Quotes from Gerry Mulligan


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When I began listening to saxophones, I was first attracted to Coleman Hawkins.


When we've finished the current tour I'm going to go back to Italy and see if I can do some more writing.


The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.


The recording industry has changed; they're enjoying such incredible success in the pop field.


So I played alto for quite a while until I saved up the money for the baritone.


People are approaching electronic levels in music; although not all of it happens to tickle my fancy.


Only the French, I guess, really use tenor and alto to any great extent in the orchestra.


New York is still where I live most of the time.


Miles Davis is one who writes songs when he plays.


I've appeared on some other people's albums.


I like what I hear other guys doing, but the thing that really attracts me is melodic playing.


Actually, it is a fact that I've been doing more writing than playing in recent years.


You start way down on a low B flat on the tuba and you have a chromatic scale; you can match the colours all the way up, till you get to the top of the trumpet.


In fact, I heard Bird first, and had got well into listening to him. You know, it's the kind of accidental thing that awareness of a player is: what's available, what somebody happens to play for you.


You can make a saxophone into an electric organ; you can do everything with it.


Now, the instrumentation in the jazz band and the jazz dance band has gone through many evolutions. For instance, in the 'twenties the tradition was two or three saxophones.


Then, of course, I played alto and tenor, wherever there were jobs.


The other saxophones, except as solo instruments, really don't have much point in the orchestra.


The first reason for starting to do the symphony concerts was to play this new piece of mine.


The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.