Birth of the West Coast Cool

In late 1949 and '50, the Miles Davis Nonet recorded 12 songs in New York that were arranged by Davis, Gil Evans, John Carisi, John Lewis and Gerry Mulligan. The music was unusual in that it seemed to apply the relaxed feel of the Claude Thornhill Orchestra to bebop. Of the dozen songs recorded in January 1949, April 1949 and March 1950, only six were released by Capitol in the 78rpm era. Jeru and Godchild were paired, along with Move and Budo from the January 1949 session; and Israel and Boplicity from the April 1949 recording session also were released as 78s.

By 1954, the 10-inch LP had become the standard jazz album format. Ever the innovator, producer Pete Rugolo pushed Capitol to released eight of the 12 Miles Davis Nonet tracks on a 10-inch LP. Capitol agreed, and the label issued Classics in Jazz—Miles Davis. Three years later, much had changed again in the record business. The 12-inch LP dominated pop and jazz, and Davis had signed with Columbia Records, becoming jazz's first modernist superstar.

When Columbia released the Gil Evans-arranged Miles Ahead: Miles Davis +19 in 1957, Rugolo at Capitol decided to piggyback Columbia's promotional push by issuing 11 of the 12 Miles Davis Nonet tracks on a 12-inch album. Rugolo christened the album Birth of the Cool. From that year forward, the nonet recordings have been known as Birth of the Cool, even though that name only first emerged in the late 1950s.

Now let's rewind. In the early 1950s, Rugolo moved to Los Angeles to take a job as a staff composer and arranger for MGM. Mulligan also headed West, hitchhiking with his girlfriend to L.A. in early 1952, where he formed his famed pianoless quartet with Chet Baker, Bob Whitlock and Chico Hamilton (above). In L.A. in late 1952, DJ and record producer Gene Norman hired Mulligan to arrange and record a tentet album for Capitol. There would be no restrictions and Mulligan could arrange his own compositions as he pleased.

The result was Gerry Mulligan and His Ten-Tette. Recorded over two days in January 1953, the band included a range of top West Coast jazz talent. On January 29, the band featured Chet Baker and Pete Candoli (tp); Bob Enevoldsen (v-tb); John Graas (fhr); Ray Siegel (tu); Bud Shank (as); Don Davidson and Gerry Mulligan (bar); Joe Mondragon (b) and Chico Hamilton (d). The songs recorded that day were A Ballad, Westwood Walk, Walkin' Shoes and Rocker.

On January 31, the band featured Chet Baker and Pete Candoli (tp); Bob Enevoldsen (v-tb); John Graas (fhr); Ray Siegel (tu); Bud Shank (as); Don Davidson (bar); Gerry Mulligan (bar,p); Joe Mondragon (b) and Larry Bunker (d). The songs were Taking a Chance on Love, Flash, Simbah and Ontet. Mulligan played piano on all of the them, as well as baritone saxophone on Taking a Chance on Love and Simbah.

The tentet material was issued on Capitol in 1954 while a Gerry Mulligan Quartet session recorded in May 1953 was issued on Gene Norman's GNP label that same year. The eight tentet tracks are fabulous. The concept clearly was pitched to Mulligan as an opportunity to stretch out on a similar outing as the Miles Davis Nonet. Among the highlights are Westwood Walk, A Ballad, Ontet, Rocker and Flash. Westwood Walk may be one of the most remarkable tunes of the period. The same goes for Ontet. The sheer craft of these songs is spectacular.

The difference between this tentet session and the Birth of the Cool dates is the attack. While the earlier sessions had a sighing, Thornhillian feel, the Mulligan material has more bounce and swing. Instead of letting the air out of bebop's tires, Mulligan's sessions are an early example a newly emerging jazz style that would become known as West Coats jazz. In this regard, the album is a cousin of the Birth of the Cool. We can call it Birth of the West Coast Cool.

Jazzwax clips: Here's Mulligan's Westwood Walk...



Here's Mulligan playing piano on his composition Ontet...



Here's Mulligan's A Ballad...