It Don't Mean a Thing (Ellington-Mills) 3:01ġ8. The Arab Barber Blues (Gil Mellé) 9:06ġ7. Long Ago and Far Away (Kern-Gershwin) 4:32ġ0. Moonlight in Vermont (Suessdorf-Blackburn) 4:53Ġ9. Night Train to Wildwood (Gil Mellé) 4:11Ġ8. Life Begins at Midnight (Gil Mellé) 4:24Ġ5. Quadrille for Moderns (Gil Mellé) 3:32Ġ3. Lullaby of Birdland (Georges Shearing) 3:47Ġ2. His unorthodoxy allowed him to achieve a new tone, introducing his own personality through the choice of particular instruments, compositions and arrangements.Īs an extra, this set also contains a previously unreleased broadcast of Melles quartet from Café Bohemia in New York recorded October 5, 1957.ġ5. I want, instead, to fit my sound to the composition. They end up painting everything the same color. Too many musicians are identified with a particular sound which leads to an obvious trouble, if they stick to it. I wouldnt call them compositions otherwise.Īs with most musicians, he wanted to get a new, identifiable sound. They are compositions in the fullest sense since he creates his own chord patterns rather than building an original melodic line on top of the changes to some standard tune. He wrote all the material for these four Blue Note albums. Gerry and Harry Carney were doing great things on the instrument, but I felt there was a whole area for exploration and development on baritone. Baritone then presented a welcome challenge. He had started young, studying oboe and planning to play jazz with it, but to practice his embouchure he decided to start on alto sax and then moved to tenor to extend his range. In 1952, Gil Mellé (1931-2004) was the first white musician signed to Blue Note Records.
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