restrained

contrapuntal interplay between Mulligan and Baker brought the piece to closure.


Pacific Jazz LP1

On October 15 and 16,1952, the quartet again recorded for Pacific Jazz

Records. For these sessions they were booked into the professional recording facilities

at Gold Star Studios in Los Angeles. The group recorded six more tunes. These six

new tunes, with the addition of Bemie's Tune and Lullabv of the Leaves (Young-

Petkere) comprised a new ten-inch LP. Mulligan contributed three originals: Nights at

the Turntable. Soft Shoe, and Walkin' Shoes. Chet Baker contributed one original

composition for the session called Freeway. Two standards Frenesi (Dominguez) and

Aren't You Glad You're You (Burke-Van Huesen) completed this project. It became the

first LP released by the Pacific Jazz Record label and represent some of the first studio

recordings of trumpeter Chet Baker.

West Coast Jazz

The completion of the quartet’s first album signaled the arrival of what

subsequently became known as "West Coast ja zz ."6 In several ways west coast or cool

jazz can be viewed as a reaction to bop's hard driving displays of instrumental

virtuosity. Cool jazz was characterized by a softer, more lyrical style than the bebop of

the 1940s. This lyrical style was partially the result of a preference for slower tempos.

Musical conversation, an aspect of the cool style, was not present in the bebop style.

6Pete Welding, The Complete Pacific Jazz and Capitol Recordings of the Original Gerrv Mulligan Quartet and Tentette with Chet Baker. Santa M onica: Mosaic Records, 1983, p. 1.


20

Additionally, the blues form, a mainstay for the bebop player, almost disappeared from

the cool player's repertoire, being replaced by a preference for popular song form.

Soon after the initial Pacific Jazz single was released, the quartet became the

Haig's star attraction, moving from the off-night slot to the weekends. Throughout a

tenure from the autumn of 1952 to the summer of 1953, Mulligan and his crew

consistently drew overflow crowds. The Haig was a small venue with a capacity of

about eighty-five people. As Dick Bock remembers it, "on weekends more people could

be found outside waiting in line to get in than were actually inside."7

Chamber Music

The quartet's chamber music approach also contributed to their public appeal.

During the early 1950s'jazz was declining as the popular music of the land and began

evolving into art music. The attitude of the jazz audience was becoming more

sophisticated and was beginning to resemble the audience for classical music. This was

also the time when jazz began to move away from the dance hall and towards the music

hall. Consequently, attempts by jazz musicians to emulate the patterns of classical

music consumption were likely to be met with success.8

Mulligan's quartet certainly resembled the new stereotype of jazz as art music.

For example, photographs of the group's performances reveal the bandsman dressed in

well-tailored suits. An article in Time magazine from 1952 explains to its readers tha t,"

7Robet Gordon, p. 76.

8TedGioia, West Coast Jazz: Modern Jazz in California 1945-1960. New York: Oxford University Press, 1992, p. 175.


21

Mulligan is extremely serious about his mus ic . . . looking for ideas in his favorite

composers; Stravinsky, Ravel, Prokofiev, and Bach."9 A live performance recorded in

1953 (at the Haig) reveals the audience quietly listening to the quartet's music.

Apparently they were as serious about listening to the music as the quartet was about

playing it.

The first five months of 1953 found the quartet at the height of its popularity,

and Mulligan took advantage of the opportunity and recorded heavily. In January they

traveled to San Francisco, where the group recorded four more tunes for the Fantasy

label: lheJLadjds..<LTramp (Rodgers-Hart), Moonlight in Vermont (Blackbum-

Suessdorf), Limelight (Mulligan), and Turnstile (Mulligan). By this time Carson Smith

had permanently replaced Bob Whitlock as the group's bassist. Another change in

personnel took place when Chico Hamilton left the group. The Haig's small size made

it impossible to pay sidemen much more than union scale. When Hamilton was offered

a more lucrative job with Lena Home, he felt that he could not refuse. His replacement

was Larry Bunker, a versatile percussionist who also played vibes.

Pacific Jazz LP2

In February 1953, the quartet was back in Los Angeles recording at Gold Star

studios. These four new recordings are the first to feature their new rhythm section of

Carson Smith (bass) and Larry Bunker (drums). Mulligan composed one new tune for

the session called Motel. The other three were the standards Carson City Stage (Smith),

9"Counterpoint Jazz." Time. 2 February 1953, p. 36.


22

Makin' Whoopee (Kahn-Donaldson), and Cherry (Gillespie-Daniels). These four tunes

were released as part of Pacific Jazz LP 2. The other four tracks on Pacific Jazz LP 2

are for quintet and feature alto saxophonist Lee Konitz. The quartet recorded three

tunes at Radio Recorders in Los Angeles in March, Festive Minor (Mulligan), All the

Things You Are (Kem-Hammerstein), and My Old Flame (Coslow-Johnston). My Old

Flame was the only one released at the time.

A month later the group recorded a series of tunes that would be released on

Pacific Jazz LP-5. This was the second album devoted entirely to the quartet. Love Me

or Leave Me (Kahn-Donaldson), Swing House (Mulligan), and Jem (Mulligan), were

cut on April 27th, while Dam that Dream (Delange-Van Heusen), I mav be Wrong

(Delange-Van Heusen), I'm Beginning to see the Light (Ellington-James-Hodges), The

Nearness of You (Carmichael-Washington), and Tea for Two (Youmans-Caesar) were

done at additional sessions on the 29th and 30th of April.

On May 7,1953 the quartet was again in the studio to record six new tunes.

These six tunes were issued on a record label called Jazz Selection, a subsidiary of the

French label Vogue. The pieces on the record (Jazz Selection LP 50013) include:

Varsity Drag. Speak Low. Half Nelson (Golson), Ladv Bird (Dameron), Love Me or

Leave Me (Kahn-Donaldson), and Swing House (Mulligan). This album has the

distinction of being the only Gerry Mulligan Quartet recording that is currently

unavailable.


23

The Final Recording Session

The quartet's final recording session was recorded live at the Haig on May 20,

1953. Only two of the performances, Five Brothers (Mulligan) and I Can't Get Started

(Gershwin-Duke) were originally released. However, seven additional performances

have recently (c.1986) been issued on a five-record Mosaic Album that offers all of the

quartet sides recorded by Pacific Jazz. The additional tunes taped at this final live

session are Ide's Side (Mulligan , Haig and Haig, and Mv Funny Valentine (Rodgers-

Hart). Chico Hamilton sat in for Larry Bunker on Aren't You Glad You're You (Burke-

Van HuesenV Get Happy (Arlene-KoehlerV Poinciana (Simon-Bemier-Lliso), and

Godchild fWallington).

Mulligan's Imprisonment

Shortly thereafter Gerry Mulligan was arrested on narcotics charges and was

sentenced to a ninety-day stay on the California Honor Farm. When he was released,

Gerry felt that he had enough of California. Chet Baker no doubt helped to confirm

Gerry's decision. As one of Mulligan's friends remembers it, "Chet met Gerry when he

got out of jail and said, "I want four hundred dollars a week." This to a guy who'd just

taken a bust and didn't have a job." Chet’s own version is a little different. Both Baker

and Mulligan had won the Down Beat polls during Mulligan's confinement, and Baker

says it was Mulligan who brought up the subject of reestablishing the group.

All I wanted was $300 a week and he started laughing like I was asking for something outrageous. Up to this point all I was making was $120 a week, six nights a week. So that was the end of the group. Our


24

original band never went on tour. Three hundred dollars a week was nothing! And that's what really pissed me off. I worked for him for eleven months without asking for a raise, but after we both won the polls I figured, Jesus, it's time to get a little more bread.10

In any event, the quartet did not get together again and Mulligan left for New

York. There were two Mulligan/Baker reunions after that. One in 1957 for Pacific Jazz

and another in 1974 for a Carnegie Hall concert. The latter was recorded by CTI.

Unfortunately, these reunion concerts were a disappointment. Dick Bock observed,

For some reason, the chemistry, the fire, call it what you will, it just wasn't there, not anything like it was when Mulligan and Baker first met, fired one another's imagination and joined together in the formation of one of the most interesting, influential, enduringly satisfying and memorable small groups of the last three decades.11

l0Robert Gordon, Jazz West Coast. London: Quartet Books Limited, 1986,p. 81.

uPete Welding, The Complete Pacific Jazz and Capitol Recordings of the Original Gerry Mulligan Quartet and Tentette with Chet Baker. Santa onica: Mosaic Records, 1983, p. 5.


CHAPTER 3

FORMAL ANALYSIS

An analysis of the formal structures found in the Gerry Mulligan Quartet's first

album (Pacific Jazz LP1) are presented in this chapter. These analyses are divided into

two parts, an overview of the entire album and an investigation of each piece

individually. Additionally, popular song form is described in terms of its structure and

its usage in the jazz idiom.

Traditionally, the most common structural models found in jazz are the popular

song form and the blues form. However, this investigation reveals that the musicians of

the cool jazz idiom showed a preference for thirty-two bar popular song form and

virtually ignored the blues form in terms o f structural design. Consequently, the

diminished role of the blues form is characteristic of the cool jazz formal aesthetic. A

formal analysis of the Gerry Mulligan Quartet's first album supports this claim; all eight

selections from this album are in popular song form. Furthermore, the blues form does

not appear on any of the forty-seven recordings made by the "Original Gerry Mulligan

Quartet."

25


26

Popular Song Form

Popular song form usually consists of two sections, a through-composed verse

and a refrain. However, in most jazz performances the verse is rarely used and "the

refrain is taken as the sole material for the piece."1 In jazz, popular song form refers to

the structure of the refrain alone. This structure consists of thirty-two bars of music

divided into four sections of eight measures each. The first eight measure section is

called the "A" section and is repeated to comprise the second eight measure section.

The third eight measure section, the "B" section or bridge (sometimes referred to as the

release or channel), usually contrasts thematically with the "A" section and is often in a

different key area. The fourth eight measure section features another return of the "A"

material. These thirty-two bars of music (A-A-B-A) constitute the exposition of the

piece. There are standard modifications that occur during popular song form

expositions including: introductions, phrase extensions, transitions, or internal designs

such as A-B-A-C or A-A-B-C.

A formal analysis reveals evidence of these modifications in the music of the

Gerry Mulligan Quartet. Of the eight transcriptions only two pieces, Freeway (appendix

G) and Frenesi (appendix H), begin with introductions. Freeway (A-B-A-C) is the only

piece with an internal design other than A-A-B-A. Although Frenesi features a sixteen

measure transition at the end of the exposition its formal design remains A-A-B-A. The

use of phrase extension during the exposition occurs only in Nights at the Turntable

Barnes Collier, The New Grove Dictionary of Jazz. New York: St.Martin's Press, 1994, p.396.


27

(appendix C). The twelve-measure phrase that concludes its exposition is the result of a

four-bar tag.

Occasionally one finds subtle variations in the presentation of the "A" sections

of the exposition. These modifications are important, but are not so significant that they

change the overall structure of the exposition. For example, because of the phrase

extension in Nights at the Turntable. A-A-B-A1 more accurately describes its internal

structure. In the case of Aren't You Glad You're You (appendix F), the second "A"

provides the modulation to the bridge. Therefore, its formal scheme can best be

described as A-A‘-B-A.

The Improvisatory Section

The improvisatory or development section follows the exposition and features

improvised solos based on the harmonic structure of the exposition. The soloist can play

through the form of the tune as many times as desired. Each completion of the form is

equal to one chorus. However, soloists will occasionally share a chorus by dividing it

into equal parts. This improvised development section is followed by a restatement of

the exposition and may be thought of as the "recapitulation" which brings the piece to a

close. In jazz, it is common practice for the recapitulation to be a complete restatement

of the exposition.

Formal variation during the improvisatory section is of secondary importance.

The purpose of the improvisatory section is to develop melodic and harmonic ideas

rather than to manipulate the form. In the music of the Gerry Mulligan Quartet some


28

small variations in form do occur during the development. However, this seems to be a

practical rather than musical consideration due to the time restrictions of the recordings

made in the early 1950s. Consequently the only formal variation found in the

development section is the result of an incomplete chorus. For example, in Walkin'

Shoes (appendix D), Baker solos for just sixteen measures before being interrupted by

the recapitulation (which occurs during the bridge). Baker's solo in Frenesi consists of

the twenty-four measures that proceed the recapitulation (A-A-B). Despite the

abbreviated solos by Baker, Frenesi and Walkin' Shoes are still two of the longest pieces

on the record.

The Recapitulation

Numerous formal variations occur in the recapitulations. In fact, the analyses

revealed that seven of the eight pieces contained these formal variations which include:

phrase extension or tags, melodic variation, or partial recapitulation. Bemie's Tune

(appendix A) and Frenesi (appendix H) both feature sixteen-measure partial

recapitulations (the "A" section and its' repeat). In Walkin' Shoes (appendix D) the

partial recapitulation consists of the bridge followed by two "A" sections or twenty-four

measures of music rather than the expected thirty-two. Three-measure phrase

extensions conclude three of the pieces; Lullabv of the Leaves (appendix B), Soft Shoe

(appendix E), and Aren't You Glad You're You (appendix F). Nights at the Turntable

(appendix C) features a one measure phrase extension at its conclusion. The use of

melodic variation occurs at the beginning of the recapitulation in Lullaby of the Leaves


29

and Soft Shoe. Melodic variation does not change the internal structure of these pieces.

However, the use of melodic variation does serve to disguise the recapitulation.

Most of the variations in form were realized during the recapitulation. The

exposition had the least significant variations in form since it functions to familiarize

the listener with thematic materials and gives the musicians a point of departure. Once

the framework of the piece has been established, the listener has developed an

expectation that can be manipulated by the musicians. The listener might logically

expect formal modifications during the development section. However, the musical

variations in the development section are usually based on melodic and harmonic

devices and feature motivic manipulation rather than formal modification. By the time

of the recapitulation the listener has had time to grasp the formal structure of the

composition. Consequently during the recapitulation any formal modifications that

occur provide variety and add an element of surprise to the music.

Bernie’s Tune

An analysis of the form for each piece shows small variations in the formal

scheme. For example, in Bemie's Tune (Bemie Miller) the exposition is in standard

thirty-two bar popular song form (see appendix A). This exposition features a

contrasting theme in a new key area during the bridge. The "development" section

consists of three, thirty-two measure choruses. Gerry Mulligan improvises during the

first thirty-two measure chorus and adds intermittent countermelodies during Chet

Baker's thirty-two measure solo chorus. These solos are followed by a third thirty-iwo


30

measure chorus that is highlighted by sixteen measures of improvised counterpoint that

feature Mulligan and Baker in musical conversation. Musical conversation is another

example of a cool jazz departure from the bebop style. An eight-measure

unaccompanied drum solo by Chico Hamilton is followed by another eight measures of

improvised counterpoint which concludes the chorus.

The formal design of this piece epitomizes the definition for thirty-two bar

popular song form until the recapitulation. The variation in formal design occurs

because the recapitulation (measure 129) is abbreviated and consists of the "A" section

repeated. Consequently, the recapitulation contains only sixteen bars instead of the

expected thirty-two measures.

TABLE 1. FORMAL ANALYSIS O F BERNIE'S TUNE

EXPOSITION (measures 1-32)A A B mm. 1-8 mm. 9-16 mm. 17-12 d minor d minor Bb major

Amm. 25-32 d minor

DEVELOPM ENT (measures 33-128) A A B A A A B A A A B AB. Sax Trumpet Solo Improvised Drum Solo Improvised

Counterpoint Counterpointmm .33-64 mm. 65-96 mm. 97-112 mm. 113-120 mm. 121-128

RECAPITULATION (measures 129-144) A A mm. 129-136 mm. 137-144 d minor d minor


31

Lullaby of the Leaves

The variation in formal design found in Lullaby of the Leaves (appendix B) also

occurs during the recapitulation. However, this recapitulation features modification

rather than the abbreviated format found in Bemie's Tune. During the exposition the

first theme was presented by the baritone saxophone and the second theme (bridge) by

the trumpet. The recapitulation (measure 65) is highlighted by the trumpet playing a

variation of the first theme while the rhythm section plays a double time feel. A double

time feel is not a change in tempo. A double time feel is when the tempo of the piece

remains the same and the members of the rhythm section play twice as fast which gives

the illusion of a faster tempo. These devices serve to disguise the recapitulation, but do

not change its formal design.

TABLE 2. FORMAL ANALYSIS O F LULLABY OF TH E LEAVES

EXPOSITION (measures 1-32)A A B mm. 1-8 mm. 9-16 mm. 17-24 c minor c minor Ab major

Amm. 25-32 d minor

DEVELOPMENT (measures 33-64) A A B ATrumpet Solo Baritone Saxophone Solo mm. 33-48 mm. 49-64

RECAPITULATION (measures 65-97)A A B Amm. 65-72 mm. 73-80 mm. 81-88 mm. 89-97c minor c minor Ab major c minor


32

Nights at the Turntable

In Nights at The Turntable (appendix C) the form is modified during the

exposition by an extension of the last "A" section from eight to twelve measures.

However, at the end of the development the last "A" is extended by only two measures.

The final "A" section of the recapitulation is also extended, but this time for six

measures. Apparently the six measure extension makes up for the two missing bars of

the development.

An interesting formal feature of N ights at the Turntable occurs during the

improvisatory section. Mulligan begins a solo chorus, (measure 37) but improvises for

only sixteen measures or one half of a chorus. In measure fifty-three Baker improvises,

but for only the eight measures of the bridge. Mulligan re-enters in measure sixty-one

and finishes the solo chorus. This musical dialogue between Mulligan and Baker is

additional evidence of the conversational nature of these recordings.

TABLES 3. FORMAL ANALYSIS OF NIGHTS AT THE TURNTABLE

EXPOSITION (measures 1-36)A A B A1mm. 1-8 mm. 9-16 mm. 17-24 mm.25-36C major C major F major C major

DEVELOPM ENT (37-70)A A B A1Baritone Saxophone Solo Trumpet Solo Baritone Saxophone Solo

RECAPITULATION (measures 71 -108)A A B A1mm.71-78 mm. 79-86 mm. 87-94 mm.95-108C major C major F major C major


33

Walkin' Shoes

The thematic material in Walkin' Shoes (appendix D) is presented by the trumpet

and baritone saxophone in unison. This combination of instruments produces an

interesting and unusual timbre and is an example of the variety of texture that can be

achieved within a small group. During the recapitulation the melodic material is

presented by the baritone saxophone and trumpet in octaves and further illustrates

Mulligan's ability to create music that sounds fresh with textural variety in the small

group context.

This time the development section and the recapitulation provide subtle formal

variations. During the solo section Mulligan improvises for one full thirty-two measure

chorus. In measure sixty-six Baker begins his solo, but plays for only one half of a

chorus which leads to the bridge. Consequently, the first formal variation found in

Walkin' Shoes is the result of an incomplete development section. The recapitulation

occurs at the bridge. Following the bridge is a restatement of the "A" section which

includes a two measure bass solo by Bob Whitlock. After the bass solo the "A" section

is restated for the final time and concludes the piece. Not only is the recapitulation

abbreviated but its internal structure is modified because of the two "A" sections that

come after the bridge.


34

TABLE 4. FORMAL ANALYSIS OF WALKIN' SHOES

EXPOSITION (measures 1-32)A A B Amm. 1-8 mm. 9-16 mm. 17-25 mm. 26-32G major G major Modulatory G major

DEVELOPM ENT (measures 33-80)A A B A A ABaritone Saxophone Solo Trumpet Solomm. 33-64 mm. 65-80

RECAPITULATION (measures 81-105)B A Amm. 81-88 mm. 89-96 mm. 97-105Modulatory G major G major

Soft Shoe

The melodic presentation of Soft Shoe (appendix E) features the baritone

saxophone and bass in octaves for the first four measures. In measure five the trumpet

enters with an improvised countermelody over the saxophone and bass playing tenths.

Each restatement of "A" relies on the same format.

The variation in form again occurs during the recapitulation. Similar to Lullaby

of the Leaves the recapitulation is disguised by melodic variation. This time the

baritone saxophone provides the variation while the trumpet adds a countermelody. The

melody returns to the trumpet for the bridge which is followed by a final restatement of

the "A" section. A three measure tag brings the piece to a close.


35

TABLE 5. FORMAL ANALYSIS OF SOFT SHOE

EXPOSITION (measures 1-32)A A B Amm. 1-8 mm. 9-16 mm. 17-24 mm. 25-32D major D major b minor D major

DEVELOPM ENT (measures 33-64)A A B ABaritone Saxophone Solomm. 33-64

RECAPITULATION (measures 65-99)A A B AD major D major b minor D majormm. 65-72 mm.73-80 mm. 81-88 mm. 89-99

A ren 't You G lad Y ou're You

An analysis of Aren't You Glad You're You (appendix F) does not reveal any

significant departure from standard thirty-two bar popular song form. The only subtle

embellishment of the form is a three measure extension that is added to the last phrase

of the piece. However, the quartet does provide variety in their means of presentation

by shifting the second theme from the trumpet to the baritone saxophone. During the

bridge of the exposition the trumpet plays the melody while the baritone saxophone

creates a countermelody. During the recapitulation Mulligan and Baker reverse their

roles and the baritone saxophone plays the melody while the trumpet contributes the

counterline.


36

TABLE 6. FORM AL ANALYSIS O F AREN'T YOU GLAD YOU 'RE YOU

EXPOSITION (measures 1-32)A A1 Bmm. 1-8 mm. 9-16 mm. 17-24F major A major Modulatory

Amm. 25-32 F major

DEVELOPM ENT (measures 33-64)A A 1 B ABaritone Saxophone SoloTrumpet Solomm. 33-48 mm. 49-64

RECAPITULATION (measures 65-99)A A1 B Amm. 65-72 mm.73-80 mm. 81-88 mm. 89-99F major A major Modulatory F major

Freeway

The formal variation in Freeway begins at the onset with a five measure

introduction to the first theme. Thematic area "A" is followed by a second theme rather

than a repeat of the "A" section. The repeat of the first theme occurs after the second

theme. A third section ("C") of new material concludes the exposition. Thus the formal

outline for the exposition is "A-B-A-C" instead of the "A-A-B-A" design of the previous

pieces. The "C" section includes an unusual feature that is unique to this set of pieces.

The last five measures of the "C" section include a literal restatement of the material

from the introduction. This results in an asymmetrical phrase of nine measures which is

a rarity in West Coast Jazz. Additionally, during the development the "C" section is

reduced to the expected eight measures in length. A final formal variation occurs at the


37

end of the development. An eight measure unaccompanied bass solo by Bob Whitlock

serves as the transition to the recapitulation. The recapitulation is a literal restatement

of the exposition including the introduction.

TABLE 7. FORM AL ANALYSIS O F FREEWAY

EX POSITION (measures 1-38) Introduction A B mm. 1-5 mm. 6-13 mm. 14-21 Bb major Bb major c minor

Amm. 22-29 Bb major

Cmm. 30-38 c minor

DEVELOPM ENT (measures 39-174) A B A C A B A C A B A C A B A C Trumpet Solo Baritone Saxophone Solo mm. 39-102 mm. 103-166

ABass Solo mm. 167-174

RECAPITULATION (measures 175-206) A B A mm. 175-182 mm. 183-190 mm. 191-198 Bb major c minor Bb major

Cmm. 199-206 c minor

Frenesi

The most radical departure from thirty-two bar popular song form occurs in

Frenesi. First of all, the initial motive of the first theme is traded back and forth

between the saxophone and the trumpet for eight measures. This first eight measures

constitutes the introduction. The exposition follows the standard "A-A-B-A' popular

song format. However, after the exposition there is a sixteen bar interlude proceeding

the development. It is interesting that during the improvisatory section the interlude

returns after the Mulligan's thirty-two measure solo (measure 89). At this point the form


38

is varied once again and the interlude is omitted. Baker's solo is followed by the

recapitulation rather than the interlude. The recapitulation is also modified by

abbreviation and lasts for only sixteen measures.

8. FORMAL ANALYSIS O F FRENESI

EX POSITIO N (measures 1-40)Introduction A A B Amm. 1-8 mm. 9-16 mm. 17-24 mm. 25-32 mm. 33-40Eb major Eb major Eb major G major Eb major

TRANSITIONmm. 41-48 mm .49-56Eb major G major

D EVELOPM ENT (measures 57-128)A A B A Transition Transition AABBaritone Saxophone Solo Trumpet Solomm. 57-88 mm. 89-96 mm. 97-104 mm. 105-128

RECAPITULATION (measures 129-143)A Amm. 129-136 mm. 137-143Eb major Eb major


CHAPTER 4

CHET BAKER'S SOLO STYLE

One of the primary goals of this study was to determine the characteristics of

Chet Baker’s early solo style. In order to accomplish this task it was necessary to

transcribe the music because notations of these solos did not exist.

The transcription process may be the most valuable tool that a scholar has,

because many of the nuances and characteristics of the jazz idiom are hard to capture in

the traditional system of notation. Learning the music through the direct experience of

repeated listenings yields subtleties that are not found by other methods. An additional

benefit of producing a transcription is increased aural activity which results in more

advanced aural skills on the part of the transcriber. The process of transcription entails

listening carefully to the recording and notating as closely as possible, what each artist

played. The transcriptions found in Appendices A through H are the results of this slow

time-comsuming process.

The transcription process resulted in an intimate knownledge of the music,

facilitated analysis, and provided a performance edition for the lecture recital. The

results of the analysis offer insight into several aspects of Chet Baker’s early playing

39


40

and improvisational style. However certain subtle facets of his playing style can only be

discerned by listening to Baker and defy notation in a score or a table.

Tone Quality

Baker's tone quality has been described as mellow, warm, dark, sometimes airy,

and almost never loud. Also typical of Baker is a very soft, straight tone with his

loudest dynamic level approaching mezzo forte. In terms of articulation, Baker uses a

very soft legato tonguing style that sounds almost like slurring. He seldom plays short

staccato notes or uses heavy accents. His relaxed style of articulation and warm sound

are characteristics of his playing that also are representative of the musical aesthetic of

the 1950's west coast jazz style.

Register

Baker tends to play in the middle to low register of the trumpet, both in his solos

and in ensemble sections. On four of the eight pieces, Baker only plays notes that are in

or below the treble clef staff. In Soft Shoe, the highest note that he plays is the "B" in

the middle of the treble clef staff. The highest note that he plays on the entire record is

the "C" just above the staff (C2) and he does this only once in Freeway (appendix G) in

measure eighty-one. Baker plays nineteen notes that are above the treble clef staff (F1)

on this album with nine of them appearing in Freeway and six occurring in Frenesi

(appendix H). Although Baker had a limited upper range he was able to compensate for

this by exploring the often neglected lower register of the trumpet. By playing in the


41

lower register Baker was able to create the illusion of having more range than he

actually possessed. Furthermore, because the lower register o f the trumpet is

significantly darker (less bright) than the upper range of the hom, his low register

exploration contributed to the reputation of his tone quality.

Intervallic Content

In his improvised solos, Baker preferred to use smaller intervals rather than large

skips to build his melodies. The largest interval found in any of these solos is an octave,

occurring only four times, twice in Bemie's Tune (appendix A) in measures seventy-four

and eighty-three, in measure fifty-one of Aren't You Glad You're You (appendix F) and

in measure seventy-six in Walkin' Shoes (appendix D). Lullaby of the Leaves (appendix

B) features an improvised solo based almost completely on the use of seconds and

thirds, the exception being one perfect fourth found in measure thirty-six which is the

result of chord outlining.

The use of these small intervals so completely dominates the texture of Baker’s

solo playing that the larger intervals take on special significance. For example, in

Frenesi there is a sixteen measure (measure ninety) interlude that follows Mulligan’s

solo chorus and precedes Baker's choms. During this contrapuntal interlude Baker's

melody spans just over an octave (C to C#1) and is built on small intervals (seconds,

thirds, and perfect fourths). The arrival of Baker's role as soloist is punctuated in the

third bar of his solo with a melodic leap of a minor seventh up to high Bb (Bb1). Baker's

selective usage of larger intervals contributes to the unpredictability of his solo playing.


42

Melodic Devices

The analysis reveals the use of several melodic devices that result in the use of

major and minor seconds in Baker's solo playing. Scalar passages, passing tones,

chromatic passing tones, appoggiaturas, upper neighbors, and lower neighbors are

prevalent in these solos and by their definitions result in the interval of a second (these

devices are designated in the appendixes). Baker's abundant usage of major and minor

thirds is the result o f two particular melodic devices: chord outlining and embellishing

tones (a stylistic trait heldover from bebop). Baker’s use of the sequence as a

developmental device during his improvised solos also contributes to his preference for

smaller intervals. Sequence, by definition, does not imply small intervals. However,

Baker's use of the sequence is usually based on a motive with a small intervallic content.

For example, in measure ninety-five of Freeway (appendix G) Baker presents a four

note motive based on ascending and descending seconds. As the motive develops he

expands the intervallic content to include thirds. In Bemie's Tune (measure eighty)

Baker's four note motive is derivative of chord outlining and features consecutive thirds.

Consequently, the use of sequence contributes to Baker's extensive use of seconds and

thirds in his solo playing.

Sequence

The albums most extensive improvised sequential passage occurs in Bemie's

Tune (appendix A). The passage begins in measure ninety-seven at the beginning of the

third chorus and features the improvised counterpoint of Mulligan and Baker. Mulligan


43

begins the dialogue with an eighth note pickup that leads to two more eighth notes and a

quarter. Mulligan continues the sequential development of this motive for sixteen

measures. One and one half measures later (measure ninety-nine) Baker answers with

an abbreviated version of Mulligan's motive and develops it for fourteen measures. In

measure one hundred thirteen their cadence in Bb signals an eight-measure drum solo by

Chico Hamilton. In measure 121 they continue the development of the motive for eight

more measures leading to the recapitulation. It is also interesting that the motive for the

third chorus was introduced at the beginning of Mulligan's solo in measure thirty-two

(see appendix A).

Baker manipulates the listeners expectations with his usage of sequential

passages. For example, the sequence at the end of his solo in Freeway (8th note pickup

to m. 95) is based on a four-note motive comprised of seconds, which is repeated four

times. Just when the listener begins to expect a continuation of this idea, Baker changes

the rhythm by inserting a triplet figure that is part of a seven-note scalar passage that

leads to the outlining of a d minor seventh chord. In measure forty-nine of Aren't You

Glad You're You ( appendix F) Baker presents a motive that is immediately varied one

measure later. The next two measures avoid any reference to the motive whatsoever. In

measure fifty-three he plays another variation of the motive. In measure fifty-six he

alludes to the motive once again before abandoning it for a new idea. Devices such as

these allow Baker to avoid predictability which in turn creates interest for the listener.


44

The Blue Note

Although, the "blues" as a formal design virtually disappeared from the

repertoire of the 1950's west coast jazz musicians, elements of the blues continued to be

found in their music. For example, the "blue note" or microtonally flatted third, a

cornerstone of the blues and bebop musicians vocabulary, was prevalent with the cool

jazz players as well. The transcriptions of Chet Baker's solos reveal that this melodic

device was a significant aspect of his improvisatory style. For example, Walkin' Shoes.

Freeway, Bemie's Tune. Frenesi. and Lullaby of the Leaves contain blue thirds during

the course of Baker's solos. Although, Baker employed the blue third on a majority of

the pieces, he exercised restraint with it.

Embellishing Tones

Another aspect of Baker's improvisational style is his use of embellishing tones.

Embellishing tones are a melodic device that can be thought of as a target note

proceeded by an upper and a lower neighbor. These upper and lower neighbors can be

either diatonic or chromatic. For example, on beat two of measure fifty-three in Nights

at the Turntable (appendix C) Baker plays two eighth notes (d and b). These two eighth

notes are followed by another eighth note (c). The'd' and 'b' are used to embellish the

target note 'c.' There are several examples of embellishing tones in every solo on the

album (including Mulligans). This particular melodic device was prevalent in bebop,

maintained its importance in cool jazz, and continued to be significant in post bop and

modem styles of jazz.


45

Chord Outlining

An interesting feature of chord outlining occurs in Baker's (and Mulligan's)

improvisational style. Often the chord that Baker chooses to outline is not exactly the

chord of the measure, but is closely related. For example, in measure forty-three of

Lullaby of the Leaves, the chord of the measure is a "C7." Baker outlines a "Gm7"

chord rather than the "Cl." Here the "Gm7" can be seen as an extension of the "C7"

calling the added "D" and "F" the ninth and eleventh respectively. At other times the

relationship is less apparent. In measure fifty-nine of Freeway the implied harmony is

"Cm7," however Baker plays a "Bb major 7th" chord. These two chords have only one

chord tone in common. There are many examples of half-diminished seventh chords

replacing dominant seven chords. This is accomplished by adding the ninth to the

dominant chord and omitting its root, consequently their function is the same.

Scalar Passages

Baker frequently uses scalar passages in his improvisatory playing. These scalar

passages are sometimes used to link phrases together as in measure fifty-two of Aren't

You Glad You're You. At other times, (measure eighty of Walkin' Shoes') Baker uses

scalar passages to conclude phrases. Baker's most extensive usage of scalar passages

are found in his solo playing on Freeway (appendix G). For example, Baker begins his

solo chorus (measure thirty-nine) with an ascending seven-note scalar passage (derived

from measure fourteen of the exposition) and concludes the phrase (measure forty-five)

with an ascending eight-note passage. His second phrase (measure forty-seven) begins


46

with an ascending eight-note scalar passage. The third phrase (measure fifty-four)

begins with a short five-note scalar passage that is followed one measure later by

another seven-note scale. This abundance of scalar passages continues throughout the

solo. Baker's prolific usage of scalar passages in his solo playing represents a variety of

scale types. These scales ( major, minor, chromatic, modes, blues, and whole tone) are

highlighted in the appendix.

Conclusion

This analysis has described many characteristics of Chet Baker's solo and

ensemble playing. Although these characteristics are both interesting and insightful,

they only answer part of the question. What is it about Chet Baker's trumpet playing

that compels people to listen to him? Many of the musical devices featured in Baker's

work can be found in the performances of other jazz players. In terms of technical

facility, no one would confuse Baker with Clifford Brown or Dizzy Gillespie.

Baker was not capable of the high screaming playing of Maynard Ferguson or Bill

Chase. Consequently, many critics have concluded that Chet Baker had very limited

technical facility. However, this criticism is unwarranted. Baker's solo in Freeway

demonstrates evidence of both technical facility and range. Baker usually chose a more

relaxed and conservative style of playing. For example, numerous descriptions refer to

Baker's sound as having a warm lyrical quality. Furthermore, the real pleasure derived

from Baker's solo playing is due to his musicality and melodic inventiveness rather than

virtuostic displays of technique. Russ Freeman, Baker's pianist from the 1950s,

summarizes Baker's skills as a soloist.


47

Chet Baker is the only one who could play my songs the way I hear them. He had such an innate feeling for them. There were nights when Chet would finish playing a solo and I'd feel: What's the point of trying to play a solo now? He's just said it all.1

LMabel Fraser, Chet Baker: Boston. 1954. New York: Uptown Records, 1992, p.3.


CHAPTERS

CONCLUSION

The purpose of this study was to reveal the role of Chet Baker in the Gerry

Mulligan Quartet. To clearly define Baker's role in the quartet requires transcription,

analysis, and performance. These lead to a clear understanding of his abilities and

contributions to this music.

Chet Baker was a poor reader of music. This is important because Baker chose

to develop his aural skills and largely ignored learning to read music. Consequently

Baker learned new pieces by ear rather than by the score. What some would consider a

deficiency is what allowed Baker to develop a remarkable relationship between aural

and technical proficiency. As with many jazz artists, these exceptional aural skills

helped to strengthen improvisational skills. In Baker’s case, his skills allowed him to

improvise accompaniments to Mulligan's music as well.

Mulligan also contributed to the Baker’s development as a soloist. For example,

in the formal analysis it is apparent that Mulligan is the main soloist. Baker improvises

for complete choruses only twice on the entire album and one of those solos appears in

his composition Freeway. Baker's solos usually lasted for less than one chorus. With

such tightly defined parameters, Baker was

48


49

forced to consider the notes that he played very carefully. The result was a brief yet

extremely musical solo.

Since Mulligan decided to omit the piano in his group, counterpoint became an

important device in this music. Baker's highly developed aural skills enabled him to

take a motive initiated by Mulligan, repeat it, and develop it into a musical phrase.

Many examples exist fFrenesi. measures 129-144) of counterpoint so sophisticated that

any of the voices could be considered the prominent melody.

On the surface it appears that Baker's role as a composer is minimal at best. Of

all the recordings that Mulligan and Baker ever made together Freeway is the only piece

composed by Baker. Additionally, an investigation of more than fifty Chet Baker

albums only revealed two original compositions. However, in a certain sense Baker

must be considered a composer for his compositional method was improvisation.

Evidence of this type of composition can be found throughout the album during his

solos and accompaniments. The same argument can be made for Baker as an arranger.

Baker provides the melody during the exposition and recapitulation on a

majority of the pieces from this album. With only three voices present, and the trumpet

having the highest range, it is not unusual that Baker would present the melody. In

most cases Baker's approach to melody is a very lyrical, warm, relaxed sound. On

Freeway and Frenesi he plays more aggressively but those are exceptions.

In conclusion, a theme of spontaneity runs through Baker's musical and personal

life. Baker's ability to create music spontaneously is an admirable, if not revered quality

in a musician. On the other hand, Baker never developed any long-lasting musical


50

partnerships. His work with Mulligan lasted a mere eleven months. Baker and Russ

Freeman worked together for only a couple of years. Consequently, the characteristics

of Baker’s musical and personal manner that were exhibited during his tenure with

Mulligan would be integral aspects of the rest of his life.


REFERENCES

Baker, Chesney. Elvis Costello Interview with Chet Baker At Ronnie Scott's London. London: Wadham Films, 1986.

Costello, Elvis. Punch the Clock Liner Notes. Salem, MA.: Rykodisc, 1995.

Fraser, Mabel. Chet Baker: Boston. 1954. New York: Uptown, 1954.

Gioia, Ted. Westcoast Jazz: Modem Jazz in California 1945 -1960. New York: Oxford University Press, 1992.

Gitler, Ira. "Chet Baker's Tale of Woe," Down B eat. July 1964.

Gordan. Robert. Jazz West Coast: The Los Angeles Jazz Scene of the 1950s. New York: Quartet Books Limited, 1986.

Horricks, Raymond. Gerry Mulligan. London: Apollo Press Limited, 1986.

Kemfeld, Barry. The New Grove Dictionary of Jazz. New York: Grove's Dictionaries of Music, 1988. S.v. "Teagarden, Jack" by James Collier, 53-54.

Lerfelt, Hans Henrik and Sjogren, Thorbjom. Chet: The Discography of Chesnev Henry Baker. Copenhagen: Tideme Skifter Publishers, 1985.

Weber, Bruce. "Let's Get Lost". New York: BMG Video, 1990.

Welding, Pete. The Complete Pacific Jazz and Capitol Recordings of the OriginalGerry Mulligan Quartet and Tentette with Chet Baker. Santa Monica: Mosaic Records, 1983.

"Chet B aker: At Ronnie Scott's . London." London: RSVP / Wadham Films, 1986.

"Chet Baker Returns to the United States," Down Beat. April 9, 1964.

"Counterpoint in Jazz," Time. February 2,1953.

51


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APPENDIX B: LULLABY O F THE LEAVES

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APPENDIX C: NIGHTS AT T H E TURNTABLE

Mulligan

Transcription Quinn

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J-155 Bari Sax

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APPENDIX D: WALKIN' SHOES

Mulligan

Transcription QuinnJ-138C 7Trumpet P 7

Bari Sax

138Bass -Q-

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r u r77

— f f 1 [ J------ ^

B 73------- *—=-------

3 3

— E J ■ 8' 7 q*—

Scalar Passage

-*H-------------—---------------

^ ------------

------- V----- ---------------

- .....

\ i J U 1 , r r r r/ 11 — J — e ---------------------

^ — ! i ---------- ■---------- 2----------f f 0 0

—f ----------*----------- f ------------ 1*------------. r r =^=>E m 7 A7

[ t j ' 1j i*"Hi-----------------------»------ = ----------------

^ X T iT iJ— P [jp fc

3

-eU-J3

3

—J— J-----3

= = i

- M £ Pf=*h H_ Z _ I --------- --------- J-------------------------

r r

7 r — •

U - J - ...i ------------- m — ■ - i ■ <

83


82

^ tj n ^ ~ J -

i n H r

* J~3 j~nv . p f i j f Y r r .

J j

------------------ . « *—

*• ^ u L r |

86

a u A ^i l » '

C7 G

*f a-- ^

Bm7(l?5) E7

# = —w

-^H -j------ \ - = -

— ^

s “ ,-r"' " a

J

V" d P m

— iH — ^ J = J — J i

S t*-------------4 --------£

= y ? i L J J . J

— f

J - V ^ L T

- p - r — f — f —

r J T - 7 p

f - - r - >tt --- .1—^- — - J ---------------89

Am7(k5) D7 Am7 D7 G

■ JM — I ^ 7 — "■■■'ji-*® rJf_ >

i V *)

■ J j r j f -

H f T n F i— 2 - j i

r =M f=

L .4 V J j |J t : ,^ =

1 1 i - '»'■■■> -------— « — a 0*—v*T~ — P r f . 1y n }—■ i

...r h - — I — <L_ ., :.t

93

G C 7 G

■*N—P..

~t— ■* ‘ ■' h" ~ J —f' «/ * ------ 4-*■): i

j = : : : ^=£\ 3=iQ==y==p=4 rr H r M

J 7 tJ1 J I^Mf r r -F =------j'------------------- L _ ^ _ = — =?4------------: r r - z

97


Bm7(t5) E7(-S) Am7(l>5) D7 D7 Et

0* * j*- *f mJw-in

— * *h R - - n

3E=E.—e- -“"3TI-Z-l- - 1- - J— :=£—

Lm f *fr ^ r

f r*r = £ == M =

S **100 AtMai 7i f t . = — GMaj 7=£*E-

V e-«F— — - - - 1- - - - - - —- - —_Z_?- - - - - m- - - - - - - - - - - -=*>m— - — - - - - - - - - -

- - - - - e- - - - - - - - - - - -Arco „


APPENDIX E: SOFT SHOE

A7 Em7

Mulligan Transcription Quinn

A7

Bari Sax j.jgg

i § i §m m wpBass j

156

w*=m m m m

— f --------------------- * ----------------------

— B -----------------------------\ l f 2 --------------------------------------

= ± = t =

-

j e -

— B ------------------- k * : ---------------------------------------------------------------------------

m m r m =

— s ---------- 0 ----------------- ■ ------------------- m ---------------

- 4 - -------------------- 1------------------------

r

A 7 E m 7M

A7■’T " ' '

D E m 7

it m■ m • w m —0-1---------------------

0"0» J - ---- —0 ----------------------—f -----------F----------

0^0* It#r 1 ' r

m----1 PT’ 7

—01---------- - - - 1- - -

m • 0 0r » 1 r r i4 P T "pi r 1 ■' r i 1 PT 11= # H = N

G7

— 2— - l | ? — ■■

4

rs k•■■■■■ .. f t *

m=j - j _ i

r tf r tf^ ¥ f =

i- - - - - T T 4 rf= ^ m f f t r f =

84


85

P S

i f F h r — ¥■

------------ 49---- -

N

l : J : J " .

r c J r t

p------- -----4

= ^ f

---- z

N

J"".......

= £ - f - }— j -------

18

GMaj 7O J L . --------------:: ■"

Gm7/F D/F|| F°7

g j . ............. . J J ' J it'®'

■■ y l t i l

u

X J P j ------- y - ^ - C - f T --------------- = £ = r r r------- 2---------------------------------

-------. ------- ?------- i -------

7

— — r — *— f — ' y ..... J .... -

21

Em11 A7(-5)

............. .... ............. Em7\ A7 F|m7

# * = = = 1 = ■x)..

^ i i — » .m

" m * *— . r r r' 1 *P=

"*)•'} j. .... m m j - m" ■

... P

— — p—

p r p

- > r - f - r -^ i " r r t M r T 1 r 1 p r v

24

C9

h i > f t | —W —— ----------r -1— t tZL___ J

,|3.-r f ^

: z P z = p H - J - i t

:=P ==:fd p T =i = J — ^ —

'm 1?m— „--------i— — 7 11 ~"__ :__

- v — r —

-----------^ -*. ■1

X - f r r ----- — w---------------J 7 r r r r i r t j i


86

- ± t f ° F7 ^ Em7

“ ■ amA7 EEm7

j

-n— a------\a-------PT PT

i / r * m • i*

PT PTPT PT

— p C-*T L—T r

- f — r — p— —

4—•

' J 11 #----- m-----*—

= M 7 E

_ « — _—«— ■—^ |* r i I i - = [ _ 4 _ „ p - J - f ... r — r - 1 ^ • - f - r r

A7 D 7 G 7

fife » | - v - - = i

$ L = PT PT

^ 1 = — f r f r . pV .L .k f t—~------------^ F - r -S ... —W ^

Scalar Passag

t > i i , - r f y ip=^— f " ' , ,

— ' J L -

Hj I I

36

A il D

r r r =

A E m 7 F)(m7 F 7

' 13 T T F = ? . f- r r " P f = , f N f j » r r r f r =^ r = b — U — --------- --- --------------------7 . Ant.---- tL—

Chord outlining Scalar Passage

! « ! = — e = £ = ^ =f |» p Up t

E m 7 A 7 E m 7

Chord outlining

ET PT PT a *

A 7

,BL3

grxr pScalar Passage

;J. .. .. ft J42


87

I I 1 '

- < > s u ........ r • - • - £ 4 - — r -

. 1. . . , m .

- 1 i C f r -

r > » t f

7 J

" 7 — r — Y ' Y - X - T — r _ - . r H

45

D 7Am 7

BL3-+^B-

r rChord outlining

48

A m 7 Gj}°7 A m 7 A 7 GMaj 7

PT BL3

Sc alar Passage

r " " 1

r | i lT = H = & j : ^ r r » v. ttr. r f f f= J

K V V . r r

-----------------^ ----1------£----

----1--------------------- «— \lM----'p=-~- f 1

J / ->"*

54


88

Fjtm7A 7

Chord outliningChord outlining Scalar Passage

57

B 7 E m 7 B m 7

PT

Scalarihord outlining

60

D

| j L 4 | --------------------

A7 D p 7 - H E m 7 \

-----------------Scalar Passage

f f - f o f. ' ' f t * BL3 UN

5

-----------------------P--» a -------------

\ y » i s L

rjj----0------- 1*0~

---------------------- Ant

(DMaior)

m m 0 -----------

------7 i p

Scalar Passage

, . I f = Hz tf r y r - r J M63

A 7 E m 7 A7

i . ; j i = ^ = i

? * 1 1 j

:--------------- t i

ET’ ' - ■ 0- " ln ffuN—i -----------

■»-

---------:---------- ?— *b ...

u = ± 4J " C j" [ J -

t-------1--------•—

—r -------------

mP 4 c a l a

r t *r

Passage"ffr q y i h a ?

66


89Em7 D/F# Gm7 D/F# Em11

f H fV " 'I H

4 m -

I It

X x

— p ------------------ a -------------------

* ........... f t , ^ J « T ]FT PTa .............-

X X

~ f -------------------r ------------------

ti t

Guide Tone Une(X) e u n e

— p ---------p --------------- ■--------------- p ------------- * ----- »--------- s --------M-------

r r 1 i=^T r r i

D F7/El> Em11 A 7

^

X . X ^ 3 ^ UN-*)*- -a-----f --------- k f ------------*-----------

_ _ i . ___________im -

- ' » ------- F f I "

— i t * «------------------ EI----------« -----------------

L i F f « ---------*-----------_ z _ q -----------------1 ------------- 1------------

............... ...... ■ ■ ■ ■-------------- 1

— ^ U J - - E J ■” Scalar Passage

------a ------------------ F--------* --------

I * L T C j - C J * ■ ■ |

k j i F - . p » r r _ i I f ' ' = l = F . = f - , = 4 - : ^ r -J72

E m 7Em11 DMa] 7A 7

,JL IF-

s c a la r P a s s a g e

75

D/Fjt G 7 Fjj Gjt° FJt/AJt B

¥

xCL.

a

m 7 Ajt°7

3ZZ -PF-

m $ kH IGuide Tone Line(X)

‘Xu r r ri"Guide Tone Liuu(X

_jk «_


90A m 7 Ajt°7 B m 7 A |°7 A m 7 D7(-6)

" J- JrrJ- — P tf-t- tJ ~

"■ J " ..... i)J

- y rJ r » =jl» |» . ..t|» = p = —r—r—h*—r—

82

GMaj 7

= £ 4 # -------------------------- ----------3-----------Gm7 D/Fjf F°

- tH -r --------- 5

h -^ UN

t t f ?

\?XF ^ i d 3 f = M = f r .----------1----------------------------

•

/

1*-------- f~1—r — r—— • —- # -------------- 0---------1-------------------- ---------

85

Em7 A7(-5) f t

----------------------- =>—

]Em 7

— J—hA7 Fj)m7

a

---------- V ' m M9 ■ -T ^ ----------------

* * - - f r r— U^Hhi— *- 4

m»

= H* i*'

1 p r ---------------- , r r. 1 1 T " N -1 ■ P-T V ”_ | _ . . . - ! _ |... 1

88

B 7 C 9 D/Fjt

92


91

F°7 Em11 Dm7 C EWn

r a p

v!>t V » r= ^ r a i l p96


APPENDIX F: A REN 'T YOU GLAD YOU'RE YOU

Burke-Van Heusen Transcription Quinn

0.Trumpet

FJ142

B° C7

1.0-------

P 'i i p [* i t f JOE

B aiiSax

£ h M

i = ^

O 0-

Bass ■*■142

i q tb tp :

1c

F h = (

7v—i - r

F

= f = p i

C/G G

r - r i

c

= H =J*

= * 5 y

f V i ----------

= ^ S

Z ~ r *>*

4 ---------------. T O -

I' r t - J>—

= F = f = -i. . = ? = F = = r = f = \

= H

— ■—

= f =

t--- M-

ri

N

- ...............u \ \

~ . - L ---- M----------P r * —

5

o A1

= y = »

Bl»M

t

aj 6

------- Tjf-f

B°

' - - V -

A E7..f .f

- V M - 11

A/C|

- ■ j ...... n - r - r r3 J ' J>

i - H - ------- J------- 1 — ----------/■—

m•

^ = 5 = — *

— --------------&--------- l - y y : ----- Y-— ?— ■

F * f = f a =3---------- 0 ->tf--------: ------------¥■

1 O f f

■■■f - f - Q * "

9

92


E7

~J? . '~'i* r ~ * *

A F|(m7c : = f c = , , i= = = : . - q

Bm7 E

r-~ -- 1

1793

A

—1------- ---------- lt»-L Jd S |

U „ ■

¥ = - X 3 il' i j i

^ ................. /

= 1

3 #

6 —

r r km►p—

p . ffp.

-----------------

* > .. ' V r ri* •

~ T ~ f f

4 =

=ip-----L *

----- (/ t 7 r

-O----p ^|«-*■— ?— “

13

m c '

F # # f

r G

-

>m

»-ar

1 =

Cn4 . i7

i :

- L— ^~

F7

------■-«b U/

— ....

fc=-J - 1 ^ -

laj 7

-W --

Btm7 Et>7

~4>p ••----------- »-^ J = t

F W #

------ = J =

9------/

— 9=---------

= H g a r ' . ’ -

9---------------------------

t * f = r p

~ V — r ---------? -

^ T r ... f » * =f ■ » p------ JS-Tp-P----

— »-----:--- :—17

AliMaj 7

S - k —Fni7 Gm

l , f m

7 C7 Am7

r r rDm7

= r =

*)*T-----

t =3-------------------------

- V f

------------- p

- -H

——rr~;---- 1 = #

£ - 3 J

F f = ^ T >

“ T--- ln ----------» ■= 4 =

C= F = # *

l'

---- p

-e!— ^ ^ r

---- ; ---- f= 4 = * - 3 = * 1

21

Gm7 C7 —

h f b - T - i , , ^

F

t *f S

BMVlaj 6 E3°

9 -------

C7

- F ---------- , - - ^ N

y = " J J i j D

■*?*---------- « — *— J *— **} 3s9-

= t y y j ^ S j

E s , p f y rY v r r m

^ ; 'l":" . K r - j r g . .........

J -7 p

■ - f — >—9------------ — ^ p .

7 7 j

=2— 7------- ff----------* ---------------- — ?— i »

24


F

I n

C7

* m

F D i

, n

r

-------- *—

Gm 7

— V -

C 7

— r*

9 4

" ■—

r - !

^_/

r j»

k— X^ ■ r A r

—a — r — 7

I*

- J i J

- «

#■

= P =' ?— \-

~*WFT'f i = f ------*1**

--------------------

i*

28

A F

— = i :

A

*t r r ~

Bb G 7

r l j u 1

C 7

T ^

•< » — . . *

Chord Outll ilng

U -* > « -r lf f r

P

1 x ET X

[ 1 #

ET* >

r ^ r—

s caiar Pass— %age

---------- 1 /

BU

h#------

— L 1=1

l p =

iBL3

■f-------- f

Guide

- f -----

Tone U

,» '

^ w

ne (X)

f = ?

— - 32

----

C 7----------------------------- - ““ H ..... 1

D 7m .......... . —

= f c =

G m 7 C 7

# =

- * » T *M r c t -ET X

1*---- ^

J - , X

' f t r r / r > = f & f # = # =P in

— "n1

ET PT

I- * •--------pH

m

■-JDhord 0

»— Pj*

utlin ng>°

.... *

alar Passac

— g»------- f

—

je

7 IP

Chord Outlining—

■------

= H f c

»--------p

- - V - L

= N

36

A1 B\> A7 E7

aprT i' J slS a r d n r-‘t i¥ p s gScalar Passage (Phrygian)

H r P ' , t . • roc± E S = E r — y


95B m 7E7

LN Chord OutliningSea ar Passage

44C m 7 F 7G m 7 C m 7

ETScalar Passage

Guide' one Line (X)

Bl?Maj 7 G m 7 Bl>m7 E\>7 Al>Maj 7 I .»F m 7

>• ^ r

ET

Scalar P assage (F minor)

i X

Scalar Passage

m ■m— 0 -W

¥G m 7 C 7

JF D m 7 G m 7 C 7

UN ET

r u ' U c jPT

¥-W-


96

— - - -Hr/laj 6 C 7

" .......... . # M fF

—

7

* • p * —

Scalar F

L f ------

0- •’assag e (Mixolydlar

L PT= jifH)

PT P 0 M

. ; t

■ S ----1

+ =4 - —

r *

=F=Hs i— -S j 1SCali

t - H p *

= h F = ■ _iCJ---------[Shord Outlining=*=

57

G m 7 C 7 A m 7 D7(l>9) G m 7 C 7

61

F

F # f =07 A

I - •' - “

■ F

1 *f s :f FBbMlaj 6 B°

--------0 w~o------

C 7

«■):.

HJ-----------------------------

t ~fj r p » ^

r \f-H-- ih~g'T'

E.,Jr?r-S ?-<3*=-

l j g j g - q *

Chord Outlining| J 7p

19-------------- 3 _______Nf9 —■

■ ‘ ■ 7—7 --- 1--------

J ■■

64

F 01 F C/G G

p ) r \

J , - - P | ~ ’ d c r 0 ...1

- - - - - i = £ = N f = :L f t r r p [ | T ^ r

b i = 4

----------

- i - ? - - J ^ r

t f I f— b ~

—3- - -^ H

# —k * -------- - r - .............j ■■■ —« -------------—S ----------

- f - + .....r +

* F W ' l68


97

c?

p=^fNffr ^

— * — f ----------------- / -

■ - T f- * - - - .... a^ V tY

= FtS------------ — 19---------Y—

4-"ST--------- ^ ---------- -* ! • i 0 M’ 3^

:5yMN=J n--------------------r m ^ n

i— j— |jj... _ j

— Hr r— — [ j —

p = ^ ,; 1p H =Yf - V ---------------------□— Tr76

i l l j _n > ^

- C 9 G 7

— *--------------------- — -

C m 7 F 7 BtMaj 7

1 h r . 1

=55 F p —

|— * — J

■ C f T j T p

~~ i?jl~ ^ ^

z f f r..J, . )___ / 1 F. ,

k ^ t z E F p A ■■]H P - F — .......| _ r r . f - . . . r

, “ WJ WJ L J

0 0 m-------------------------# ----- -------

60

Bkm7 e !>7 AbMaj 7 F m 7 C 7

..- t j ^

"4? fI ------f -------

i - J *J:------ f r — ------

<

3 * = = J

^ — U h *y

^ 5

— a— J

iL

»—1*-H

j —^

9-

— £—7 4 -AJl— i------------

t - . Y-S— \>---------------

—— C- F ....

— h

/ .«

*-l-------- l«-------- <»----- ■ 1 "”

— j . ...y ..

t = H = |84


A m 7 D m 7 G m 70 7 A

F

1 *f k

BbMaj 6

" *r

E

*-T*=|

9 8

e —

? 9 = ^

F * S F j = k f

* = f e =

*

--------------4m r j 7 - J 5

0 = 7 7 =• -

----------0-

|i-

— /

- ^ 5E =^ ------

9------- m

a - d s ^ 4 ■ ——= h M

r J ---------

= ^ =

— f >------■3---------- P ---------------* (3

87c

' 4 - — *

7...

+ = f = f

—m—f ---------

C7

---------J ------

"T^- .... .

F D 7

1 = F 7— 1V— * ■' ' V \ » :

4 f t ? p *

\•

f = f = p

d d d " - 1 = a f = =

? = * =-^—7-----------1-1-------!-------

------P ----------------1------ I9------------P \>P f p f

... .......-...........

■ P I --------------------- w~— —7-------

91

G

F # = F =

m 7 C ‘

= # i

J A m 7 D 7

J •

G m 7

n = N “ P f

^ = 4

C 7

JS f =

- 9 * r —

*—j i

£ = p

^ = i —J-J L .a

►' '#■

* X J V *

E ^ f = f

= — - ^ - ■ U

m m------CL

-^—7-------

= * * , —

i.-------1

•S T -.----------------------------------------------

——...... I»■-

t ----------- h— — --------

rit.Arco

95 FM aj7 lit.

m

■o-■e-

O '


APPENDIX G: FREEWAY

C het B aker Transcription Quinn

Intro. B l/D Abm/Et Bk/D Trumpet j.ggg

Akm/EkBk/D Akm/Ek Bk/D

6£Bari Sax J.3 0 5

-V-H 1'-* -"4 4

£ *Bass J-305

: p n * . r r r r *Cm7 F7 Cm7 F7 BkMaj 7

l l ^ - IAI— 1 m r r r h

- 9 ^ - r ----------

...

---- ft " 0 M- - - - - - f t - * *" T

4 * J J

= = * # —»-------ft-T*-»------

r — f c f 11 •

— •fp - r - = 4

1 * ^ -

— k-— — / - y —

U J - .... 1 FJ .

- ™, --- ^ . W , . , ,

J rp r F - f r r [ J T

----- ®------------------------ A.

Gm/Bk Cm7 F7 Cm7 F7 BkMaj 7

----------- 1~ — Y - p r ^ j — - - T ^ f i - i n ~ n — ^=4 — - -J--- -* rv -f J *

r T r r"~f~r~i■

1

p — * k------ :------------ P------ * -

-----------------— )--- c 0 ----------

— k— — ,/ p L J

= J = f v J .- ■• -----

------£

— 1- P f - t f T

r - ” T f - r l

s Gm/Bk Cm7 F7 BkMaj 7 G7 Cm7 F7

J - ^. . . . . . V . J ., , & = — n * - f

~ ~ i—•

n - ' 1

i=f —

-------------------------

1 9 ^ 0 ‘ ^ " J f jg r1T ~ r

- L -

— f2— rt-1—

■ f ¥- ^ - b ------------ P - --------------- * -

^ | = = JLr i- - # —

---------7-

f t — « ---------

1

" ■ k r r >— +■

i— it

13

99


100

0 1 B l— e ----------------Am 7 D7 Gm7

— [- | J ~ fC7 F7

----------- 1------*■“

y = - ' -

i r —>3

— #-

.p.- — 1* ■#-=■

l j ^ J l

m

—

4 P P Y—

- * * T

U. i 1 ■ -

»—— p— i*

a= U —1*— • — p -

►------1----

17

G7( k9)

4 =

Cm7

A--------y -

F7 Cm7 F7 BkMaj

--------- V

7

+ -

U > : , l, - - > .... 4====p =p

= F = ^

- » ------ C -n

k = * ------

m 0 a —

f = 4 ±

--------f ~0 »

--------- *

j------- f i J = 4 =

— M —

= i ^ 4 =

" H ^ P 1

f - J f " ^ = f =

1 P U

. 1 1/

21

-----------

BkM

-t

CT o>1

O m7 F7

------ = = 4 — = —

Cm7 F7

i --------

BkMaj 7

------- V -

--------------- 4 — ,

r h

0 ; i , -

^ - ^ 4 -

----- ^ -n ^ =^ —

_ J ------ m—

—a-------1*—" m ■"

d * f -

0 ■

= J = ;

— ?—

r $ J <i

*— f ---------

Ju L .= ^ ~

* - 1- i r L

- j - r - j -----0------

= 4 = L ,

:

25

Bl>7 Cm7 BU/laj 7

\ S i> | - ^ — J /> 1" |* 3 »--------- 3____t_“f n » — " • k A-^_E-sk i----

^ rrf r r If f

= b M =

# =

i 4 = Mp

f = f - - r r - y f f*--p--- J—

------------------------- - = = = = ?------------ s)---29


101

Bk/D Akm/Ek Bk/D Akm/Ek

~ --------- i ------* — ~ lr f -------- -----------

4 r r

t n Li. ; r r f = r ^

f f — M -

- = --------- f ------*----- -— --------------!------ ---------------------

I y - P----------------------------------------- - = --------- -Z------ *-----

- 4 — ----------------

— w-------- =---------p---------------------------- s --------------i- r - ~ £ = - l= M =

L L 4 ;---------------33

C m 7 F 7A l Bk/D Akm/Ek Bk/D

“i t " t > I1!* ""a ^/

~ n . f--j ET-p— # ---------------» - - * ■

4 ■ r r - r .* = ~ 0 ! | / |» ^ " |» >

J - - £ = f 1Scalar Passage

------------------------------------f —

r - f r p - W- - - a- J----------p- p- - p— ?— . l . „ r r J 1

37

BkMaj 7 BkMaj 6 C m 7 F 7 C m 7 F 7

-^=T»------------------------------------- f f "5--------- — = —

ET

* T \----- F----- ^ -------------E * -i— * * * = £ l f * "«i=

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f f r r_ z _ ?----------------------------- p _• r - t f ^ J r r r ■

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m :w m m165

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APPENDIX H: FRENESI

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Transcription Quinn

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VITA

Charles Quinn was bom in Atlanta, Georgia on October 18,1958. Mr. Quinn

has completed his bachelor of music (University of Montevallo 1990) and masters of

music (University of Mississippi 1991) in trumpet performance and is currently working

to complete the doctor of musical arts in trumpet performance at the Louisiana State

University. Mr. Quinn has been actively involved in a variety of musical activities

including: performing, composing, arranging, and teaching.

122


DOCTORAL EXAMINATION AND DISSERTATION REPORT

candidate; Charles Lester Quinn, Jr.

Major Field: Music

Title of Dissertation: Chet Baker's Role in the "Piano-Less Quartet" ofGerry Mulligan

Approved:

Majoif Professor and Chairman

;he Graduate SchoolDe<

EXAMINING COMMITTEE:

/ . ( J v . *

CGo-Ghair „ „

Date of Examination:

June 28, 1996


chet baker's role in the 'piano-less quartet' of gerry

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