The modern sounds that inspired Leith Stevens

Gene Norman Presents 

Gerry Mulligan and Shorty Rogers

Modern Sounds

After exploring Leith Stevens' gem Jazz Themes From The Wild One in our previous post—and the intrigue surrounding its potential mark on the Lighthouse All-Stars—it's time to take a step back toward the original source of that inspiration. Today's feature is an essential volume in West Coast discography that brings together, in an indispensable "two-in-one", two of the genre's sonic pillars: Shorty Rogers' celebrated Modern Sounds (which inspired Stevens upon Marlon Brando's own recommendation) and a foundational work by the Gerry Mulligan Ten-Tette from 1953. A double reissue whose historical significance is best captured through the lens of specialized criticism and its original liner notes.

In two sporty little band concerts, The Shorty Rogers Giants and The Gerry Mulligan Tentette each ante up a half dozen pieces of Middle-Period Modern to make up this 2-in-1 pack. Like any pair of aces back-to-back Mulligan and Rogers stand to gain from the coupling.

Part of the gain is the chance to introduce followers of either to the other's work; part is the opportunity for side-by-side comparison. Comparison proves that Shorty and Gerry are neither startlingly similar nor sharply opposed.

One of the things they have in common is a certain lightheartedness in their music. Humor in music can be shallow, but neither of these aces could be counted as an out-and-out joker in that sense because their hearts, while light, are warm and whole. That's the long suit for Rogers and heart is a quality of Mulligan's, too. (...)

As to the dates themselves, each seems to have offered its leader a chance to put into play a pet project, and the results, in both cases, altered the look of jazz a little. Both composers chose to employ the oft-neglected middle-sized group: Rogers took eight, Mulligan took ten. But there is a difference in approach that goes beyond the gap of two: prior to these dates Mulligan had been connected with some of the earliest incidences of chamber voicing; Rogers, on the other hand, was identified with more orthodox band music. Here, the roles are reversed: Rogers has the chamber, Mulligan the dance-derivative sound; the octet is a big combo, the Tentette a little band. (...)

Shorty's date, when it was first released, hit like a bombshell. Now that the Forward Look in jazz has become respectable the music is no longer controversial, but simply pleasing and solid. The Tentette was a bit blanketed by the hullabaloo over the then new and startling Mulligan quartet, but the record was always quite popular with musicians, who considered it a sleeper, and reportedly it is a favorite of Mulligan's. Since then, its real worth has steadily become more widely known. The Rogers date is easily locatable in relation to what went before and what followed; it was a step in the journey. The Mulligan date is less datable; it stands alone; there is nothing quite like it. (...)

Although it's common to come upon lists, made out by thoughtful people, of the "Ten Books" or the "Ten Records" they would take to a desert island, perhaps it is false to assume that anyone is ever really confronted with the problem. But if so, this record—highly portable, compact—would seem to have been expressly constructed for a little fudging on the quota, a neat chance to slip in the equivalent of a bonus eleventh.

For the stay-at-home, the bonus—beyond just good listening—is the chance to compare Rogers' and Mulligan's compositions with versions by other bands and by their own smaller groups—like PoPo, the tune that Rogers still uses for a set ending, and many of Mulligan's best-loved songs, like Walking Shoes. (...)

And any jazz-follower can rest assured these sides will remain meaningful, rewarding, and fashionable for some time to come. This big record is full of surprise caches, opening up like a deluxe Boy Scout Knife to reveal more happy gadgets with every handling. Actually, "scout knife" is too skimpy a symbol; Mulligan and Rogers cast together make a handsome two-edged sword that cuts clean either way you swing it. *Will MacFarland (from the liner notes)*

On the heels of Miles Davis' style-defining release Birth of the Cool, Shorty Rogers and Gerry Mulligan chimed in with their own important cool jazz records, placing the music in its future West Coast home in the process. Modern Sounds brings together some of these seminal recordings, including a 1951 set by Rogers and His Giants and a 1953 date by Mulligan and His Tennette. Rogers' outfit includes then future West Coast stars like alto saxophonist Art Pepper, tenor saxophonist Jimmy Giuffre, pianist Hampton Hawes, and drummer Shelley Manne, among others. Each soloist gets plenty of room to stretch out on a set including four Rogers originals; Pepper particularly shines on a fine rendition "Over the Rainbow," while Giuffre deserves special mention for his sparkling original "Four Mothers." Save for Vernon Duke's "Taking a Chance on Love," the second half of this collection includes all Mulligan originals. Similar to Rogers' fine work, these cuts bounce along on airy and subtly complex arrangements. Joining Mulligan are standout soloists like trumpeters Chet Baker and Pete Candoli, alto saxophonist Bud Shank, and drummer Chico Hamilton. Highlights include "Westwood Walk," "A Ballad," and "Rocker" (this last cut having originally been cut as part of the Birth of the Cool sessions). A very enjoyable set taking in the beginnings of West Coast jazz. *Stephen Cook (www.allmusic.com)*

1 - Four Mothers

(Jimmy Giuffre)

2 - Didi

(Shorty Rogers)

3 - Sam And The Lady

(Shorty Rogers)

4 - Popo

(Shorty Rogers)

5 - Over The Rainbow

(Arlen, Harburg)

6 - Apropos

(Shorty Rogers)

7 - Westwood Walk

(Gerry Mulligan)

8 - Simbah

(Gerry Mulligan)

9 - Walking Shoes

(Gerry Mulligan)

10 - Rocker

(Gerry Mulligan)

11 - A Ballad

(Gerry Mulligan)

12 - Taking A Chance On Love

(Duke, Latouche, Fetter)

13 - Flash

(Gerry Mulligan)

14 - Ontet

(Gerry Mulligan)

#1 to #6

Shorty Rogers and His Giants:

Shorty Rogers (trumpet), John Graas (french horn), Gene Englund (tuba),

Art Pepper (alto sax), Jimmy Giuffre (tenor sax),

Hampton Hawes (piano), Don Bagley (bass), Shelly Manne (drums).

Recorded in Los Angeles, California, October 8, 1951

#7 to #14

Gerry Mulligan and His Ten-Tette:

#7, #9, #10, #11

Chet Baker, Pete Candoli (trumpets); Bob Enevoldsen (valve trombone);

John Graas (french horn); Ray Siegel (tuba); Bud Shank (alto sax);

Don Davidson (baritone sax); Gerry Mulligan (baritones sax);

Joe Mondragon (bass); Chico Hamilton (drums).

Recorded in Los Angeles, California, January 29, 1953

#8, #12, #13, #14

Chet Baker, Pete Candoli (trumpets); Bob Enevoldsen (valve trombone);

John Graas (french horn); Ray Siegel (tuba); Bud Shank (alto sax);

Don Davidson (baritone sax); Gerry Mulligan (baritones sax, piano [#12, #13, #14]);

Joe Mondragon (bass); Larry Bunker (drums).

Recorded in Los Angeles, California, January 31, 1953