Not only does he run the very extensive site, he also published ‘Joy Road’, a very thorough annotated discography of Pepper Adams. It is not an exaggeration to say he is the foremost authority on Pepper Adams. Have a listen down below.įans of Pepper Adams (so pretty much all baritone saxophonists) should be aware of Gary Carner.

An odd album – but if you’re interested in hearing what Mulligan does over the blues, head to the transcription repository and download yourself a copy. After the bass solo, Mulligan tries to noodle a bit behind the piano solo but seems to give up and they just take the head out. Mulligan did very little to interact or acknowledge Monk’s comping. For example on the track where this transcription comes from, Monk plays a chorus of the head (Mulligan noodles) plays the head again with Mulligan, comps for 2 choruses then just lays out for the rest of Mulligan’s solo and the bass solo to boot. I think this is probably true in the best of circumstances, but listening to this album I can’t help but think that Monk is just intentionally messing with and vibing Mulligan. There’s a quote from mulligan that goes something like ‘playing with Monk’s comping is like falling down an elevator shaft’ or something to that effect. I think its a safe assumption that this was a record company’s idea of ‘put two big names together and profit’ and thus I’m not sure the music was at the forefront of the intention here. Monk being famously fond of dissonance and jagged lines and Mulligan opting for linear consonant melodies. Two seemingly very different players with different approaches, and boy does that show on this album. Gerry Mulligan fans will probably know of the album that features him and Thelonious Monk. This transcription comes to us from Erik Robisch, thank you! A new transcription has just been added to the transcription repository – and its a bit of a strange one.

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