I played music with Gerry in 1947 — his arrangements for the Claude Thornhill Band, which were always a joy to play. Then, in the early fifties, with the "Birth of the Cool Band" ….also a joy. He was a brilliant guy and musician and always an ally to me (almost always!) [He was] complicated by the power he earned, and was sometimes difficult to work with; but, when I asked him to play on a record of mine and to play some free stuff — he did it no questions asked ….and he was great! —Lee Konitz

When I was just starting out as a player, two of my favorite albums (in my father’s extensive jazz library) were "Presenting the Gerry Mulligan Sextet" with Bob Brookmeyer, Zoot Sims, Jon Eardley, Peck Morrison and Dave Bailey; and "Gerry Mulligan Reunion" with Chet Baker, Henry Grimes and David Bailey. What got me as a young kid was the sound: everyone in the band had a clearly identifiable sound, everybody was an individual, everyone was a true improviser. Also I loved when the horns would improvise together and play off each other. Those records still sound great and had a huge bearing on my musical personality. —Randy Brecker

In the ten years that I played with the Gerry Mulligan Quartet, two things come to mind as characteristic of Gerry. First, whether it was at lunch, dinner, or sitting on a train, Gerry loved to talk and discuss "things." Be it trains, politics, religions, and of course music, he was always reading something and loved to talk about it. He was well informed on a multitude of subjects and I always appreciated his sarcastic slant. Second, I admired his "ears." Whether it was an orchestra, big band, or quartet, Gerry heard everything. As all who have worked with him know, Gerry loved to rehearse and test every little nuance of every note. Especially in the Quartet, when the members had gotten comfortable with a song, he loved to play with the group counterpoint, hearing it all. —Dean Johnson

I first heard Gerry’s music at the Newport Jazz Festival in 1969. After that performance, and through the years, I purchased many of his albums and became a fan. Twenty-one years later, I had the opportunity and honor of working and recording with him.

Getting the Gig (Through a referral from Dean Johnson (Mr. Mulligan’s bassist from 1985-96))

I was invited to Gerry’s home in January of 1985 for a rehearsal and possible position as a sub for an upcoming tour. When I arrived, the current drummer was set up and ready to rehearse. As I entered Gerry’s studio, I introduced myself and after a very short conversation was asked to sit on the couch. Having copies of the music, I sat there taking notes and nervously expecting to be called upon to audition at any moment. After about an hour and a half, Mrs. Mulligan enters the room and announces that lunch is being served. We all shuffled off to the dining room and had lunch. After lunch, while entering the studio, I expected to be asked to play, but once again I ended up on the couch while the regular drummer rehearsed. An hour later Mr; Mulligan ended the rehearsal. Surprised and a bit confused, I began to pack away all the music I’d been making notes on, when Gerry turned to me and said, "OK, youngster, I’ll see you in Germany next month." Six weeks later we opened the tour at the Philharmonic Concert Hall in Munich, Germany. After the concert Gerry’s only comment to me was, "OK, youngster, sounds like you did your homework."

I’m sure most of the people who worked in his bands would agree that Gerry was a mentor. He was a very intelligent person, well-read and interesting to talk to. He had a clear vision of what his music was all about, and he had a way of playing his instrument that made the other musicians play within his context.

—Ron Vincent