JazzProfiles: Steve Slagle "Alto Manhattan"

Thursday, December 8, 2016

Steve Slagle "Alto Manhattan"

As anyone who has been more than a casual visitor to these pages will attest, I am very attuned to drummers.

Drummers often take me to new directions in the music.

While I may not be very familiar with the horn players on a new recording, if there’s a drummer I admire on the date, then I’m willing to give the music a close listening.

As a case in point, I bought legendary pianist Bill Evans’ Everybody Digs Bill Evans LP because the drummer on it was Philly Joe Jones, whose style of drumming has always had an immense influence on me. I readily admit that I had already admired Bill’s work on its own merits when he first joined the Miles Davis Quintet.

Say what you will about Dave Brubeck’s music, but after drummer Joe Morello joined the group, I owned every album that Dave’s “classic” quartet ever issued. If you are into Jazz drumming, how can you not appreciate Joe Morello?

Big bands recordings by Artie Shaw, Tommy Dorsey and Harry James on which Buddy Rich was in the drum chair always got my full attention, those that didn’t got less so. There was only one Buddy Rich.

I came of age as a Jazz drummer on the "Left Coast" watching Larry Bunker, Mel Lewis, Shelly Manne and Stan Levey performing on a regular basis in a variety of Jazz settings. Needless to say, the recordings in my collection overwhelming reflect their influence.

More recently, ever since I heard his work in a trio with keyboardist Larry Goldings and guitarist Peter Bernstein and in a quartet led by guitarist John Scofield that featured tenor saxophonist Joe Lovano, Bill Stewart has been my drummer-of-choice in terms of someone I follow to help move my ears in a new direction.

Such was the case with the recent arrival of saxophonist and flutist Steve Slagle’s new CD - Alto Manhattan[Panorama Records 006]. The CD has a January 6, 2017 street date.

In fairness, I knew of Steve’s work from previous recordings under his own name for Steeplechase, as well as those he made with guitarist Dave Stryker, pianist Bill O’Connell, bassist Ron Carter and with organist Barbara Dennerlein.

And, too, Bill Stewart has previously recorded with Steve, but when Bill’s on a recording date, I always listen especially closely because his conception of drumming is so original, you never know what’s going to come out of it. Bill uses a matched-hand approach in which the drum sticks are held parallel to one another instead of the left-hand forming a right angle to the right hand stick. The stuff he lays down is astonishing.

As a corollary, what came out of a close listening to Alto Manhattan.[Panorama Records 006] is a new found appreciation for Steve Slagle and his music [he composed six of the nine tracks on the CD].

And more than a passing mention should be made of Lawrence Fields on piano and Gerald Cannon on bass who join Bill to create a formidable rhythm section, which Norman Diaz, augments on conga on three tracks, and tenor saxophonist extraordinaire Joe Lovano guests on two tracks.

It’s a dandy new CD from start to finish and one that you would do well to include on your holiday wish list.

One of the qualities that I have always marveled at when listening to Steve Slagle is that while he comes from everybody, he always sound like himself. If you think about this for a minute its huge because Steve has managed to accomplish the single most difficult thing in Jazz - an instantly recognizable voice.

Whatever the context - Steve Slagle has a singular sonority and a unique approach to improvisation. Like his reed running mate, Joe Lovano, four bars and you know it's Steve.

Jim Eigo of Jazz Promo Services is handling the publicity for Steve’s forthcoming CD and he sent along the following media release which contains more information about Steve and the recording.

“Steve Slagle on Alto Sax and Flute leads a new recording with a great line-up of diverse players who inspire a wide range of music playing five new exciting originals for the first time, as well as two classics and one solo alto sax piece.

Alto Manhattan, is latino for the NYC neighborhood steve lives in-'upper manhattan' or 'the heights' and the program here is: FAMILY—This composition for 2 saxes+2 drums is pure jazz, with Cuba and Africa in the make-up of what is a big family.

Note Roman Diaz,from Cuba, and his great sound on Conga, as well as the whole group inter-play-all in the family!

ALTO MANHATTAN, song #2 is so nice they play it twice! The first fiery take is with quartet and then later down the line Joe Lovano is added on tenor to create another harmony (A.M.) Bill Stewart’s contributionon both takes, proves, as many know, that he is one of a kind as a drummer.

I KNOW THAT YOU KNOW is a lyrical alto blues oriented song that allows everyone to 'let their hair down'. Bassist Gerald Cannon gets all the way down here!

BODY and SOUL showcases Steve's Alto alone, joining the canon of sax players who have attempted this classic ballad as a solo piece. Done in one take, Steve references Monk, Duke, Bird and Ornette (twice!) within the structure of this classic song.

INCEPTION came about after Slagle recently was asked to play with McCoy Tyners Quartet. This challenging McCoy composition eventually opens up into an extended minor blues. This is the first take of the date and notice the immediate empathy of all the players!

I GUESS I'LL HANG MY TEARS OUT TO DRY, a beautiful ballad starting with the often forgotten verse, is given the romantic treatment here. Lawrence Fields piano mastery helps make this a shining version of a deep song.

Finally Alto Manhattan ends with two flute pieces which are also very central to the sound of the record. HOLIDAY, the most thru-composed piece of the date, Slagle first wrote with harmonica master Toots Thielman in mind and dedicates this first recording of the song in memory of maestro Toots. Joe Lovano’s G mezzo soprano along with the sound of the flute really takes the listener on a musical vacation.

And with that, we have VIVA LA FAMALIA to end the proceedings - a jam for 2 drums,bass and the flute lead. A fresh,original first take played spontaneously at the end of this unique and outstanding recording.

Yes,Viva la Famalia!!”

Artist: Steve Slagle

Title: Alto Manhattan

Label: Panorama Records 006

Artist’s Website: www.steveslagle.com

Release Date: JANUARY 6 2017

UPC Code: 888295511872

Track listing, track times:

1. FAMILY 7:05

2. ALTO MANHATTAN 3:52

3.1 KNOW THAT YOU KNOW 7:01

4. (SOLO ALTO) BODY & SOUL 4:5S

5. INCEPTION 5:55

6. GUESS I'LL HANG MY TEARS OUT TO DRY 6:29

7. (QUINTET) (ALTO MANHATTAN) A.M. 4:09

8. (IN MEMORY OF TOOTS THIELEMANS) HOLIDAY 5:27

9. VIVA LA FAMALIA 6:57

STEVE SLAGLE: alto saxophone (1 -7), flute (8 & 9)

JOE LOVANO: tenor saxophone (1 &7), G mezzo soprano (8)

LAWRENCE FIELDS: piano

GERALD CANNON: bass

ROMAN DIAZ: congas (1, 8 & 9)

BILL STEWART: drums

All compositions by Steve Slagle, Except "Body & Soul" by J. Green; "Guess I'll Hang My Tears Out to Dry"; J, Styne & S. Cahn; "Inception" by M. Tyner

Produced By: Steve Slagle

Executive Producer: Rick Simpson

Recorded August 6,2016 At Trading 8's Studio, Pararnus, NJ

Recording & Mix Engineer: Chris Sulit

Photography & Graphic Design: Christopher Drukker

Available from:

http://steveslagle.com

CDBaby/Amazon/iTunes

The following video montage features the quintet version of A.M. with brilliant solos by Steve, Lawrence and Joe. [Bill Stewart’s matched-hand magic begins at 2:56 minutes.]

No comments:

Our Thanks to Alan Parr for this review on Amazon.UK.

The very title makes it clear that this is not a biography in the conventional sense. However, in many ways it works better than a normal biography. The author has identified six phases of Gerry Mulligan's career and illustrated each with several suitable pieces of writing - not his own, but drawn from a vast array of sources - including both contemporary and retrospective pieces such as comprehensive sleeve notes, magazine articles, and interviews. I realised that there are considerable advantages to this approach. A conventional biographer will form a picture of his subject and this view will tend to shape everything he writes. The use of pieces from several dozen writers helps us get a much more rounded picture of the subject - and it is clear that Gerry Mulligan did indeed have several sides to his personality. True there are a number of episodes and anecdotes which get repeated several times but I did not find this obtrusive; rather, seeing the same story from different sources helped me form a more balanced picture. Biography or not Steve Cerra has arranged the materials to enlighten us about each stage of Gerry's career. It all works beautifully, with important recordings illustrated with the original sleeve notes and contemporary reviews, and for each self-contained section it is natural to return to listen once more to the recordings themselves. This isn't one of those books where you say 'I couldn't put it down' and I suspect the author would be rather disappointed if anyone did. I'm pleased to say it took me six weeks to read. I've enjoyed Mulligan's music for more than sixty years - we called our first cat Mulligan - but I learned a great deal. It's not just the book list that is extensive; the author's knowledge of Mulligan's music and across the jazz scene as a whole is encyclopedic. I enjoyed the book immensely and was happy to take my time to enjoy each section and its associated music. I unreservedly recommend A Gerry Mulligan Reader.

Many thanks to Jeffrey Sultanof for these reviews.

“I salute Steven Cerra, drummer and writer, who has self-published two extraordinary volumes on Gerry Mulligan and Bill Evans. Cerra, who continues publishing a blog called Jazz Profiles, also writes a column right here for Substack. His Substack column reprints articles that in many cases are hard to find. That’s what he has done with his readers. He has gathered liner notes and often hard-to-find articles and interviews of said artists. Reading them for the first time or re-reading them after many years is fun and enlightening, and puts them into active circulation. Previously, you would have to go to specialist libraries or private collections to find them. Having them easily accessible is a boon to historians like myself for obvious reasons - the information is at my fingertips (literally) and it is easier to find sources of quotes for accurate footnoting. These are also the sorts of books that you can’t put down once you start reading. I urge you to check them out. [They are available exclusively on Amazon both as paperbacks and eBooks. Just type in Steven A. Cerra in the Books section on Amazon’s site to search for them.] Kindle prices are $9.99 each - a bargain!!!”

Ricardo Pinheiro's Latest - TONE STORIES - Coming from Fresh Sound on April 19th

Ricardo Pinheiro completed a Degree in Music at Berklee College of Music, Boston; Degree in Psychology Sciences at the Universidade de Lisboa; and a PhD in Musicology (Ethnomusicology) at the Universidade Nova de Lisboa. He studied with Mick Goodrick, George Garzone, Ed Tomassi, Ken Pullig, Wayne Krantz, Ken Cervenka, Chris Washburne and Salwa Castelo-Branco. He played/recorded with Peter Erskine, David Liebman, Chris Cheek, Mário Laginha, Eric Ineke, Perico Sambeat, Stephan Astbury, João Paulo Esteves da Silva, Remix Ensemble, Matt Renzi, Jon Irabagon, John Gunther, Mike Del Ferro, André Charlier, Benoît Sourisse, among many others. He teaches at the Escola Superior de Música de Lisboa, and is the Director of its Masters in Music Program. He played and participated in conferences and meetings in Austria, Greece, Spain, France, The Netherlands, Germany, U.S.A., Denmark, Italy, South Africa, among other countries, and published articles in journals such as Acta Musicologica of the International Musicological Society, the Jazz Research Journal, or the International Review for The Aesthetics and Sociology of Music. https://www.ricardopinheiro.com/bio

My thanks to Dr. James Williams for this 5 Star Amazon Review

A Gerry Mulligan Reader - Our Thanks to Kevin Goss

When I heard that Steven was writing this book, I couldn't wait to receive it because I have enjoyed his jazz writing for some time, and I have been a Mulligan disciple for over 40 years. The first surprise when it arrived is the size of this book. I was expecting it to be the standard paperback size, but this book is large. Given that the print size is standard, that was when I realized how comprehensive the book was going to be. Cerra covers Mulligan's music from his beginnings as a teenager to his final output while also paying attention to the legacy Jeru left behind. Using a combination of full articles, excerpts, and personal observations it's clear that this is a labour of love. I highly recommend this book for any fan of Gerry Mulligan, but also for any fan of jazz. Mulligan is in the pantheon of great jazz innovators and his legacy is given the justice it deserve's in Cerra's tome. Read this book and buy Gerry's music. You'll regret neither.

Our thanks to Jim Harrod at Jazz Research

At last, a resource of critical writings gathered in one place covering the career of one of the most influential jazz artists of the 20th century. The large format, 8.5 x 11 inches, enables a decent font size to read this collection that includes liner notes from many Mulligan CD releases where the text was often so small that a magnifying glass was needed. Cerra’s choice includes many hard-to-find items like a chapter from the now out-of-print and pricey Ruddick biography of Chet Baker discussing the formation of the Gerry Mulligan quartet.

Many thanks to Bill Crow for the following -

Steven Cerra sent me a copy of his new book, “Gerry Mulligan, Writings on a Jazz Original,” a fine collection of writings about Gerry, including some of mine, plus some interviews. Steven writes: “The purpose of this book is to provide the reader with a sequential and thematic account of the life and music of Gerry Mulligan (April 5, 1927-January 20,1996.) I’ve been enjoying reading it. Steven Included an anecdote from one of my books: …Gerry continued to work with his quartet: Brookmeyer, Mel Lewis and me. We appeared on Mike Wallace’s television show during the time that Wallace was in the process of building a reputation as an investigative reporter. Wallace’s TV interviews were popular partly because of his prosecutorial style. At the rehearsal, Wallace was courteous and low-key. He asked questions that had been prepared by his staff, and Gerry answered frankly about his career, his experiences with drugs and the law, and other aspects of his life. On the air, Wallace’s tone became more contentious, and instead of asking the questions he had asked at rehearsal, he said accusingly, “I understand you were involved with drugs, and did some time because of it!” This left Gerry with little more to say than “yes.” Though Wallace was using the information Gerry had given him at the rehearsal, he gave his audience the impression that he was confronting Gerry with the results of his own private investigations. Gerry managed to field Wallace’s questions with his usual aplomb, but he found himself at a loss when Wallace asked him, “I notice there are no black musicians in your group. Is this accidental, or by design?” Actually, it was the first time in years that, by happenstance, there were no black musicians in Gerry’s quartet, but any short answer to that question would have sounded lame. As Gerry considered how best to respond, Bob Brookmeyer glared at Wallace, jerked a thumb at Mel Lewis, and said frostily, “We’ve got a Jewish drummer. Will that help?” Wallace dropped the subject.

Our thanks to Pierre Giroux writing in the Jan. 2024 Ed. of The New York City Jazz Record

“Gerry Mulligan: Writings on a Jazz Original, by jazz historian Steven Cerra, delves into the life and work of the groundbreaking baritone saxophonist, composer, arranger and bandleader. The book is a reader, and its seven discrete chapters cover specific periods in the musician’s musical life, each chapter presenting selections from essays, articles, interviews and liner notes by various hands and providing insights into Mulligan’s unique style, contributions and impact on the jazz genre. Throughout a nearly 50-year career (this month marks the baritone saxophonist’s 28-year deathaversary), Mulligan was at the inflection point of many changes in jazz. In 1944, at the age of 17, he started out in big bands and his musical career from then until the early ’70s represents his most productive and innovative period. This fact is reflected in the compelling written material sourced by Cerra, which comprises the book’s first three chapters and represents over two-thirds of the book’s pages. Among the many highlights, we learn of the impact he made arranging and composing for the big bands of Gene Krupa, Claude Thornhill and Elliot Lawrence in the mid to late ’40s, his captivating contributions to the Miles Davis Nonet Birth of the Cool sessions (1949) and the formation of the groundbreaking pianoless quartet with trumpeter Chet Baker in the early ‘50s, which foreshadowed the West Coast jazz movement. For the balance of the ’50s all the way into the early ’70s, Mulligan burnished his reputation with various iterations of the quartet, which included trombonist Bob Brookmeyer and trumpeter Art Farmer. He also led an influential sextet that included Brookmeyer, saxophonist Zoot Sims and trumpeter Jon Eardley, led his own twelve-piece Concert Jazz Band from 1960-64 and joined Dave Brubeck’s group from 1968-72. This is not meant to be an exhaustive recounting of Mulligan’s activities but rather to demonstrate the richness of his endeavors. Readers will additionally gain valuable insights into Mulligan’s musical influences, collaborations and partnerships, which affected the evolution of his distinctive sound. Contributors to the book include George T. Simon, Ira Gitler, Michael Cuscuna, Jack Gordon, Nat Hentoff and Leonard Feather, among others. Mulligan died on January 20, 1996, at what would be considered a still youthful 68. Cerra has provided a comprehensive and insightful exploration of his contribution to jazz, offering a profound exploration of Gerry Mulligan’s musical legacy as well as his enduring impact.”

Our Thanks to Gordon Jack.

Here’s another unabashed plug, this time by Gordon Jack, who is a frequent contributor to JazzJournal where this review is currently appearing. What is omitted from his summary for ethical reasons is the fact that Gordon Jack has contributed a number of his fine essays on Gerry to the Mulligan Reader. The book is available as both an eBook and a paperback exclusively on Amazon.com. With the holidays coming up, why not consider purchasing a copy for the Jazz fan in your family? Gerry Mulligan: Writings On A Jazz Original by Gordon Jack “Steven Cerra studied drums with Victor Feldman and Larry Bunker before going on the road with Bobby Troup, Anita O’Day and Juliet Prowse during the sixties. He eventually left the music scene in 1970 to pursue work in other fields. His interest in Gerry Mulligan began when he first heard the Mulligan sextet’s famous 1954 San Diego concert which featured Jon Eardley, Bob Brookmeyer, Zoot Sims, Red Mitchell and Larry Bunker. That album began a life-long interest in Mulligan’s music. This is the third book published this year devoted to one of the most innovative performers of the post-war jazz scene. The Gerry Mulligan 1950s Quartets by Alyn Shipton is a forensically detailed look at one of one of the genre’s most unique small groups. Being Gerry Mulligan: My Life In Music comes from a collection of audio tapes he left behind which have been lovingly reconstructed as an autobiography by Ken Poston. Back in 1986 Raymond Horricks wrote a brief appreciation which he expanded in 2003 to include a discography of commercial and bootleg material (Gerry Mulligan’s Ark). Jerome Klinkowitz’s 1991 Listen: Gerry Mulligan is a useful reference but Jeru’s Journey by Sanford Josephson published in 2015 is a disappointing attempt at a biography revealing little that is new. Just like the Miles Davis Reader and the Duke Ellington Reader, Writings On A Jazz Original offers something a little different. The fifty-two articles, interviews and liner-notes by major jazz writers here reveal a fascinating anthology of his activities over the years: George T. Simon (Insert notes to Elliot Lawrence Plays Gerry Mulligan), Peter Welding (Insert Notes to Birth of the Cool), Peter Welding (Insert Notes to The Complete Pacific Jazz and Capitol Recordings of the Gerry Mulligan Quartet and Tentette with Chet Baker), Steven Cerra (Gerry Mulligan and Stan Kenton), Alun Morgan (Insert Notes to The Fabulous Gerry Mulligan Sextet), Nat Hentoff (Gerry Mulligan-The White Mainstreamer), Leonard Feather (Before and After), Bill Crow (From Birdland to Broadway), Bill Kirchner (Booklet Notes to The Complete Verve Gerry Mulligan Concert Band Sessions), Michael Cuscuna (Booklet Notes to The Age of Steam), Gene Lees (Meet Me at Jim & Andy’s), Ira Gitler (Swing to Bop) and Mathew Ruddick (The Life And Times of Chet Baker). There are three Downbeat Blindfold Tests that Mulligan undertook including one with Harry Carney. Cerra also includes interviews with Gerry’s two wives Arlyne Brown Mulligan and Franca Rota Mulligan. Writings On A Jazz Original is a most welcome addition to the extensive literature already devoted to one of the giants of the music. When the definitive Gerry Mulligan biography is finally written, Steven Cerra’s book will be an essential source. Gerry Mulligan: Writings On A Jazz Original By Steven A Cerra. Self Published. 355 pp. Gordon Jack

My thanks to Michael Steinman at Jazz Lives

“GERRY MULLIGAN: WRITINGS ON A JAZZ ORIGINAL,” by STEVEN A. CERRA (Amazon, 2023) www.jazzlives.wordpress.com Posted on November 9, 2023 | 4 comments “Forgive the culinary metaphor, but some books are snacks, some are satisfying dinners. Steve Cerra's new book on Gerry Mulligan is a delightfully overwhelming banquet. When I first received a copy, I found it engrossing but I also thought, "I might need a few weeks to do this book justice." So this admiring review comes with the caveat that I, the admiring reviewer, have read here and there in the book. But I think it is such a valuable compilation that it should get heralded right now. To me, Mulligan is in the odd position of being simultaneously celebrated and viewed at a curious distance. He had a nearly fifty-year career as a jazz luminary, a deep influence as a singular player of a sometimes-underestimated instrument, the baritone saxophone. For some, he would have been slightly behind Ellington's majestic Harry Carney; for others, he would have outstripped Carney as an innovator and creative thinker. Mulligan appeared to "move with the times," but in reality he stubbornly chose to be himself, no matter what the context: his piano-less quartet, his Concert Jazz Band, the "Birth of the Cool" group; his later recordings that each seem to be jubilant explorations of new landscapes. To understand him, one has only to make a quick mental list of the people he played with and chose to work with: Bill Crow, Miles Davis, Brew Moore, Charlie Parker, Bob Brookmeyer, Chet Baker, Dave Brubeck, Jimmie Rowles, Dizzy Gillespie, Duke Ellington, Jack Teagarden, Tony Fruscella, Bill Charlap, Zoot Sims, Johnny Hodges, Teddy Wilson, Thelonious Monk, Art Farmer, Ben Webster, Phil Woods, Elliot Lawrence, Joe Sullivan, Gene Krupa, Annie Ross, Billie Holiday, Clark Terry, Stan Getz, Paul Desmond, Lee Konitz, Chubby Jackson, Charles Mingus, Mel Torme, Shorty Rogers, Zoot Sims, Lionel Hampton, Cleo Laine . . . and that is not including his arrangements for Lawrence, Krupa, Claude Thornhill, Stan Kenton, and his own groups. He has been categorized as part of the "cool jazz" or "West Coast jazz" school, but those schools are merely names journalists give to groups of musicians when they need a quick and often inaccurate classifier. Cerra's book is not the only one on Mulligan: Sanford Josephson's biography, JERU'S JOURNEY: THE LIFE AND MUSIC OF GERRY MULLIGAN, appeared in 2015, and two oral histories appeared earlier. But Cerra's book, an appealing collection, does not duplicate the previous works. It is a Reader, or a collection of articles, interviews, and liner notes to recordings. As such, it is not only a shifting multi-layered portrait of Mulligan, person and artist, it is also a cross-section of journalistic and essayistic jazz history. Consider, if you will, a book of reviews of Ulysses: a reader would learn not only about the subject, Joyce's work, but how it was regarded, decade after decade. Thus, Cerra's large-format book (with illustrations) is fifty-plus perspectives on the artist, his groups, his colleagues, and his reputation as the times shift. Cerra himself doesn't demand center stage, but his writing is clear and unfussy, a pleasure. Let us assume, even if it's heresy, that the imagined reader isn't terribly fascinated by Jeru in all his many selves. The book is still an arresting collection of stories (I was reading it last night, or this morning, at 2 AM). I didn't know that George Duvivier had been invited by Duke to join the band at the same time Duke found Jimmie Blanton, and why Duvivier said no; I hadn't known how Al Cohn had lost one eye; his tumultuous relationship with Chet Baker, his working relationships with Miles Davis, Gil Evans, and much more. For those who thrive on darkness, there's heroin, cancer, imprisonment, broken hearts as well. I won't describe the book more, because I don't want to take away the serendipitous joys of finding a new story, a new insight, musicians seen from multiple perspectives. At first, I was disconcerted that the book lacked an index (possibly a financial decision) but rambling through its pages, I have welcomed the opportunity to find surprises without arrows pointing to them. One of the most charming aspects of Mulligan is that he understood, and loved, the whole history of the music. Had there been a jazz festival with Leon Roppolo and Ornette Coleman on sequential stages, Gerry would have sat in with both of them and made everyone feel at home with his presence. And, in turn, he was loved and respected by Coleman Hawkins and Rex Stewart, among other "elders." This leads me to the filmed evidence (December 1957) of the magic moment when I first saw and heard him live. You'll recognize the sublimely glittering crew, and please marvel once again at how Jeru not only gets comfortable but lifts the music: After Jimmy Rushing walks to one side, there's the Basie rhythm section (without Walter Page, who was ill): Basie, piano; Eddie Jones, double bass; Freddie Green, guitar; Jo Jones, drums. Then Ben Webster, tenor saxophone; Bennie Morton, trombone; Joe Wilder, trumpet -- then Gerry, soaring, lyrical and down-to-earth; Vic Dickenson, trombone; Roy Eldridge, trumpet; Emmett Berry, trumpet; Coleman Hawkins, tenor saxophone; Dickie Wells, trombone; Joe Newman, trumpet; Basie and the ensemble, cheered on by Billie Holiday. Of course there are thousands of hours of Gerry on record and film to savor. But this book will add to the enjoyment, and I salute its diligent author-editor. It's available as a large-format paperback or ebook here, and Cerra says in his acknowledgments that after publishing costs have been met, half the proceeds will go to the Gerry Mulligan Foundation "to support school music programs and acquiring instruments for students," commendable indeed. Make room on your shelves.”

With gratitude to Gary Giddins

Some Early Reviews

WELL DONE STEVE! Just received your handsome Reader. Although I'm familiar with it from your emails over the years, I intend to start re-reading now it's in book form. It's been a long struggle, but your book provides essential information to the ongoing Mulligan research which hopefully will one day result in a full-blown biography. Steve WONDERFUL. I have only read the introduction thus far, but I wanted to tell you, that I can see that this book is just what I was expecting, and I believe that it will fill a huge void in understanding - and appreciating - Gerry Mulligan. Whilst I have enjoyed (to a degree) all the books previously published about Gerry, I do not believe that any of them, bar perhaps Alyn Shipton's recent publication, have come anywhere near addressing Mulligan's real significance in jazz history. I think you have achieved something special in pulling this together. I thank you. I hope you make a fortune - both for the Foundation and for yourself. (I have already persuaded a good friend to purchase this book and will try with others I know). Congratulations, and above all thanks. I now look forward to months of careful reading (probably with Mulligan playing in the background....) Hi Steve, Well, I've read enough of your book to allow me to think that I can comment intelligently on it. First off, it's great! I love your idea of telling the story by way of excerpts from the writing of various authors. I do think that it gives a more well-rounded picture of Jeru than any single author could offer.I was familiar with many of the pieces, of course, but reading them again--the excerpts surrounded by other essays/articles that focus on the same period--helps me, at least, get a firmer idea of the author's point of view on that subject. And there were/are various excerpts in your book that I hadn't seen before. I was especially happy to find the piece by Matthew Ruddick from his book on Chet Baker. I think it's the best summation of the beginnings & contributions of the original Quartet that I've ever read. I'll have to get Ruddick's book. I do love the book and appreciate the time and effort that you've put into it. It's a worthy addition to the jazz canon, and I'd unhesitatingly recommend it to anyone. And, print format or not, I'm really enjoying reading it.

Thursday, December 8, 2016

Steve Slagle "Alto Manhattan"

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