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A strawberry sundae served in a classic sundae glass

The sundae is an ice cream dessert. It typically consists of a scoop of ice cream topped with sauce or syrup, and in some cases other toppings including chopped nuts, sprinkles, whipped cream, or maraschino cherries.

History[link]

A chocolate sundae served in a shot glass

According to the Oxford English Dictionary, the origin of the term sundae is obscure, however, it is generally accepted that the spelling "sundae" derives from the word Sunday or, according to one source, from the German name Sonntag, which means Sunday.

Among the many stories about the invention of the sundae, a frequent theme is that the dish arose in contravention to so-called blue laws against Sunday consumption of either ice cream or ice cream soda. The religious laws are said to have led druggists to produce a substitute for these popular treats for consumption on Sunday. According to this theory of the name's origin, the spelling was changed to sundae to avoid offending religious conventions.

In support of this idea, Peter Bird wrote in The First Food Empire: A History of J. Lyons and Co. (2000) that the name 'sundae' was adopted as a result of Illinois state's early prohibition of ice cream consumption on Sundays, because ice cream with a topping that obscured the main product was not deemed to be ice cream. However, according to documentation published by the Evanston Public Library (Illinois), it was the drinking of soda, not the eating of ice cream, that was outlawed on Sundays in Illinois.^[1]

Other origin stories for the sundae focus on the novelty or inventiveness of the treat or the name of the originator, and make no mention of legal pressures.

Contested origins[link]

Various American localities have claimed to be the birthplace of the ice cream sundae. These claimants include Ithaca, New York; Two Rivers, Wisconsin; Plainfield, Illinois; Evanston, Illinois; New York City; New Orleans, Louisiana; Cleveland, Ohio; and Buffalo, New York.

Two Rivers, Wisconsin in 1881[link]

Wisconsin Historical Marker detailing Two Rivers as the locale of the invention of the ice cream sundae - Central Park, Two Rivers, WI

Two Rivers' claim is based on the story of George Hallauer asking Edward C. Berners, the owner of Berners' Soda Fountain, to drizzle chocolate syrup over ice cream in 1881. Berners eventually did and wound up selling the treat for a nickel, originally only on Sundays, but later every day. According to this story, the spelling changed when a glass salesman ordered canoe-shaped dishes. When Berners died in 1939, the Chicago Tribune headlined his obituary "Man Who Made First Ice Cream Sundae Is Dead."^[2][3] Two Ithaca High School students, however, claim that Berners would have only been 16 or 17 in 1881 and it is therefore "improbable" that he would have owned an ice cream shop in that year. They also state that the obituary dates Berners' first sundae to 1899 rather than 1881.^[4]

Residents of Two Rivers have contested the claims of other cities to the right to claim the title "birthplace of the ice cream sundae." When Ithaca, New York mayor Carolyn K. Peterson proclaimed a day to celebrate her city as the birthplace of the sundae, she received postcards from Two Rivers' citizens reiterating that town's claim.^[5]

Evanston, Illinois in 1890[link]

Ithaca Daily Journal, May 28, 1892

Evanston was one of the first locations to pass a blue law against selling ice cream sodas in 1890. "Some ingenious confectioners and drug store operators [in Evanston]... obeying the law, served ice cream with the syrup of your choice without the soda. Thereby complying with the law… This sodaless soda was the Sunday soda."^[1] As sales of the dessert continued on Mondays, local leaders then objected to naming the dish after the Sabbath, so the spelling of the name was changed to sundae.^[6]

Ithaca, New York in 1892[link]

Supporting Ithaca's claim to be "the birthplace of the ice cream sundae," researchers at The History Center in Tompkins County, New York, provide an account of how the sundae came to be: On Sunday, April 3, 1892 in Ithaca, John M. Scott, a Unitarian Church minister, and Chester Platt, co-owner of Platt & Colt Pharmacy, created the first historically documented sundae.^[4][7] Platt covered dishes of ice cream with cherry syrup and candied cherries on a whim. The men named the dish "Cherry Sunday" in honor of the day it was created. The oldest-known written evidence of a sundae is Platt & Colt's newspaper ad for a "Cherry Sunday" placed in the Ithaca Daily Journal on April 5, 1892. By May 1892, the Platt & Colt soda fountain also served "Strawberry Sundays," and later, "Chocolate Sundays." Platt & Colt's "Sundays" grew so popular that by 1894, Chester Platt attempted to trademark the term ice cream "Sunday."^[8]

Plainfield, Illinois[link]

Plainfield, Illinois has also claimed to be the home of the very first ice cream sundae. A local belief is that a Plainfield druggist named Mr. Sonntag created dish "after the urgings of patrons to serve something different." He named it the "sonntag" after himself, and since Sonntag means Sunday in German, the name was translated to Sunday, and later was spelled sundae.^[9] No specific date was given for this claim.

Types of sundaes[link]

Classic ice cream sundae[link]

The original sundae consists of vanilla ice cream topped with a flavored sauce or syrup, whipped cream, and a maraschino cherry. Classic sundaes are typically named after the canned or bottled flavored syrup employed in the recipe: cherry sundae, chocolate sundae, strawberry sundae, raspberry sundae, etc. The classic sundae is traditionally served in a tulip-shaped, footed glass vase. Due to the long association between the shape of the glass and the dessert, this style of serving dish is generally now known as a sundae glass.

Fresh fruit sundaes[link]

Sliced or chopped fruit that has been pre-sugared and let to sit for an hour or more to form a sweet syrup may be substituted for the flavored sauce or syrup of the classic sundae. Fresh fruit sundaes include named variations such as the strawberry, peach, raspberry, blueberry, blackberry, and mixed fruit sundae. Fresh fruit sundaes are generally served during the summer months, and they are sometimes advertised as specialty offerings in agricultural areas where particular fruits are grown.

Heated Sauce Sundaes[link]

Heated sauce sundaes are those in which the flavored sauce or syrup is heated before being poured over the ice cream, creating appealing differences in temperature as well as texture.

Hot fudge sundae[link]

The hot fudge sundae is a variation on the classic sundae and is often a creation of vanilla ice cream, sprinkles, hot chocolate sauce (hence the "hot fudge"), whipped cream, nuts, and a single bright-red maraschino cherry on top. A hot fudge sundae can be made with any flavor of ice cream.

Double fudge sundae[link]

The double fudge sundae is like a regular hot fudge sundae, except that it is twice as big and is served in a glass banana split dish or boat. It is made from the same ingredients as a regular hot fudge sundae, but also includes extra fudge, as well as whipped cream, optional nuts or sprinkles, and a maraschino cherry on top.

Caramel sundae[link]

This is a variation of the hot fudge sundae in which heated caramel sauce replaces the heated chocolate sauce. The other ingredients remain unchanged.

Turtle sundae[link]

The popular combination of vanilla ice cream, hot fudge and hot caramel sauces, and toasted pecans is known as a turtle sundae. The name derives from a popular candy called a turtle, which consists of pecans covered with caramel and then dipped in chocolate.

Butterscotch Sundae[link]

This is a variation of the hot fudge sundae in which butterscotch sauce replaces the heated chocolate sauce. The other ingredients remain unchanged.

Other heated sauce sundaes[link]

Occasionally other stiff-textured sweet sauces replace the hot chocolate sauce of the classic hot fudge sundae. These novelty sundaes include the peanut butter sundae, the Nutella sundae, the hot maple syrup sundae, and so forth.

Black and white sundae[link]

This sundae features a scoop of vanilla ice cream with chocolate sauce and a scoop of chocolate ice cream with creamy white marshmallow topping.

Brownie sundae[link]

This is a rich sundae made with brownies, vanilla ice cream, chocolate syrup, peanuts, hot fudge, and whipped cream, often topped with maraschino cherry. If a blondie replaces the brownie, then caramel sauce is used as a topping instead of chocolate sauce.

Banana split[link]

This dessert consists of three sundaes in one, side by side between two halves of a banana, sliced lengthwise. The classic banana split consists of strawberry ice cream topped with chocolate syrup, chocolate ice cream topped with crushed pineapple, and vanilla ice cream topped with strawberry syrup. Each scoop is individually garnished with whipped cream and a maraschino cherry.

American parfait[link]

This is a sundae served in a tall glass filled with layers of ice cream, gelatine, and flavorings such as syrups, whipped cream, granola, fresh fruit, and/or liqueurs.

Knickerbocker glory[link]

This is an ice cream sundae served in a large tall glass, consisting of layers of ice cream, jelly, and cream, topped with syrup, nuts, whipped cream and often a cherry; it is popular in the United Kingdom.

Most expensive[link]

At a price of 1,000 U.S. dollars, the most expensive ice cream sundae is the Serendipity Golden Opulence Sundae, sold by Serendipity 3 restaurant in New York City.^[10] The dessert consists of five scoops of Tahitian vanilla bean ice cream infused with Madagascar vanilla, covered in 23-carat edible gold leaf, rare Amedei Porcelana and Chuao chocolate, American Golden caviar, passion fruit, orange, Armagnac, candied fruits from Paris and marzipan cherries, and decorated with real gold dragées. The sundae is served in a baccarat Harcourt crystal goblet with an 18-carat gold spoon.^[11]

References[link]

External links[link]

Wikimedia Commons has media related to: Sundaes and parfaits

• Wisconsin Historical Society ice cream marker
• Historical documents supporting Ithaca as the birthplace of the sundae

Dom Kennedy
Kennedy performing at the 2011 Paid Dues Festival in San Bernardino, CA
Background information
Birth name	Dominic Hunn
Also known as	DOM
Born	(1984-08-22) August 22, 1984 (age 27) Los Angeles, California, U.S.
Origin	Leimert Park, Los Angeles, California
Genres	West Coast hip hop
Occupations	Rapper
Years active	2008–present
Labels	OpM - Other People's Money (Independent)
Associated acts	Pac Div, Skeme, J Skillz, Curren$y, Brandun DeShay, cARTer, Schoolboy Q, Polyester The Saint, Kendrick Lamar, Casey veggies, Dat Nigga DeWayne Ward,
Website	DopeItsDom [1], Twitter [2], Myspace [3]

Dominic Hunn (born August 22, 1984)^[1], better known by his stage name Dom Kennedy, is an American rapper from Leimert Park, Los Angeles, California.^[2] Since 2008, Kennedy has released 5 Independent record label mixtapes, most notably his 2010 "critically acclaimed mixtape"^[3] From the Westside with Love. His first commercial studio album From the Westside with Love II was released on iTunes June 28, 2011.^[4]. Despite it being his iTunes debut, FTWSWL2 received "a top 10 spot on Hip Hop/Rap albums chart during its release week"^[5] and was Kennedy's first album associated with The OpM Company, Kennedy's self established record label.

Early life[link]

Dom Kennedy was born on August 22, 1984 in Los Angeles, California. In an interview with music media outlet IMFlashy, Kennedy describes his childhood growing up as "normal".^[1] After his parents' divorce, Kennedy moved with his mother to Leimert Park.^[3] Upon graduating high school, Kennedy enrolled in junior college, majoring in business management. He studied a few classes briefly before eventually leaving to focus solely on his music.^[3]

Music career[link]

Working with his cousin Jason Madison,^[3] Kennedy released his debut mixtape album 25th Hour in 2008, instantly producing a buzz throughout the south side of L.A. In particular, the song "Watermelon Sundae" was widely played on local radio stations and performed live throughout the area, bringing more attention to Kennedy's music ambitions. Around this time, Kennedy's cousin Madison was a film student at Loyola Marymount University,^[3] sparking the beginning importance of visuals in Kennedy's later projects.

After his 25th Hour debut, Kennedy released 2 additional mixtapes in 2009; Best After Bobby (the title referring to "Bobby" Robert Kennedy), and Future Street/Drug Sounds. For the Best After Bobby mixtape, Kennedy collaborated with West Coast heavy hitter DJ Sour Milk and the Los Angeles Leakers, producing an instant buzz in underground circles across the country.^[6] Within the first hours of dropping the mixtape, Kennedy amassed over 10,000 downloads,^[6] officially solidifying his name among some of the top rappers in L.A.

However, with the release of From the Westside With Love in 2010, Kennedy became a major hit throughout the underground hip hop scene L.A. Gaining over 100,000 internet downloads,^[7] Kennedy began receiving praise from many established figures within the game. As reported by Texas based, major music festival South by Southwest, "Dom Kennedy has been verbally endorsed by many, including The Hundreds, Kenny Burns, Rick Ross, Taz Arnod of Sa-Ra, 9th Wonder, Murs, The Game, Justice League, DJ Mormile, Alchemist (producer), and Don Cannon just to name a few".^[7] With the success of From the Westside With Love, Kennedy became a major player on the independent circuit, traveling for performances throughout and outside the country; including a show in Dijibouti, Africa.^[2] Kennedy also began releasing an extensive amount of visual material at this time, including From the Westside With Love music videos for songs such as "1997", "Locals Only", and "The 4 Heartbeats".

In early 2011, Kennedy released his 5th studio mixtape The Original Dom Kennedy, a tape meant to reflect Kennedy's individuality and sound as an artist. In an interview with MTV News reporter James Lacsina, Kennedy described the project as something that was a testament to himself in the rap game as well as the city he proudly represents:

.^[2]

Kennedy also took a personal stance in the mixtape against major hip hop DJ and producer Funkmaster Flex.^[2] On his song "The Homies", Kennedy takes shots at Flex's disparaging remarks regarding the late California rapper Tupac Shakur: "Shit I heard Funk Flex say that Pac ain't shit/ and I hope when you see him that he slap your mouth/"

Influences[link]

Kennedy is often heard proclaiming his hometown rep one liner "Leimert Park what's cool". As a kid, Kennedy describes himself as being highly influenced by artists such as "The Notorious B.I.G., Outkast, and LL Cool J"^[1] through the fact that by simply listening to their music, he could feel a sense of where they were from.^[8] With his music, Kennedy does the same thing, bringing the feel of the inner city streets of L.A. to anyone willing to listen. In an interview with Hip Hop DX, Kennedy talks about the influence behind the L.A. sound in his music:

Kennedy has rapped over a wide range of past and present hip hop beats in his career, consistently bringing the element of L.A. and West Coast hip hop to his music.^[9] Such beats include Big Poppa^{[disambiguation needed ]} on the track "Notorious Dom" (25th Hour) and Best I Ever Had (Drake song) on the track "Best You Never Had" (Best After Bobby). South by Southwest reports major music executive John Monopoly as saying "He is going to get signed".^[7]

Performances[link]

Dom Kennedy after his performace at the NC A&T’s Aggiefest 2011 in North Carolina

Kennedy has performed in a wide variety of venues from local clubs in L.A. to the campus of Georgetown University.^[10] In 2010, Kennedy performed a major, hip hop music festival Paid Dues in San Bernardino, California.^[11] Other performer included those such as People Under the Stairs, Curren$y, and Jake One.

In 2011, Kennedy performed at premier film festival South by Southwest's Music Matters Show in Albuquerque, New Mexico. The show was hosted by cable entertainment network Black Entertainment Television.^[12] Both his performance and that of East Coast rapper J. Cole's were featured online by major, hip hop music magazine The Source (magazine). Kennedy performed his first show outside of the U.S. also in 2011 in Dijibouti, Africa.^[13]

Following the release of From the Westside With Love II, Kennedy headlined at The Key Club in West Hollywood, California alongside fellow West Coast rappers Overdoz, Epic Twelve, and Black Cobain.^[14] Marketed as the show on "7.1.11", the event was sold out, prompting another show the following week, marketed as the "7.7.11" show.^[14]

Endorsements & Marketing[link]

Outside of the music realm, Kennedy is also an avid promoter of fashion, appearing on the Sneaker Pimps Tour in Los Angeles back in 2007.^[15] "Sneaker Pimps is the worlds largest touring sneaker hip-hop lifestyle exhibition",^[16] featuring celebrity autographed sneakers as well as live music performances by collaborating artists. Past artists to appear include: Nas, Lupe Fiasco, DJ Premier, Public Enemy, Bun B, Redman, Pete Rock, along with many others.^[16] In 2009, Kennedy co-signed with California based clothing line and marketing agency The Hundreds.^[17]

After the release of his Original Dom Kennedy mixtape,^[18] Dom was featured on the cover of Jenesis Magazine as part of their 4th Year Anniversary.

Kennedy is also one of the front running young rappers associated with the JUST BE COOL Campaign and LAx Paperboys. He is often heard promoting the global, lifestyle brand through lines in his raps such as "just be cool". During an interview with BarrelHouse BKLYN, Kennedy describes the movement as something that started with a crew of inner city kids in L.A. who "just wanted to do something positive".^[19]

Discography[link]

Mixtapes[link]

• 25th Hour (2008)
• FutureStreet/DrugSounds (2009)
• Best After Bobby: Mixed by LA Leakers (2009)
• From The Westside With Love (2010)
• The Original Dom Kennedy (2011)

Commercial Albums[link]

• From The Westside With Love II (2011)
• Yellow Album (2012)

Guest Appearances[link]

• "The Life I Know" with cARTer
• "Cooking Up" with cARTer
• "Cali's Finest" from cARTer's mixtape Legal Trappin
• "The Preview" with cARTer
• "Get Through" with Casey veggies
• "Hall of Fame" with C-San
• "Ridin Round Town Remix" with Casey veggies
• "Friends. Women. Money" from Fly.Union's album TGTC
• "Like That" from Fly.Union mixtape Value Pack 4
• "Don't Forget the Swishers" from Pac Div mixtape Don't Mention it
• "Everybody Knows Us" from Pac Div mixtape Don't Mention it
• "Fat Raps Remix" from Big Sean's mixtape Finally Famous Vol. 3: BIG
• "She Needs Me Remix" from Kendrick Lamar's mixtape Overly Dedicated
• "GoodTalk" from Smoke DZA mixtape George Kush Da Button
• "Show Her The Way" from Terrace Martin's mixtape Here, My Dear
• "No Stress" from Skeme's mixtape The Statement
• "LA Night" from Skeme's mixtape Pistols & Palm Trees
• "Racing Stripes" from Curren$y's mixtape Smokee Robinson
• "Real Estates" from Curren$y's album Pilot Talk II
• "Counting My Money" from OverDoz. mixtape Live For, Die For
• "Time" with Juicy J
• "Bun B For President" with J. Cole
• "2 Sports Cars" with CurT@!n$
• "Right Back" with brandUn DeShay
• "Weekend Chic" with Polyester
• "Get Through" from Casey Veggie's Sleeping In Class
• "Miss Donna Karan" from L.A.U.S.D. mixtape L.A.U.S.D. Presents: Curly Tops & Nautica Jackets
• "L.A. To Chicago" from G.o.D. Jewels mixtape Glory or Death
• "Hennesy Beach" from Curren$y's mixtape Verde Terrace
• "There They Go" from Freddie Gibbs' mixtape Fuckin Wit Fred
• "Ridin' Roun Town (Remix)" from Casey Veggie's Sleeping In Class: Deluxe Edition
• "I Need That" from Nipsey Hussle's mixtape The Marathon Continues
• "Menace II Society" from Freddie Gibbs' mixtape Cold Day In Hell
• "Smoke On" from Statik Selektah's album Population Control
• "Pow Wow" from Smoke DZA's album Rolling Stoned & Jet Life's (Curren$y's rap group) collaboration album Jet World Order (Bonus Loud Pack edition)
• "Grooveline Pt. 1" from Schoolboy Q's album Habits & Contradictions
• "Doing My Thang" from Le$ mixtape Menace
• "Playa For Life" from Too Short's album No Trespassing
• "It Ain't Really Nuthin" with Rich Hil
• "Cali Livin'" with YG

References[link]

External links[link]

Wikimedia Commons has media related to: Dom Kennedy (rapper)

• DopeItsDom [4]
• Paid Dues Independent Music Hip Hop Festival Archives [5]
• SXSW Music [6]
• Dom Kennedy on Myspace
• Dom Kennedy on Twitter
• LAxpaperboys.com
• Justbecool.net

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (August 2011)

Seth Godin
Born	(1960-07-10) July 10, 1960 (age 51)
Alma mater	Tufts University Stanford University
Occupation	author, marketing guru
Website
sethgodin.com

Seth Godin (born July 10, 1960) is an American entrepreneur, author and public speaker. Godin popularized the topic of permission marketing.

Background[link]

Born in Mount Vernon, New York, Seth Godin graduated from Tufts University in 1979 with a degree in computer science and philosophy. Godin earned his MBA from the Stanford Graduate School of Business. From 1983 to 1986, he worked as a brand manager at Spinnaker Software. For a time Godin commuted every week between California and Boston both to do his new job and to complete his MBA..

After leaving Spinnaker Software in 1986, Godin used $20,000 in savings to found Seth Godin Productions, primarily a book packaging business, out of a studio apartment in New York City.^[1] It was in the same offices that Godin met Mark Hurst and founded Yoyodyne. After a few years Godin sold the book packaging business to his employees and focused his efforts on Yoyodyne, one of the first online marketing companies.^{[citation needed]} It was with Yoyodyne that Godin came up with the concept of permission marketing.^{[citation needed]} For a period of time, Godin served as a columnist for Fast Company^{[citation needed]}

Godin and his wife Helene now live in Hastings-on-Hudson, New York with their two sons.

Viewpoints[link]

Godin believes that the end of the "TV-Industrial complex" means that marketers no longer have the power to command the attention of anyone they choose, whenever they choose. Second, in a marketplace in which consumers have more power, he thinks marketers must show more respect; this means no spam, no deceit and a bias for keeping promises. Finally, Godin asserts that the only way to spread the word about an idea is for that idea to earn the buzz by being remarkable. Godin refers to those who spread these ideas as "Sneezers", and to the spreading idea as an "IdeaVirus." He calls a remarkable product or service a purple cow.

Advertisements on television and radio are classified as 'interruption marketing' which interrupt the customer while they are doing something of their preference. Godin introduced the concept of "permission marketing" where the business provides something "anticipated, personal, and relevant".

Business ventures[link]

Yoyodyne[link]

In 1995, Godin launched Yoyodyne which used contests, online games, and scavenger hunts to market companies to participating users. In August, 1996, venture-capital firm Flatiron Partners invested $4 million in Yoyodyne in return for a 20% stake.^[2] The site gained significant traction, with over one million viewers visiting the site, and companies like America Online, American Express, H&R Block, Microsoft, Procter & Gamble, Sony Music, Sprint, and Volvo using its services.^[3]

At Yoyodyne, Godin developed the principle of permission marketing and authored Permission Marketing: Turning strangers into friends and friends into customers.

In 1998, Godin sold Yoyodyne to Yahoo! for $30 million^[4] and became Yahoo's vice president of direct marketing, a position he held until 2000.^[5]

Squidoo[link]

In March 2006, Godin launched Squidoo, a community website allowing users to create pages (called "lenses") for subjects of interest.^[6] The site donates 5% of the profits to charity, and 50% to the lensmasters. Godin and Squidoo have been profiled on CNN and the Washington Post.^[7][8] The site was given top prize in SXSW's community/wiki category.^[9] As of July 2008, Squidoo was one of the 500 most visited sites in the world.^[10]

Other projects[link]

ChangeThis[link]

Godin developed the idea for ChangeThis, a website aimed at spreading ideas through PDF files.^[11] In the summer of 2004, Godin hired five interns—Amit Gupta, Catherine Hickey, Noah Weiss, Phoebe Espiritu and Michelle Sriwongtong—to build and develop the website.^[12] The website went live on August 14, 2004.^[13] Tom Peters, Chris Anderson, and Guy Kawasaki all had manifestos featured on ChangeThis.^[14] In July 2005, ChangeThis was turned over to 800-CEO-READ, the leading distributor of business literature in the United States.^[15][16]

Six month alternative MBA program[link]

In December 2008, Godin announced in a blog post that he would be offering a six month alternative MBA program at his office in Hastings on Hudson, NY.^[17] 48,000 people looked at the post and 340 applied. He invited 27 applicants to his office for a group interview. They spent two hours interviewing one another. After co-mingling, they and Godin together wrote down the names of their favorite candidates. Three weeks later the chosen 9 showed up at Godin's office.^[18] This group graduated in July 2009.^[19]

The Domino Project[link]

In December 2010, Godin announced on his blog that he would be working directly with Amazon on a venture called The Domino Project.^[20]

Stop Stealing Dreams (what is school for)[link]

In February 2012, Godin released a 30,000 word manifesto on Squidoo in response to the question "What do you think we ought to do about education?". This manifesto is "totally free to read, share, translate, print and, most of all, use to start an essential conversation". ^[21]

Books[link]

Godin is the author of 11 books; his Free Prize Inside was a Forbes Business Book of the Year in 2004,^[22] in its first two years of release, Purple Cow sold over 150,000 copies in more than 23 printings.^[23] The Dip was a Business Week and New York Times bestseller.^[24][25] And Godin has called his free ebook Unleashing the Ideavirus the most "popular ebook ever written".^[26] In the early 1990s he created a ten book series for children titled Worlds of Power, which was written by various writers. In each the plot of a single video game was told in a novelized form.^[27]

Beginning with Permission Marketing, Godin uses the concepts discussed in the books to promote the book. For Permission Marketing, Godin gave 1/3 of the book away for free to anyone who sent an e-mail. For Unleashing the Ideavirus, Godin released the entire eBook on the Internet for free, which led to eventual publishing deals in 41 countries and a public speaking career. For Purple Cow, Godin created a milk carton container for the book which generated attention from work colleagues. For Tribes, Godin launched an exclusive online community for the first 3000 people who pre-ordered the book. For Linchpin, Godin gave the book away for three weeks before its release for free to anyone willing to give $30 to the Acumen Fund for the $20 book, and raised $100,000 for the Acumen Fund.

Bibliography[link]

• Godin, Seth (1993). The Smiley Dictionary. Berkeley: Peachpit Press. ISBN 1-56609-008-3. 
• Godin, Seth (1995). eMarketing: Reaping Profits on the Information Highway. New York: Berkley Pub. Group. ISBN 0-399-51904-1. 
• Godin, Seth (1999). Permission marketing: turning strangers into friends, and friends into customers. New York: Simon & Schuster. ISBN 0-684-85636-0. 
• Godin, Seth (2001). Unleashing the Ideavirus. New York: Hyperion. ISBN 0-7868-8717-6.  Book online - Detailing the idea of Viral marketing
• Godin, Seth (2002). The Big Red Fez: How To Make Any Web Site Better. New York: Free Press. pp. 112. ISBN 0-7432-2790-5. 
• Godin, Seth (2002). Survival is not enough: zooming, evolution, and the future of your company. New York: Free Press. ISBN 0-7432-2571-6. 
• Godin, Seth (2003). Purple Cow: Transform Your Business by Being Remarkable. Portfolio. pp. 224. ISBN 1-59184-021-X. 
• Godin, Seth (2004). Free Prize Inside!: The Next Big Marketing Idea. Penguin USA Portfolio. pp. 256. ISBN 1-59184-041-4. 
• Godin, Seth (2005). All Marketers Are Liars: The Power of Telling Authentic Stories in a Low-Trust World. Portfolio Hardcover. ISBN 1-59184-100-3. 
• Godin, Seth; the Group of 33 (2005). The Big Moo: Stop Trying to be Perfect and Start Being Remarkable. Portfolio Hardcover. ISBN 1-59184-103-8. 
• Godin, Seth (2006). Small Is the New Big: and 193 Other Riffs, Rants, and Remarkable Business Ideas. Portfolio Hardcover. ISBN 1-59184-126-7. 
• Godin, Seth (2007). The Dip: A Little Book That Teaches You When to Quit (and When to Stick). Portfolio Hardcover. ISBN 1-59184-166-6. 
• Godin, Seth (2008). Meatball Sundae: Is Your Marketing out of Sync?. Portfolio Hardcover. ISBN 1-59184-174-7. 
• Godin, Seth (2008). Tribes: We Need You to Lead Us. Portfolio Hardcover. p. 160. ISBN 1-59184-233-6. 
• Godin, Seth (2010). Linchpin: Are You Indispensable?. Portfolio Hardcover. p. 256. ISBN 1-59184-316-2. 
• Godin, Seth (2011). Poke the Box. Portfolio Hardcover. ISBN 1-936719-00-2. 
• Godin, Seth (2011). We Are All Weird. The Domino Project. ISBN 1-936719-22-3. 

Blog[link]

Godin's Seth's Blog^[28] is ranked in the AdAge Power 150 as the #1 marketing blog out of 976 tracked. ^[29]

References[link]

External links[link]

• Official website
• Seth Godin on TED
• Seth Godin at the Internet Movie Database
• Subvert Magazine interview
• Smart People Podcast - interview (2011)
• The Marketplace of Ideas - interview (2010)

Stan Getz
With his granddaughter Katie in 1987 at the Lincoln Center
Background information
Birth name	Stanley Gayetzky
Born	(1927-02-02)February 2, 1927 Philadelphia, Pennsylvania, United States
Died	June 6, 1991(1991-06-06) (aged 64) Malibu, California, United States
Genres	Jazz Bossa nova West coast jazz Cool jazz
Occupations	Saxophonist
Instruments	Tenor saxophone, Baritone Saxophone
Years active	1943–1991
Labels	Verve Records
Associated acts	Kenny Barron, Bill Evans, J.J. Johnson, Bob Brookmeyer, Dizzy Gillespie, Charlie Byrd, Chet Baker, Gary Burton, Cal Tjader, Woody Herman, João Gilberto, Tom Jobim, Victor Lewis

Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young.^[1] Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow^[2] as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).

Early life[link]

Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.

He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.^[1]

In 1943 at the age of 16,^[3] he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in "The Second Herd", and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward.^[3] With Herman, he had a hit with "Early Autumn" and after Getz left "The Second Herd" he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.

Career[link]

In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.^[1]

Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded Jazz Samba in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado", from the same album. It sold over one million copies, and was awarded a gold disc.^[4] As a follow-up, Getz recorded the album, Jazz Samba Encore!, with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfá. It also sold more than a million copies by 1964, giving Getz his second gold disc.^[4]

He then recorded the album Getz/Gilberto, in 1963,^[5] with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). A live album, Getz/Gilberto Vol. 2, followed, as did Getz Au Go Go, a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. While still working with the Gilbertos, he recorded the jazz album Nobody Else But Me, with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.

In 1972, Getz recorded in the fusion idiom with Chick Corea, Tony Williams and Stanley Clarke, and in this period experimented with an Echoplex on his saxophone. He had a cameo in the film The Exterminator (1980).

In the mid-1980s Getz worked regularly in the San Francisco Bay area and taught at Stanford University as an artist-in-residence at the Stanford Jazz Workshop until 1988.^[6] In 1986, he was inducted into the Down Beat Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their Small World album. He played the extended solo on the title track, which became a minor hit single.

His tenor saxophone of choice was the Selmer Mark VI.

Personal life[link]

Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together.

Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below. Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956, and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.

Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. Getz died of liver cancer in June 6, 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.

In 1998, the 'Stan Getz Media Center and Library' at Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.

Discography[link]

Awards[link]

• Grammy Award for Best Jazz Performance, Soloist or Small Group (Instrumental) "Desafinado," Stan Getz. 1962
• Grammy Award for Record of the Year, "The Girl From Ipanema," 1964
• Grammy Award for Album of the Year, Getz/Gilberto, Stan Getz and João Gilberto (Verve)1964
• Grammy Award for Best Instrumental Jazz Performance, Small Group or Soloist With Small Group, Getz/Gilberto, Stan Getz 1964
• Grammy Award for Best Jazz Solo Performance, "I Remember You" Stan Getz 1991

Bibliography[link]

• The Stan Getz discography, Astrup, Arne. 1978
• Stan Getz, Palmer, Richard. 1988.
• Stan Getz: an appreciation of his recorded work, Kirkpatrick, Ron. 1992.
• Stan Getz: nobody else but me, Gelly, Dave. 2002.
• Stan Getz: an annotated bibliography and filmography, Churchill, Nicholas. 2005.
• Jazz saxophone: an in-depth look at the styles of the tenor masters, Taylor, Dennis, 2004.
• Maggin, Donald L. (1996). Stan Getz. A Life in Jazz. New York: William Morrow. ISBN 0-688-15555-3. 

References[link]

External links[link]

Biography portal

• Official Stan Getz homepage
• 1986 Interview
• Getz discography

‎

Gerald Joseph "Gerry" Mulligan (April 6, 1927 – January 20, 1996) was an American jazz saxophonist, clarinetist, composer and arranger.^[1] Though Mulligan is primarily known as one of the leading baritone saxophonists in jazz history – playing the instrument with a light and airy tone in the era of cool jazz – he was also a notable arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. Mulligan's pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the more important cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments. Mulligan reportedly had a relationship with actress Judy Holliday until she died in 1965, and with actress Sandy Dennis from 1965 through 1976.

Biography[link]

Early life and career[link]

Gerry Mulligan was born in Queens Village, Queens, New York, the son of George and Louise Mulligan. His father was a Wilmington, Delaware native of Irish descent; his mother a Philadelphia native of half Irish and half German descent. Gerry was the last of four sons: George, Phil, Don and Gerry.

George Mulligan's career as an engineer necessitated frequent moves through numerous cities. When Gerry was less than a year old, the family moved to Marion, Ohio, where his father accepted a job with the Marion Power Shovel Company.

With the demands of a large home and four young boys to raise, Mulligan's mother hired an African-American nanny named Lily Rose, who became especially fond of the youngest Mulligan. As he became older, Mulligan began spending time at Rose's house and was especially amused by Rose's player piano, which Mulligan later recalled as having rolls by numerous players, including Fats Waller. Black musicians sometimes came through town, and because many motels wouldn't take them, they often had to stay at homes within the black community. The young Mulligan occasionally met such musicians staying at Rose's home.

The family's moves continued with stops in southern New Jersey (where Mulligan lived with his maternal grandmother), Chicago, Illinois, and Kalamazoo, Michigan, where Mulligan lived for three years and attended Catholic school. When the school moved into a new building and established music courses, Mulligan decided to play clarinet in the school's nascent orchestra. Mulligan made an attempt at arranging with the Richard Rodgers song "Lover", but the arrangement was seized prior to its first reading by an overzealous nun who was taken aback by the title on the arrangement.

When Gerry Mulligan was 14, his family moved to Detroit and then to Reading, Pennsylvania. While in Reading, Mulligan began studying clarinet with dance-band musician Sammy Correnti,^[2] who also encouraged Mulligan's interest in arranging. Mulligan also began playing saxophone professionally in dance bands in Philadelphia, an hour and a half or so away. Mulligan also studied the blues with Corey Lynn Carter at this point.

The Mulligan family next moved to Philadelphia, where Gerry attended the West Philadelphia Catholic High School for Boys and organized a school big band, for which he also wrote arrangements. When Mulligan was sixteen, he approached Johnny Warrington at local radio station WCAU about writing arrangements for the station's house band. Warrington was impressed and began buying Mulligan's arrangements.

Mulligan dropped out of high school during his senior year to pursue work with a touring band. He contacted bandleader Tommy Tucker when Tucker was visiting Philadelphia's Earle Theatre. While Tucker did not need an additional reedman, he was looking for an arranger and Mulligan was hired at $100 a week to do two or three arrangements a week (including all copying). At the conclusion of Mulligan's three-month contract, Tucker told Mulligan that he should move on to another band that was a little less "tame". Mulligan went back to Philadelphia and began writing for Elliot Lawrence, a pianist and composer who had taken over for Warrington as the band leader at WCAU.

Mulligan moved to New York City in January 1946 and joined the arranging staff on Gene Krupa's bop-tinged band. Notable arrangements of Mulligan's work with Krupa include "Birdhouse", "Disc Jockey Jump" and an arrangement of "How High the Moon" that quoted Charlie Parker's "Ornithology" as a countermelody.

Mulligan next began arranging for the Claude Thornhill Orchestra, occasionally sitting in as a member of the reed section. Thornhill's arranging staff included Gil Evans, whom Mulligan had met while working with the Krupa band. Mulligan eventually began living with Evans, at the time that Evans' apartment on West 55th Street became a regular hangout for a number of jazz musicians working on creating a new jazz idiom.

[edit] Birth of the Cool

In September 1948, Miles Davis formed a nine-piece band that featured arrangements by Mulligan, Evans and John Lewis. The band initially consisted of Davis on trumpet, Mulligan on baritone saxophone, trombonist Mike Zwerin, alto saxophonist Lee Konitz, Junior Collins on French horn, tubist Bill Barber, pianist John Lewis, bassist Al McKibbon and drummer Max Roach.

The band only played a handful of live performances (a two week engagement at the Royal Roost jazz club and two nights at the Clique Club). However, over the next couple of years, Davis reformed the nonet on three occasions to record twelve pieces for release as singles. These were eventually compiled on a Capitol Records album, titled Birth of the Cool. Mulligan wrote and arranged three of the tunes recorded ("Rocker," "Venus de Milo," and "Jeru," the latter named after himself), and arranged a further three ("Deception," "Godchild," and "Darn That Dream").

He was also (with Davis, Konitz and Barber) one of only four musicians who played on all the recordings. Despite the chilly reception by audiences of 1949, the Davis nonet has been judged by history as one of the most influential groups in jazz history, creating a sound that, despite its East Coast origins, became known as West Coast Jazz.

During his period of occasional work with the Davis nonet between 1949 and 1951, Mulligan also regularly performed with and arranged for trombonist Kai Winding. Mulligan's composition "Elevation" and his arrangement of "Between the Devil and the Deep Blue Sea" were recorded by Mulligan's old boss, Elliott Lawrence. This brought Mulligan additional recognition. Mulligan also arranged for and recorded with bands led by Georgie Auld and Chubby Jackson.

In September, 1951, Mulligan recorded the first album under his own name, Mulligan Plays Mulligan. By this point, he had mastered a melodic and linear playing style, inspired by Lester Young, that he would retain for the rest of his career.

In the spring of 1952, Mulligan became more desperate for remunerative employment and headed west to Los Angeles with his girlfriend, pianist Gail Madden. Through an acquaintance with arranger Bob Graettinger, Mulligan started writing arrangements for Stan Kenton's Orchestra. While most of Mulligan's work for Kenton were pedestrian arrangements that Kenton needed to fill out money-making dance performances, Mulligan was able to throw in some more substantial original works along the way. His compositions "Walking Shoes" and "Young Blood" stand out as embodiments of the contrapuntal style that became Mulligan's signature. His sound or tone (timbre) was likened to a tweed cloth.^{[citation needed]}

The Pianoless Quartet with Chet Baker[link]

While arranging for Kenton, Mulligan began performing on off-nights at The Haig, a small jazz club on Wilshire Boulevard at Kenmore Street. During the Monday night jam sessions, a young trumpeter named Chet Baker began sitting in with Mulligan. Mulligan and Baker began recording together, although they were unsatisfied with the results. Around that time, vibraphonist Red Norvo's trio began headlining at The Haig, thus leaving no need to keep the grand piano that had been brought in for Erroll Garner's stay at the club.

Faced with a dilemma of what to do for a rhythm section, Mulligan decided to build on earlier experiments and perform as a pianoless quartet with Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums (later Mulligan himself would occasionally double on piano). Baker's melodic style fit well with Mulligan's, leading them to create improvised contrapuntal textures free from the rigid confines of a piano-enforced chordal structure. While novel at the time in sound and style, this ethos of contrapuntal group improvisation hearkened back to the formative days of jazz. Despite their very different backgrounds, Mulligan a classically-trained New Yorker and Baker from Oklahoma and a much more instinctive player, they had an almost psychic rapport and Mulligan later remarked that, "I had never experienced anything like that before and not really since." Their dates at the Haig became sell-outs and the recordings they made in the fall of 1952 became major sellers that led to significant acclaim for Mulligan and Baker.

This fortuitous collaboration came to an abrupt end with Mulligan's arrest on narcotics charges in mid-1953 that led to six months at Sheriff's Honor Farm. Both Mulligan and Baker had, like their peers, become heroin addicts. However, while Mulligan was in prison, Baker transformed his lyrical trumpet style, gentle tenor voice and matinee-idol looks into independent stardom. Thus when upon his release Mulligan attempted to rehire Baker, the trumpeter declined the offer for financial reasons. They did briefly reunite at the 1955 Newport Jazz Festival and would occasionally get together for performances and recordings up through a 1974 performance at Carnegie Hall. But in later years their relationship became strained as Mulligan, with considerable effort, would manage to kick his habit, while Baker's addiction would bedevil him professionally and personally almost constantly until his death in 1988.^[3]

Middle career[link]

Mulligan continued the quartet format with valve trombonist Bob Brookmeyer replacing Baker, although Mulligan and Brookmeyer both occasionally played piano. This quartet structure remained the core of Mulligan's groups throughout the rest of the 1950s with sporadic personnel changes and expansions of the group with trumpeters Jon Eardley and Art Farmer, saxophonists Zoot Sims, Al Cohn and Lee Konitz, and vocalist Annie Ross. In 1957, Mulligan and his wife, Arlyne Brown Mulligan (daughter of composer Lew Brown), had a son, Reed Brown Mulligan.

Mulligan also studied Piano with Suezenne Fordham, who was a member of the inner circle of Jazz players in NY. She was sought out by jazz musicians of the era to coach them to improve their piano technique. She and Mulligan also had a personal relationship from 1966 through 1972.

Mulligan also performed as a soloist or sideman (often in festival settings) with a veritable Who's Who of late 50s jazz artists: Paul Desmond, Duke Ellington, Ben Webster, Johnny Hodges, Jimmy Witherspoon, André Previn, Billie Holiday, Marian McPartland, Louis Armstrong, Count Basie, Stan Getz, Thelonious Monk, Fletcher Henderson, Manny Albam, Quincy Jones, Kai Winding, Miles Davis, and Dave Brubeck. Mulligan appears in Art Kane's celebrated A Great Day in Harlem portrait of 57 major jazz musicians taken in August 1958.

Mulligan formed his first "Concert Jazz Band" in the Spring of 1960. Partly an attempt to revisit the ornate arrangements of big band music in a smaller setting, the band varied in size and personnel, with the core group being six brass, five reeds (including Mulligan) and a pianoless two-piece rhythm section. The membership included (at various times, among others): trumpeters Conte Candoli, Nick Travis, Clark Terry, Don Ferrara, Al Derisi, Thad Jones and Doc Severinsen, saxophonists Zoot Sims Jim Reider, Gene Allen, Bobby Donovan, Phil Woods and Gene Quill, trombonists Willie Dennis, Alan Raph and Bob Brookmeyer, drummers Mel Lewis and Gus Johnson, and bassists Buddy Clark and Bill Crow. The band also recorded an album of songs sung by Gerry's close friend Judy Holliday in 1961. The band toured and recorded extensively through the end of 1964, ultimately producing five albums for Verve records.

Mulligan resumed work with small groups in 1962 and appeared with other groups sporadically (notably in festival situations). Mulligan would continue to work intermittently in small group settings until the end of his life, although performing dates started to become more infrequent during the mid '60s. After Dave Brubeck's quartet broke up in 1967, Mulligan began appearing regularly with Brubeck as the "Gerry Mulligan / Dave Brubeck Quartet" through 1973. Thereafter, Mulligan and Brubeck would work together sporadically until the final year of Mulligan's life.

In 1971, Mulligan created his most significant work for big band in over a decade for the album The Age of Steam. At various times in the 70's he performed with Charles Mingus. The Concert Jazz Band was "reformed" in 1978 and toured at various times through the '80s.

Orchestral work[link]

Mulligan, like many jazz musicians of his era, occasionally recorded with strings. Notable dates include 1957 recordings with Vinnie Burke's String Jazz Quartet, a 1959 orchestra album with André Previn and a 1965 album of the Gerry Mulligan Quintet and Strings. In 1974, Mulligan collaborated with famed Argentine tango musician Ástor Piazzolla. While in Milan for the recording sessions, Mulligan met his future wife, Countess Franca Rota Borghini Baldovinetti, a freelance photojournalist and reporter. In 1975, Mulligan recorded a string album with Italian composer Enrico Intra.

Mulligan's more serious work with orchestra began in May 1970 with a performance of Dave Brubeck's oratorio, The Light in the Wilderness with Erich Kunzel and the Cincinnati Symphony.

In the 1970s and 1980s, Mulligan worked to build and promote a repertoire of baritone saxophone music for orchestra. In 1973, Mulligan commissioned composer Frank Proto to write a Saxophone Concerto that was premiered with the Cincinnati Symphony. In 1977, the Canadian Broadcasting Corporation commissioned Harry Freedman to write the saxophone concerto Celebration which was performed by Mulligan with the CBC Symphony. In 1982, Zubin Mehta invited Mulligan to play soprano saxophone in a New York Philharmonic performance of Ravel's Bolero.

In 1984, Mulligan commissioned Harry Freedman to write The Sax Chronicles which was an arrangement of some of Mulligan's melodies in pastiche styles. In April of that year, Mulligan was a soloist with the New American Orchestra in Los Angeles for the premier of Patrick Williams' Spring Wings.

In June 1984, Mulligan completed and performed his first orchestral commission, Entente for Baritone Saxophone and Orchestra, with the Filarmonia Venetia. In October, Mulligan performed Entente and The Sax Chronicles with the London Symphony Orchestra.

In 1987, Mulligan adapted K-4 Pacific (from his 1971 Age of Steam big band recording) for quartet with orchestra and performed it beside Entente with the Israel Philharmonic in Tel Aviv with Zubin Mehta conducting. Mulligan's orchestral appearances at the time also included the Houston Symphony, Stockholm Philharmonic and New York Philharmonic.

1988 saw the premier of Mulligan's Octet for Sea Cliff a chamber work commissioned by the Sea Cliff Chamber Players. In 1991 the Concordia Orchestra premiered Momo's Clock, a work for orchestra (without saxophone solo) that was inspired by a book by German author Michael Ende.

Later career[link]

Throughout Mulligan's orchestral work and until the end of his life, Mulligan maintained an active career performing and recording jazz - usually with a quartet that included a piano.

In June 1988, Mulligan was invited to be the first-ever Composer-in-Residence at the Glasgow International Jazz Festival and was commissioned to write a work, which he titled The Flying Scotsman. In 1991, Mulligan contacted Miles Davis about revisiting the music from the germane 1949 Birth of the Cool album. Davis had recently performed some of his Gil Evans collaborations with Quincy Jones at the Montreux Jazz Festival and was enthusiastic. However, Davis died from a stroke in September and Mulligan continued the recording project and tour with Wallace Roney and Art Farmer subbing for Davis. Re-Birth of the Cool (released in 1992) featured the charts from Birth of the Cool, and a new nonet which included Lewis and Barber from the original Davis band. Mulligan appeared at the Brecon Jazz Festival 1991. Mulligan's final recording was a quartet album (with guests), Dragonfly, recorded in the Summer of 1995 and released on the Telarc label. Mulligan gave his final performance on the 13th Annual Floating Jazz Festival, SS Norway, Caribbean Cruise, November 9, 1995.

Mulligan died in Darien, Connecticut on January 20, 1996 at the age of 68 following complications from knee surgery. His widow Franca — to whom he had been married since 1976 — said he had also been suffering from liver cancer. Upon Mulligan's death, his library and numerous personal effects (including a gold-plated Conn baritone saxophone) were given to the Library of Congress.^[4] 'The Gerry Mulligan Collection' is open to registered public researchers in the library's Performing Arts Research Center.^[5] The library placed Mulligan's saxophone on permanent exhibit in early 2009.

Theatre and film[link]

Mulligan's first film appearance was probably with Gene Krupa's orchestra playing alto saxophone in the 1946 RKO short film Follow That Music. Mulligan had small roles in the films I Want to Live! (1958 - as a jazz combo member), The Rat Race (1960 - in which he appears as a tenor saxophonist instead of playing his usual baritone sax), The Subterraneans (1960) and Bells Are Ringing (1960). Mulligan also performed numerous times on television in a variety of settings during his career.

As a film composer, Mulligan wrote music for A Thousand Clowns (1965 - title theme) the film version of the Broadway comedy Luv (1967), the French films La Menace (1977) and Les Petites galères (1977 - with Ástor Piazzolla) and I'm Not Rappaport (1996 - title theme).

In 1974 Mulligan collaborated on a musical version of Anita Loos' play Happy Birthday. Although the creative team had great hopes for the work, it never made it past a workshop production at the University of Alabama. In 1978, Mulligan wrote incidental music for Dale Wasserman's Broadway play Play with Fire.

In 1995 the Hal Leonard Corporation released the video tape The Gerry Mulligan Workshop - A Master Class on Jazz and Its Legendary Players.

Awards[link]

• 1981 Grammy Award (Best Jazz Instrumental Performance by a Big Band) for Walk on the Water
• Grammy nominations for the albums The Age of Steam, For an Unfinished Woman and Soft Lights and Sweet Music
• 1982 The Birth of the Cool album inducted into the Grammy Hall of Fame
• 1982 Connecticut Arts Award
• 1984 Viotti Prize (Vercelli, Italy)
• 1984 inducted into the Big Band and Jazz Hall of Fame
• 1988 Duke Ellington Fellow at Yale University
• 1989 received keys to the city of Trieste, Italy
• 1990 Philadelphia Music Foundation Hall of Fame
• 1991 American Jazz Hall of Fame
• 1992 Lionel Hampton School of Music Hall of Fame
• 1992 Guest composer at the Mertens Contemporary American Composer's Festival, University of Bridgeport, Connecticut
• 1994 Down Beat Jazz Hall of Fame
• 1995 Artists Committee for the Kennedy Center Honors for the Performing Arts
• 42 consecutive years (1953–1995) winning the Down Beat magazine reader's poll for outstanding baritone saxophonist

Discography[link]

This section requires expansion.

As leader[link]

• 1950: The Gerry Mulligan Quartet/Gerry Mulligan with the Chubby Jackson Big Band - The big band sides are from 1950, the band led by bassist Jackson included Howard McGhee, Zoot Sims, and trombonist J. J. Johnson. The quartet sides, with Chet Baker were recorded at two sessions in 1952.
• 1951: Historically Speaking
• 1951: Mulligan Plays Mulligan - Mulligan's first session as leader
• 1953: The Original Quartet With Chet Baker -2-CD collection of the recordings of the pianoless quartet with Chico Hamilton for Pacific Jazz
• 1953: Konitz Meets Mulligan (with Chet Baker
• 1954: Gerry Mulligan quartet: Pleyel Concert - (2 CD, with Bob Brookmeyer (v.trb.), Red Mitchell (b), Frank Isola (d)
• 1955: Gerry Mulligan and his Quartet (California Concerts or Jazz Goes To High School)
• 1956: At Storyville ( Quartet, live in Boston, Mulligan plays piano on some tracks,
• 1957: Reunion with Chet Baker
• 1957: Mulligan Meets Monk (with Thelonious Monk as co-leader)
• 1957: Blues in Time (Quartet with Paul Desmond Verve records, released on CD as Gerry Mulligan/Paul Desmond Quartet)
• 1957: Getz Meets Mulligan in Hi-Fi (with Stan Getz (t.sax), Lou Levy (p), Ray Brown (b), Stan Levey (d).
• 1958: Jazz Giants '58 (Verve)
• 1958: What Is There to Say?
• 1959: Gerry Mulligan Meets Ben Webster (with Ben Webster (t.sax), Jimmy Rowles (p), Leroy Vinnegar (b), Mel Lewis (d).
• 1960: Gerry Mulligan and the Concert Jazz Band at the Village Vanguard (with drummer Mel Lewis)
• 1961: Gerry Mulligan Meets Johnny Hodges (with Johnny Hodges (a.sax), Claude Williamson (p), Buddy Clark (b), and Mel Lewis (d)
• 1962: Live at the Olympia Paris
• 1962: The Gerry Mulligan Quartets - Complete Studio Rec. with Bob Brookmeyer (v.trb & p) /Chet Baker (trp), Bill Crow/Henry Grimes (b), Gus Johnson/Dave Bailey (d).
• 1963: Jeru (with Tommy Flanagan, Ben Tucker, Dave Bailey)
• 1963: The Great Gerry Mulligan (Crown Records)
• 1963: Night Lights (with Art Farmer (tpt.), Bob Brookmeyer (v.trb), Jim Hall (g).) (Philips Records)
• 1963: Spring is Sprung (quartet with Bob Brookmeyer) (Philips Records)
• 1964: Feelin' Good (Limelight Records)
• 1964: Complete Studio Recordings- The Gerry Mulligan Sextet with Art Farmer, Bob Brookmeyer, Jim Hall (g), Bill Crow (b), Dave Bailey (d).
• 1965: If You Can't Beat 'Em,Join 'Em, (Limelight Series)
• 1965: Something Borrowed / Something Blue (Limelight Records) (with Zoot Sims - Mulligan also plays alto sax)
• 1970: Live at the Berlin Philharmonie (with the Dave Brubeck Trio)
• 1971: Age of Steam Gerry Mulligan and his Orchestra
• 1974: Summit with Astor Piazzolla (bnd), Angel Pocho Gatti (p), Giuseppe Prestipino (Pino Presti) (elb), Tullio De Piscopo (d), Umberto Benedetti Michelangeli (1st violin) and Strings Orchestra.
• 1974: Gerry Muligan/Chet Baker: Carnegie Hall Concert (with Chet Baker (trp), Ed Byrne (trb), Bob James (p), John Scofield (g), Ron Carter (b), Harvey Mason (d), Dave Samuels (vb).
• 1976: Gerry Mulligan meets Enrico Intra with Enrico Intra (p), Giancarlo Barigozzi (f), Sergio Farina (g), Pino Presti (b), Tullio De Piscopo (d)
• 1983: Little Big Horn (GRP)
• 1990: Lonesome Boulevard
• 1992: Re-Birth of the Cool
• 1993: Billy Taylor and Gerry Mulligan: Live at MCG (live, with pianist Billy Taylor at Manchester Craftsmen's Guild (MCG) in Pittsburgh)
• 1993: Paraiso with Brazilian singer Jane Duboc
• 1994: Dream a Little Dream Gerry Mulligan Quartet with Ted Rosenthal (p), Dean Johnson (b), Ron Vincent (d)
• 1995: Dragonfly The final recordings

As sideman[link]

With Miles Davis

• Conception (1951)
• Birth of the Cool (1957)

With Charles Mingus

• Charles Mingus and Friends in Concert (Columbia, 1972)

With Mel Tormé and George Shearing

• The Classic Concert Live (Concord, live, 1982)

References[link]

External links[link]

Wikimedia Commons has media related to: Gerry Mulligan

• The Gerry Mulligan Collection at the Library of Congress
• A site with information on Mulligan and all the great Jazz Baritone Saxophonists
• Craig Allan Hanley's repository of Mulligan liner notes, articles and information
• Excerpts from Mulligan's oral autobiography at the Library of Congress
• Biography of Gerry Mulligan on his publishing company's website
• An extensive Mulligan discography and record of performances by Gérard Dugelay and Kenneth Hallqvist
• Mulligan's 1996 NY Times Obituary
• Gerry Mulligan at Allmusic
• Gerry Mulligan at the Internet Movie Database