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Difference between revisions of "User:Z3418837"
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--[[User:Z3418837|Z3418837]] ([[User talk:Z3418837|talk]]) 17:10, 15 May 2014 (EST)
--[[User:Z3418837|Z3418837]] ([[User talk:Z3418837|talk]]) 17:10, 15 May 2014 (EST)
Revision as of 22:27, 14 June 2014
Add your own student page to the site.
Add your signature for Lab attendance.
--Z3418837 (talk) 15:45, 13 March 2014 (EST)
--Z3418837 (talk) 15:07, 20 March 2014 (EST)
--Z3418837 (talk) 15:13, 27 March 2014 (EST)
--Z3418837 (talk) 15:11, 3 April 2014 (EST)
--Z3418837 (talk) 15:25, 10 April 2014 (EST)
--Z3418837 (talk) 15:11, 17 April 2014 (EST)
--Z3418837 (talk) 15:08, 15 May 2014 (EST)
--Z3418837 (talk) 15:10, 22 May 2014 (EST)
--Z3418837 (talk) 15:10, 29 May 2014 (EST)
- 1 Add a sub-heading.
- 2 Reference
- 3 Individual Assessments
- 3.1 Lab 1
- 3.2 Lab 2
- 3.3 Lab3
- 3.3.1 1.Select 4 reference papers related to your selected topic sub-section. Read these papers and write a brief description of their findings and relevance to the selected topic sub-section. The reference along with your description should then be pasted on both your group discussion page and your own personal page.
- 3.3.2 Article 1 - Charge as a Selection Criterion for Translocation through the Nuclear Pore Complex.
- 3.3.3 Article 2 - Role of Molecular Charge in Nucleocytoplasmic Transport.
- 3.3.4 Article 3 - Higher Nucleoporin-Importin β Affinity at the Nuclear Basket Increases Nucleocytoplasmic Import.
- 3.3.5 Article 4 - Assembly of Nsp1 Nucleoporins Provides Insight into Nuclear Pore Complex Gating.
- 3.3.6 2.Select an image related to your selected topic sub-section (this can be from one of the 4 above or from elsewhere). The image should be uploaded (with all the required information: description, reference, copyright and student template) and pasted onto the project page sub-section and onto your own personal page.
- 3.4 Lab 4
- 3.5 Lab 5
- 3.6 Lab 6
- 3.7 Lab 7
- 3.8 Lab 8
- 3.9 Lab 9
- 3.10 Lab 11
Add a sub-heading.
Add an external Link.
Add an internal Link.
This is about Prokaryotes.[1]
<pubmed limit=5>Prokaryote</pubmed>
- ↑ <pubmed>24603758</pubmed>
Individual Assessments
Lab 1
Chloroplast present in Eukaryotes and not in Prokaryotes [1]
Copyright: © 2007 Henderson et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
--Z3418837 (talk) 21:05, 18 March 2014 (EST)
Lab 2
1. On your own student page upload an image with the reference using the Pubmed formatting shown in the practical class tutorial last week.
Plant Nucleus [1]
Copyright © 2012 Gao et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
--Z3418837 (talk) 21:42, 23 March 2014 (EST)
2. Identify a recent research article (not review) that uses either confocal microscopy or super-resolution microscopy as one of the study's techniques. Explain briefly (1 paragraph) how the microscopy technique specifically contributed to the article's findings.
In Vivo Determination of Organellar pH Using a Universal Wavelength-Based Confocal Microscopy Approach.
The purpose of the study was to measure the intracellular pH of organelles in situ using the physics behind confocal microscopy. This was achieved by extracting the colonies of Saccharomyces cerevisiae which were associated at various developmental stages. Confocal fluorescence microscopy was then used to monitor the variation in intracellular pH by targeting fusion proteins to subcellular compartments and then quantifying the fluctuations in the emission wavelengths obtained. The use of confocal microscopy imaging enabled researchers to distinguish between the various fluorescent fractions that were present in single cells. It also provided enhanced readings of emissions by the decreased photobleaching and amplified signal-to-noise ratios which detected a wide range of fusion proteins and intracellular pKa levels leading to precise quantifications of organellar pH. Ultimately, the use of confocal microscopy imaging has advanced to such a high level that determining intracellular level of pH is simple and efficient compared to the previous methods of microscopy and spectrofluorometry used. Confocal microscopy also promises much greater result as research proceeds.[1]
- ↑ <pubmed>22470445</pubmed>
--Z3418837 (talk) 23:45, 23 March 2014 (EST)
Article 1 - Charge as a Selection Criterion for Translocation through the Nuclear Pore Complex.
Nuclear pore complexes (NPCs) are porous structures that selectively control the components that pass through the nucleus to the cytoplasm and vice versa. A common understanding on the selective aspect of NPCs comes from the various diameter sizes that NPCs can occupy, however scientists have been focusing on another governing principle of translocation that they believe is related to charge. It is known that proteins that undergo rapid translocation are highly negatively charged, whereas proteins that are blocked from this translocation process are positively charged. Analysis has shown that, proteins that occupy the inside of the pore channel are net positively charged and transport receptors are negatively charged. This indicates that translocation rates within NPS are dependent on the electrostatic interactions between transport receptors and NPC due to an immense gain in energy. Overall, the investigation suggests that the negative charge plays a significant role in determining which components pass through the NPC.[1]
Article 2 - Role of Molecular Charge in Nucleocytoplasmic Transport.
Similarly to article one, this study focuses on the role of charge in the selectivity of Nucleocytoplasmic transport. It highlights the significance of phenylalanine-glycine (FG) nucleoporins (Nups) in creating a selective barrier with net positive charges in the nuclear pore complex. It is known that the positive charge accounts for the passive diffusion of small molecules and transport-receptor facilitated diffusion of cargo molecules. However, it was recently hypothesized that a negative surface charge plays a significant role in determining which components pass through the NPC. This study aims to unpack how these charge interactions may impact transport kinetics and spatial transport routes for both passive diffusion and facilitated translocation. By using high-speed fluorescence microscopy, scientists were able to determine that the electrostatic interactions between the negatively charged surface receptors and positively charged FG-Nups although increased the likelihood of NPC binding, did not reveal the nuclear transport mode or spatial transport routes. Instead, Nucleocytoplasmic transport was found to be dependent on molecular size, signal and surface charge and not one or the other.[2]
Article 3 - Higher Nucleoporin-Importin β Affinity at the Nuclear Basket Increases Nucleocytoplasmic Import.
For many years scientists have debated on whether the presence of an affinity gradient in NPCs for the import receptor Importin β increased or decreased Nucleocytoplasmic Import. However the answer to this postulation remained obscure. This study aimed to understand how this affinity gradient may have enhanced Nucleocytoplasmic Import by using agent based modelling (ABM) that looked at the association between rate constants and molecular binding. By employing different values of the affinity gradient, they have found that the rate of transport had increased by 10% compared to the pores lacking an affinity gradient. They also found that this effect was maximised at 200 µM for Importin β. Overall, this study highlighted the significance of Importin β Affinity in Increasing Nucleocytoplasmic Import rate.[3]
Article 4 - Assembly of Nsp1 Nucleoporins Provides Insight into Nuclear Pore Complex Gating.
Our current understanding suggests that the central transport channel which is a part of the NPC is formed by repeating subunits of FG-nups and serves as the selective barrier for incoming material. By analysing the spatial arrangements of nups, scientists can understand how NPC serves as a filter for macromolecules and allows for diffusion of small molecules below 40kDA. In this study, scientists used molecular dynamics to model the possible variations of Nsp1 (Nsp1-FG). They have discovered brush-like structures that consist of bundles that have been cross-linked to various nups. They have also found that transport factors are tightly associated with multiple FGS in cross-linking zones and also dissociate the bundles to widen the pores and allow molecules to enter. Overall, the model of the nuclear pore complex gating shows that the periphery of the NPC central channel consists of a few brushes with many cross-linked bundles due to the tethering of nups. However, the central regions shows a sieve-like structure of bundles with repeated cross-links as tethering of nups is less prominent.[4]
Charge as a selection criterion for nuclear transport [1]
© 2010 Colwell et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
--Z3418837 (talk) 05:36, 3 April 2014 (EST)
Lab 4
1. Identify an antibody that can been used in your group's transport project.
Anti-Nuclear Pore Complex Proteins [Mab414] antibody - ChIP Grade (ab24609)
2. Identify the species deriving the antibody.
Mouse and it is monoclonal
3.Species reactivity
Reacts with: Mouse, Rat, Cat, Human, Saccharomyces cerevisiae, Xenopus laevis, Caenorhabditis elegans, Zebrafish, Vertebrates, Yeast.
4. IsoType
5. Epitope and use.
ab24609 recognizes the conserved domain FXFG repeats in nucleaporins such as the p62, p152, p90 and this NPC family is used to study the morphology and composition of the nucleus and nuclear envelope.
6. Identify the working concentration for the antibody.
100 µl at 1 mg/ml
7. Applications:
WB: 1:5,000, IF: 1:5,000, IHC: 1:500, IP: 1:5,000, IEM: 1:5,000, ChIP: use at an assay dependent dilution.
8. Identify a paper that has used this antibody.
Yeast nuclear envelope proteins cross react with an antibody against mammalian pore complex proteins.[1]
- ↑ <pubmed>2661560</pubmed>
--Z3418837 (talk) 23:24, 9 April 2014 (EST)
Lab 5
Knockout exercise
Lab 6
Lab 7
Confocal Worksheet
Lab 8
Group 1:
- The introduction seems well informed and covers many aspects about phagocytosis which can be well understood by students of a non-science background. However, it should include the link to phagocytosis to transport. Also, I'm not sure if the links under introduction are temporarily there so you can reference them properly later, however, I suggest you reference them as soon as possible. If the links are just placed there for general purposes for others to click on then I think you should make a separate subheading for 'links'.
- As for the structure of Plasma Membrane, there seems to be enough detail to describe the structure. However, I believe there needs to be images of the plasma membrane showing the components of the lipid bilayer. The text should also be properly referenced.
- Similarly for receptors, the detail presented is adequate and understandable but there needs to be images showing the different receptors and the text should be referenced properly.
- Mechanism of Phagocytosis: this section is good as it describes how everything you've mentioned about phagocytosis relates to transport including the structures of plasma membrane and receptors. There are also images of the Zipper model which is useful in allowing others to understand the concept more easily. However, I suggest you reference the text correctly and include a glossary for words like pseudopods, macrophages, etc… in case non-science background students don't understand. Also, the definition of phagocytosis shouldn't be placed in that section but should be at the introduction instead.
- As for diseases and current research, there needs to be more information and images. There should also be more references.
Group 2:
- Instead of using the phrase, "this leads to the idea" in the first sentence, you should use "this shows that…" because it makes it sound like it's more of a postulation and not 100% solid fact. - It's great that you have differentiated between the structure of the inner and outer mitochondrial membrane. This gives a better insight to the different roles they play in transport and the various mechanisms. - However, I think there is too much emphasis on the structure and role of the mitochondria in the introduction when it should also include information on the transport from the cytoplasm to the mitochondria. - The use of the mitochondria image is good in letting the viewers observe the major features of the mitochondria.
Proteins used in transport:
- This section is really well written as it talks about the various proteins used in transport. - The use of the image highlighting the various proteins is great for understanding the mechanisms involved.
Pyruvate transport into the Mitochondria:
- This section seems is good as it incorporates the proteins and signalling molecules needed for the transport of pyruvate. However, there needs to be more paragraphs on the transport of other important molecules to show why mitochondrial to cytoplasmic transport is important. - There should also be images to show the transportation of various molecules.
Diseases and current research:
- This section is very well written and is easy to understand. The use of the image relates to the text and is easy to navigate. - The section on current research in incomplete, however judging on the content written so far, it is really good. - It would be a good idea to use images for the current research section
The use of the glossary list really helps viewers understand and locate words they otherwise wouldn't have known. The references are also correctly listed with each section having 3-4 references for each paragraph which is good. However, there is definitely more that needs to be written on the pages such as the transport of molecules other than pyruvate to make the page look more complete. Also, maybe a subheading for history should be placed to make the page look even more detailed and interesting. The history could include dates to which the structure of the mitochondria was found, the various imaging techniques that enabled us to view the mitochondria in a molecular level and also the discovery of important proteins included in the transport from the cytoplasm to the mitochondria. All in all, I think group has so far done a great job but needs to work on the criticism listed above.
Group 4:
- Most of the sections seem to be lacking information. The use of dot-points in the 'fast and slow transport' should be changed to paragraph form with more flow that could improve readability.
- There should definitely be more images along with the text which can explain certain processes.
- The kinesin section seems well constructed which is easy to read and more professional.
- I am impressed with the table form which is seen under motor proteins as it makes it easier to differentiate between the two motor proteins.
- There seems to be errors in the referencing which I suggest you guys should fix as soon as possible.
- There should also be a glossary list.
Lab 9
1. Write a hypothesis that you are going to test.
Large quantities of cytochrome C will be detected in the cytoplasm of the cell which can only be released via the intrinsic pathway during apoptosis.
2. Write aims of your experiment.
To measure the amount of cytochrome C within the cytoplasm.
3. Identify key techniques and procedures used in your investigation (Spell these out in some detail).
Centrifugation – To separate the supernatant from the tissue culture.
Western blotting – analytical technique used in this experiment to detect cytochrome C.
4. Identify suppliers that have resources that you will need for your study (create links to the supplier resource pages, kits, antibodies etc).
5. Now prepare a flow diagram of how the experiment will be carried out and analysed.
Tissue Add 1ml of mitochondria Extraction Buffer and 1 ml of Cytosol Extraction Buffer individually Centrifuge Wash cells with PBS Incubate on ice Homogenize cells in an ice-cold dounce tissue grinder Collect supernatant as Cytosolic Fraction and Mitochondrial Fraction Load 10 μg of each cytosolic and mitochondrial fraction on a 12% SDS-PAGE Western blotting and probe with cytochrome c antibody.
6. What will different experimental results (outcomes) mean.
After using the Assay kit we will see a large amount of Cytochrome C within the Cytoplasm, and by analysing the Mitchondria, we will see pores formed on the outer membrane. Thus, proving that Apoptosis occurred due to the Intrinsic Pathway.
--Z3418837 (talk) 17:10, 15 May 2014 (EST)
Lab 11
How many Gbases (Gb) would you require to sequence the human genome to 40x coverage?
Describe an advantage of using next-generation sequencing technology over microarrays to study gene expression?


text:
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"I was really happy that we won, and that it was a whole team effort," said head coach Lindsey Devine. "We talked about being able to come off of the bench and be hungry. It was evident that when people came off of the bench, they continued what the team was doing on the court and played as a team."
The Bucs (8-14, 5-9 A-Sun) were led by Whitney Cogburn (
Kelley Coker (
"I think that Kelley did a great job at the beginning for us at running the offense," Devine said. "I was glad to see Desiree come alive for us, and
The Bucs jumped out to an early 11-5 lead in the first set after a five-point run by ETSU. The Hatters battled back with a six-point run to go in front 13-12, but the Bucs again answered with a four-point run to retake the lead 16-14. With ETSU up 24-21, Stetson got three straight points to tie the match at 24-all, but the Bucs got a key kill from Ryan with the score tied 27-27 as they went on to win the set 29-27.
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The Bucs are back in action on Oct. 28 at 7 p.m. as they will host


text:
Stage 9: Arc-et-Senans – Besançon individual time trial 42km
Tour de France 9: Wiggins dominates time trial
Bradley Wiggins of Britain, wearing the overall leader's yellow jersey, en route to victory in the 9th stage of the Tour de France (AP Photo/Laurent Cipriani)
View Thumbnail Gallery
This article was originally published on Cyclingnews.com.
Team Sky stamped their authority on the Tour de France with a
commanding display in the 41.5-kilometre time trial to Besançon. Race
leader Bradley Wiggins won in a time of 51:24 with teammate Chris Froome
in second at 35 seconds. The result moved Froome up to third in the
general classification and strengthened Wiggins's grip on yellow.
Defending champion Cadel Evans (BMC) lost time at each time check
point before finishing 6th, 1:43 behind Wiggins. Vincenzo Nibali
(Liquigas-Cannondale), who started the day in third place overall,
managed to limit his losses, finishing in 8th, 2:07 down on Wiggins, and
now lies 4th in the race for yellow.
"I'm just really pleased with how I put the day together, mentally,
too. The noise when I rolled off the ramp was incredible and not letting
that phase me and not going out too hard. So I'm just really satisfied
with how I put the whole day together an that's what I've been focusing
,. So at the moment it's just relief and pride in myself for doing
that," Wiggins said.
"When I get back tonight, that when you start thinking about the
context of how it fits into the whole Tour and everything. Numbers are
being thrown around, you got this on Cadel, this on him but at the
moment it's a lot to take in."
Tour de France stage 9 highlights (courtesy ASO)
Heading into the stage BMC had hoped to limit their losses to less
than a minute but after just a few kilometres of Evans's ride Wiggins
was up on the 2011 winner. At the first time check, 16.5km into the
stage, Wiggins cruised through at a time of 21:05, five seconds up on
Froome but already over a minute up on Evans. The Sky pair obliterated
the time of Fabian Cancellara and from there Evans began a campaign of
damage limitation.
At the second time check at 31.5 kilometres it looked to be working
with Wiggins only adding 19 seconds to his time on the Australian but by
the finish the British rider had extended his lead to 1:43, the exact
time gap between the two riders posted at last month's Dauphine.
Earlier in the day, world time trial champion Tony Martin (Omega
Pharma-QuickStep) cut a sorry figure on the start ramp in Arc-et-Senans.
With a wrist strapped due to a broken bone the German was perhaps
riding his last stage in this year's Tour but his luck, which as
deserted him throughout the race, was in no mood of changing, and within
the first few kilometres suffered a puncture. Despite the misfortune
Martin posted the fastest time at each check point to take an early but
incomprehensive lead.
Fabian Cancellara (RadioShack-Nissan) put Martin out of his misery
setting a time 39 seconds faster at the first check, and 1:19 quicker at
the finish. However, when French time trial champion Sylvain Chavanel
(Omega Pharma-QuickStep) came through the first check just a handful of
seconds down on the Swiss rider, it was clear that the former world time
trial champion was far from firing on all cylinders.
Fabian Cancellara crosses for third
It wasn't until Tejay van Garderen (BMC) came through the first check
three seconds faster that it was confirmed that Cancellara would not
repeat his prologue success. The American, riding in just his second
Tour, looked at ease over the testing first part of the course, catching
Ivan Basso (Liquigas-Cannondale) for three minutes and going fastest at
the second check. Although he tired by the finish, crossing the line
nine seconds down on Cancellara, the RadioShack-Nissan rider's position
was in the line of fire.
By now the GC contenders, Froome included in that echelon, were on
the road. The Kenyan-born rider, who beat Wiggins in an individual time
trial at the Vuelta last September, stormed to a 24-second lead at the
first check. Denis Menchov (Katusha), in his Russian national time trial
champion's kit, could only manage 7th with Nibali in 10th and Evans
12th. Wiggins was still to reach the 16.5km mark but his rhythm and
speed looked on course, and he crossed the check point five seconds
faster than Froome.
Sky's Froome was looking almost as assured as Wiggins in his time
trial position, out of the saddle on the rolling terrain, and faster
than Van Garderen at the second check point. Wiggins came in 16 seconds
faster than Froome, cementing his position as Sky's undoubted leader in
the race.
Menchov crossed the line, then Nibali, but both were off the pace and
looking set to lose over two minutes. Froome meanwhile had crushed
Cancellara by 22 seconds with just Evans and Wiggins left on the road.
Having gained 35 seconds on Froome, 1:43 on Evans and over 2 minutes
on his nearest rival Wiggins will be greatly satisfied with his day and
tomorrow's rest day will give the British rider time to let the events
sink in. The Tour is far from over but Wiggins has landed a heavy blow.
Bron: http://feedproxy.google.com/~r/BikeRadar/feeds/~3/qBvmVVcYrjI/story01.htm


text:
"In his short story, Entropy, the novelist Thomas Pynchon takes Mulligan's early-1950's piano-less quartets with Chet Baker as a crux of post modernism, improvisation without the safety net of predictable chords.
The revisionist argument was that Mulligan attempted the experiment simply because he had to work in a club with no piano.
The true version is that there was a piano, albeit an inadequate one, but he was already experimenting with a much more arranged sound for small groups (to which the baritone saxophone was particularly adaptable) and the absence of a decent keyboard was merely an additional spur. …
Mulligan's piano-less quartet is one of the epochal jazz groups, even if it had no such aspirations, formed for nothing more than a regular gig at The Haig….
In retrospect, it's the simplest pleasures which have made the music endure: the uncomplicated swing of the various rhythm sections, the piquant contrast of amiably gruff baritone saxophone and shyly melodious trumpet ….
Cool but hot, slick but never too clever, these are some of the most pleasurable records of their time."
Richard Cook & Brian Morton, The Penguin Guide to Jazz on CD [6th Ed.: p. 1082; paragraphing modified].
© - Steven A. Cerra: copyright protected all rights reserved.
With this piece, the editorial staff at JazzProfiles begins a multi-part feature on composer, arranger, baritone saxophonist Gerry Mulligan that will culminate in Part 5: Gerry Mulligan -The
In order to assist with our expanded portrayal of one of the Giants of Jazz, the editorial staff at JazzProfiles has secured copyright permission from authors
Bill Crow, Nat Hentoff and Gene Lees to use chapters about Gerry from their books. These will appear in subsequent sections of this piece on Gerry.
I liked Gerry Mulligan's music from the first time I heard it. It made me feel content then and it still makes me feel content now whenever I play any of his records.
Mulligan's music makes me feel happy, joyous and free, whatever the musical context, be it the arrangements he wrote for the Gene Krupa, Claude Thornhill, and Elliot Lawrence big bands; his involvement with Gil Evans in the Birth of the Cool sessions issued under Miles Davis' name in the late 1940's; his early 1950's piano-less quartet with Chet Baker; the Kenton arrangements such as Youngblood, Swing House and Walking Shoes around the same time; the sextet he formed in the mid-1950s with Jon Eardley [tp], Bob Brookmeyer [vtb] and Zoot Sims [ts]; the re-formed quartets first with Bob Brookmeyer and later with Art Farmer [tp]; the marvelous and all-too-short-lived early 1960s version of the Concert Jazz Band; his association with
Dave Brubeck's Quartet after the latter's classic quartet with Paul Desmond disbanded in 1967; the 1974 Carnegie Hall reunion with Chet Baker; the re-constituted editions of the Concert Jazz Band in the late 1970s and throughout the 1980s; his quartet during the later years of his life which included either Bill Charlap or Ted Rosenthal [p], Dean Johnson [b] and Ron Vincent [d].
And lest we forget, there are the many "Gerry Mulligan Plays with …" albums that this peripatetic baritone saxophonist made with the likes of Stan Getz, Thelonious Monk, Lee Konitz , Paul Desmond, Johnny Hodges and Ben Webster.
Nat Hentoff fondly refers to Gerry as the "Huck Finn" or the "Johnny Appleseed" of Jazz and Doug Ramsey also portrays Gerry's wandering minstrel tendency in a most praiseworthy fashion when he explains:
"Some musicians, once they move past their salad days and establish careers as identifiable stylists, rarely leave the confines of their own groups or, if they do, seldom mingle in performances with players outside their own styles or eras. There are many sensible, even laudatory, reasons for such isolation. Some are purely artistic. Some are commercial. Others have to do with preservation of image, which is usually another manifestation of salability. Still others concern sheer preservation of physical and psychic energy.
But there have always been in jazz a few artists at the pinnacle of their profession, admired by their peers, flexible in outlook, quickly adaptable to a variety of circumstances, who love to play in virtually any musical setting of quality … [and] among major jazz artists, it may be that no one has sat in more often with bands playing a greater range of styles than has Gerry Mulligan.
Mulligan, master baritone saxophonist, small group innovator, one of the premier arrangers, is at home in every jazz idiom with the possible exception of the most outré elements of avant-garde." [Jazz Matters: Reflections on the Music & Some of its Makers,
: The Fayetteville Press, 1989, p. 229]. University of Arkansas
Given the magnitude of the footprint that he left upon the music, it is almost as impossible to assess Gerry Mulligan's role in the development
of modern Jazz in the second half of the 20th century as it is to underestimate it.
The following excerpt by
Ted Gioia from his Cool Jazz and West Coast Jazz in The Oxford Companion to Jazz as edited by Bill Kirchner [ , Oxford University Press, 2000] might serve as one starting point for Gerry contributions to Jazz's evolution during this period: New York
"Gerry Mulligan's stint in
in the early 1950s proved decisive for the emerging West Coast sound. Modern jazz in California in the late 1940s was as hot as the asphalt under which the city was then being covered. It took as its primary model the bebop styles of the East Coast. Los Angeles
Mulligan's L.A. quartet [with trumpeter Chet Baker] changed all of that, questioning the conventional wisdom about jazz music's rhythmic essence, its melodic impulses, its approach to composition, even its assumptions about instrumentation.
Mulligan's finely etched baritone sax lines entered into a ruminative counterpoint dialogue with Baker's trumpet phrases. … Never before had the softer extremes of the dynamic spectrum been so finely explored by a jazz band …. [Accompanied by only bass and drums] no piano or guitar cluttered the pristine harmonic textures of the band, and this imparted even great clarity to the interlocking horn lines. [paragraphing modified: p. 336].
And yet, Mulligan seems to have disavowed the importance of his time on the West Coast claiming later in his career:
My bands would have been successful anywhere. [Mulligan, a native New Yorker, went on to assert] I didn't live in
. I went to California , scuffled around for a while, wrote some charts for Stan Kenton to survive, and started my group – I had very little contact with anything going on out there – and then left." [Bob Rusch, Gerry Mulligan Interview, Cadence, October 1977, p. 7, as quoted in Gioia, West Coast Jazz, p. 175]. California
As this excerpt from Ira Gitler's Swing to Bop demonstrates, Gerry's criticism of his time on the West Coast involving Stan Kenton was particularly vitriolic:
… part of the thing that really depressed me and I always hated being called West Coast jazz because to me the influences out of the West Coast in jazz were personified by Stan Kenton's band. And Stan's band to me was some kind of way symbolic of the end of the bands as I loved them. It had gotten too big and too pompous. You know, it took itself so seriously. Like just something terribly Wagnerian about it all.
Well, I once said, thinking I was being humorous, that Stan is the "Wagner of jazz" and then realized afterwards-because he had done a thing with the transcriptions of the Wagner pieces, and tried to conduct them-that he really saw himself that way and didn't see any humor in it at all. But I hated what that band stood for because it was like the final evolution of wrongly taken points. The way the band kept growing.
And the absolute maximum for any kind of use was the five saxes and the three or four bones and the four trumpets. The main reason . . . there's one you can do with four trumpets you can't do any other way, and that's four-part harmony, which only four trumpets together sound . . . OK. The only function for the fifth trumpet is an alternate player. But Stan's band kept getting bigger and bigger - to five trombones. Now five trombones is the most asinine." [Swing to Bop: An Oral History of the Transition in Jazz in the 1940's,
: Oxford University Press, 1985, p. 247]. New York
But as Bob Gordon points out in his effort at an even-handed assessment of Gerry's tenure on the West Coast, while it may have been brief, it also brought him his initial fame and helped to give a wider public recognition to many southern
musicians and their music: California
"When Gerry Mulligan returned to New York at the close of 1954, …, the catchphrase West Coast Jazz was being bandied about in the Jazz press and, much to his irritation, Gerry's name was often linked to the music. Gerry was quite right in rejecting this linkage; his quartet was sui generis and belonged to no school save that of Mulligan himself. At the same time, though, the national popularity of the quartet did much to draw attention to Jazz in southern
and helped smooth the way for other musicians who were trying to be heard. …, Pacific Jazz [Records] owed its very existence to the Mulligan quartet, and that label and other independent companies that sprang up in its wake were largely responsible for launching the careers of many southland musicians who had been anonymous before Gerry arrived. Gerry Mulligan's help may have been inadvertent, but it was indispensable nevertheless." [Jazz West Coast, California : Quartet Books, 1986, p. 85]. London
Before Gerry's time on the West Coast, there were four, distinctive associations during the formative years of his career: [1] his time with drummer Gene Krupa's post World War II orchestra; [2] his work with the Claude Thornhill orchestra beginning in 1947 which led to his meeting the arranger composer Gil Evans, [3] his work as a composer-arranger for the Philadelphia-based Elliot Lawrence band that began in 1949 and continued into the mid-1950s; [4] also in 1949, the landmark Birth of the Cool sessions issued under trumpeter Miles Davis' name.
As Gunther Schuller points out:
"[In addition to Eddie Finckel], "… George Williams, and Gerry Mulligan, were even more instrumental in bringing the Krupa band into the modern era….
[And yet], Krupa did not record Gerry Mulligan's early work (1946-47) until a dozen years later with a star-studded specially assembled band for Norman Granz's Verve label. Krupa may simply have considered Mulligan's [early] work too risky commercially – he did take a chance on two of his more "conservative" scores, Disc Jockey Jump (1947) and How High the Moon (1946) – notwithstanding his genuine commitment to the newer jazz styles, which he staunchly maintained into the early 1950s and beyond that. Indeed by 1949, the year the bop movement finally achieved wider public recognition, Krupa's orchestra had developed into a full-fledged modern ensemble." [The Swing Era: The Development of Jazz, 1930-1945,
: New York Press, 1989, p. 727]. Oxford University
Gerry's contributions to Gene Krupa's big band are richly detailed in the following un-attributed insert notes to the Verve CD – Gene Krupa Plays Gerry Mulligan Arrangements, as well as, those that follow which Pete Clayton wrote for the initial LP release of this music for the World Record Club[TP 351]:
"Gerry Mulligan joined the Gene Krupa band in February, 1946, and remained about a year. He arranged for the band all that time, played alto for a couple of months and tenor for about two more. The arrangements he did during that year - when he was 19 - are both interesting in themselves and illuminating in the context of the way his writing has developed since. He did about 24 altogether.
At the age of 17, Mulligan had already started arranging professionally - for Johnny Warrington's band at the
radio station, WCAU; for Tommy Tucker on Gerry's first road trip; and then for Elliot Lawrence, who had taken over the WCAU orchestra. Philadelphia
"The Krupa band, however," Mulligan recalls, "was the most professional band I'd ever written for. They were so professional they sometimes scared the hell out of me. They had no trouble playing anything I wrote. Having that skilled a unit to write for was a new and a challenging experience."
Before he heard these versions of the arrangements he'd done for Krupa, Mulligan had feared that twelve years would make them sound much too dated for comfort, but he was hearteningly surprised to hear that they still stand up. "There were a lot of things," he said, "I thought I hadn't tried until I started writing for Claude Thornhill, but now I hear that I'd already been doing them with Gene's band."
In these arrangements can be heard Mulligan's characteristic concern for linear clarity and his overall functional approach to writing. In the years after, Mulligan - through his arranging for big bands and his own quartet - did a great deal to let more air into contemporary jazz scoring. He did not allow himself to be impressed with sound effects - however massed and screaming - for their own sake, but preferred instead to make a large band flow and swing lightly but firmly with plenty of space for the men, in sections as well as in solo, to breathe.
In some places here, you may be reminded of elements of the Jimmie Lunceford book, not only the rhythmic feel at times, but also the humor. Wit, sometimes sardonic, is another characteristic of Mulligan and it also was one of the invigorating assets of the Lunceford band.
"Actually," Mulligan explains, "guys at that time asked me if I'd heard Lunceford, and I hadn't. But I had heard several of the white bands who had been influenced by Lunceford."
Bird House is thus called because it's based on several Charlie Parker ideas, but it's also not unconnected with Neal Hefti's The Good Earth for inspiration. Gerry had left Mulligan Stew untitled, and the title it finally received made him vow that would be the last time he wouldn't title a song of his himself. Gerry wrote The Way of All Flesh after reading the novel, but doesn't think there are any correspondences between Samuel Butler's plot and the score.
Disc Jockey Jump, which turned out to be a Krupa hit, was written by Mulligan in the early months of his association with the band, but it wasn't put into the books until Gerry had left. Mulligan's only retrospective comment on the number is, "It came before Four Brothers."
Mulligan feels he learned a great deal from his year with Krupa, not only about writing and playing, but about people. The band traveled throughout the country, and the experience broadened Gerry considerably. He was also fond of Gene personally, and appreciated the fact that Gene let him write as much as he did and used most of it. Krupa, in turn, liked Mulligan because he always stood up for what he believed, and knew what he wanted to do.
Adding this album to your Mulligan-Krupa collection should prove to be an instructive pleasure. It gives - in high fidelity - a cross-section of an important year in Mulligan's history; and it also indicates that Krupa had the prescience to keep the 19-year-old with the band, and - up to a point - give him his head.
World Club Record" TP 351
Those who saw much of Gerry Mulligan during his 1963 visit to
found him looking robust, substantial and outrageously English as he loped affably about Britain smoking his pipe. And anyone who could, almost automatically contrasted this new Mulligan with the skeletally thin figure, with his sandy hair pruned down to little more than a ginger lawn, whose shortness of temper and air of almost perpetual irritability had made him such a prickly individual during his previous visit six years earlier. But if, in the matter of mere physical appearance and disposition, he has altered somewhat over the years, musically there is a consistency about him that runs right through his career; and this record, although made in 1958, takes us almost as far back as we can go in Mulligan's work in jazz. Nowadays a constant pollwinner on baritone sax, he made his first big impression as an arranger, and we have here twelve of the two dozen arrangements he did for Gene Krupa's band, of which he was a member, during 1946. He was then only nineteen. London
Those who saw much of Gerry Mulligan during his 1963 visit to
Already he was thinking in terms of that articulate airiness that he later brought to exquisite perfection in the Quartet. At that early age he could have been excused had he succumbed to the temptation to wallow in the opulent sounds possible with a big band. But he didn't. That ambling boneyness, which is his by physique, had already got into his writing. You will notice that apart from Disc jockey jump, which was one of the Krupa band's big successes at the time, the tempos are nearly all relaxed, almost casual. And If you were the only girl in the world not only demonstrates his ability to sustain interest at a really slow tempo, but points also to his flair for working wonders with what appears at first sight to be unlikely material. The tune had been written right back in 1916 by Nat Ayer for a famous London musical show, "The Bing Boys are Here', and although a good strong one, it had always seemed to me to have rather an excess of that maudlin quality that goes down so well in pubs. But if there has to be a highspot on the record, for me it is this number.
Mulligan's own Bird house and Birds of a feather, and Yardbird suite by Parker himself, are Gerry's ample tribute to Charlie Parker. How high the moon, a number written by Morgan Lewis and Nancy Hamilton in 1940, had an uncanny fascination for the early modernists, who made it their own much as the jam sessioneers had once appropriated Honeysuckle rose and the revivalists were to latch onto The Saints. Margie by Con Conrad and J. Russell Robinson. is a standard dating from 1920. Mulligan stew is Gerry's tune but somebody else's title; he is said to have vowed thereafter never again to leave the choice of a name to another. Begin the beguine is Cole Porter's classic from the 1935 show 'Jubilee'. The way of all flesh was simply adopted as a title at about the time Mulligan was reading Samuel Butler's novel. Sometimes I'm happy V is one of the incredibly simple but highly effective numbers that came so readily to Vincent Youmans. It was in a 1927 musical called `Hit the Deck'.
When this record was played back, Mulligan was reported as being pleasantly surprised to hear how well this early work of his had stood the test of time. But he writes in a timeless way and, except when he's setting fashions for others to follow, has a sweeping disregard for such temporary things as musical fashions. What other modernist (if that term is not itself too restrictive) would dare to call himself a Dixieland musician, or admit that he'd been influenced by Red Nichols' Five Pennies? Come to that, how many jazzmen could have written with both originality and maturity while still in their teens and not only please a bandleader of an earlier musical generation altogether, but make him think it worth while rerecording those same arrangements a dozen years later still ?
Gene Krupa, who began his recording career a few months after Gerry Mulligan was born, was one of the first drummers whose technique was up to the demands of the swing era. Beginning as a Chicagoan, both geographically and musically, he went into big commercial dancebands in the early thirties, and by the time he joined Benny Goodman in 1935 he was not only a very able drummer but a first rate showman as well. He continued to propel the Goodman band in spectacular fashion until he left to form a band of his own in 1938. With a gap in the mid forties, when in the space of a few months he returned to Goodman and did a spell with Tommy Dorsey, he led a band continuously until 1951, when he first became part of Norman Granz's Jazz at the Philharmonic Empire.
One of the most striking things about jazz development in recent years has been the steady change in rhythm sections; by current standards Krupa is practically old-fashioned. But he's a great driver, a propulsive force whose powers of getting a big band off the ground are as full as ever. If he has changed at all it is in the matter of restraint. My memory seems to tell me that he had an over fondness for the bass drum in the swing days, a tendency to make a lot of noise out of sheer exuberance But here he plays with a light crispness and an almost unbelievable accuracy, steering an eager band through the spacious framework of a dozen arrangements provided by the almost unknown young arranger he'd had the farseeing good sense to employ all those years earlier."
Gene said of his time with Mulligan:
"I was attracted by the new jazz. After listening to Dizzy [Gillespie] and Bird [Charlie Parker] for a while, I began to hear music differently. It wasn't too long before I made a commitment to this music. I hired Gerry Mulligan. An original arranger who was deeply involved with what was happening, be brought us "Disc Jockey Jump," which was not only well-received, but established the fact that we were serious about going in another direction. My other arrangers [were] George Williams, Neal Hefti and Eddie Finckel …. These were exciting up-to-date guys. I let them go; only occasionally did I edit their scores or shelve what I felt wouldn't work." [Burt Korall, Drummin' Men: The Heartbeat of Jazz,
: Macmillan, 1990, p. 80]. New York
And Gerry had this to say of his time with Krupa:
"I was young when I worked for him. And he was very good to me. You know, he introduced me to the music of Maurice Ravel. He always liked to take a record player with him on the road. He loved Ravel and Delius, too.
For reasons that are detailed in Nat Hentoff's The White Mainstreamer chapter from his work Jazz Is and which will be included in its entirety later in Part 3 of this feature, Mulligan was fired off the Krupa band and 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.
"In 1947-48, when Gil Evans and Gerry Mulligan wrote arrangements for the Claude Thornhill band, the jazz-oriented instrumentals swung without shouting, and hinted at a bebop equivalent of early Count Basle and Lester Young, and It was those arrangements that inspired Miles Davis to have Evans and Mulligan create a nine-piece version of the same sound, known retrospectively as the 'Birth of the Cool' band. But Thornhill was not just historically significant, the original performances of his band stand up In their own right and are still as fresh as the day they were recorded."- BRIAN PRIESTLEY
Unfortunately, the 1948 recording ban imposed by the James Petrillo, President of the American Federation of Musicians, prevented
Gerry had this to say about his experience with Claude:
"There was always a sense of the mystical about that band and its aura, and all that came from Claude. The idea of the whole ambience of the sound, the kind of voicings that were more orchestral than band-like, that was all Claude's doing. It was a natural and willing adaptation that Gil underwent to write for the band; his way of using it was to apply his own unique talent to that instrumentation. It turned out to be the same thing for me, it gave me the opportunity to write for a band that was totally unlike the others that I had written for."
When asked to compare Claude Thornhill to Stan Kenton, Gerry observed:
"They were probably exact opposites. Thornhill was an introvert, his music was very artistically oriented. His whole attitude was music as an expression of the spirit, and he was much drawn to the Impressionists and the music of that period. Kenton, on the other hand, was an extrovert, and his music was very extroverted and his musical heroes would be more like Wagner. They were polar opposites. The sense of how to produce the sound: the Kenton band was very muscular and physical; the Thornhill band was much more spiritual and cerebral and sensitive." [Both of these Mulligan quotes are drawn from Will Friedwald's insert notes to Claude Thornhill – Best of the Big Bands Columbia CK 46152].
As is explained in the following excerpt from the insert notes to Elliot Lawrence Plays Gerry Mulligan Arrangements by George T. Simon, around 1949, Gerry began producing arrangements for Elliot Lawrence's band which:
came out of
and radio station WCAU to become a nationally known organization in the late Forties and Fifties. One of the band's sometime tenor saxophonists eventually became a major contributor to the band's book. His talent as an instrumentalist emerged on the baritone saxophone and his writing skills were in evidence in several big bands. Philadelphia
Gerry Mulligan had already done "Disc Jockey Jump" for Gene Krupa when
recorded his "Elevation" and arrangement of "Between the Devil and the Lawrence " in 1949. Later Mulligan did some important charts for Stan Kenton, and finally, for his own Concert Jazz Band. Deep Blue Sea
These 1955 dates yielded 12 Mulligan arrangements, including seven originals and "Mr. President," a scoring of Lester Young's solo from his 1939 recording with Count Basie. A full listing of the tracks on this album includes:
The Rocker
Bye Bye Blackbird
Happy Hooligan
My Silent Love
Bweebida Bwobbida
Strike Up the Band
Apple Core
Elegy for Two Clarinets
The Swinging Door
But Not For Me
Mr. President
The Lawrence band interprets the Mulligan scores with style and bite, giving ample solo space to Al Cohn's tenor saxophone, Eddie Bert's trombone, Hal McKusick's alto sax, and the trumpets of Nick Travis and Dick Sherman [as well as the lead trumpet of Bernie Glow].
These Mulligan's scores are marked by [his] warmth and taste ... The section work is wonderfully firm and precise and swings crisply..."
Around the same time that Mulligan began arranging for Elliot Lawrence, as Doug Ramsey explains in his essay Big Bands, Jazz Composing, Arranging After WW II in The
Companion to Jazz: Oxford
"Mulligan was one of a group of young writers and players who in the late 1940s assembled in the
basement room of Gil Evans, their guru, to exchange ideas. Like Miles Davis, Mulligan was enchanted with Evans's work for Claude Thornhill. Evans and Mulligan wrote for Manhattan 's nine-piece group, as did John Lewis and Johnny Carisi, with the Thornhill sound as their basic model. The band's 1949 and 1950 records, later collected as The Birth of the Cool (Capitol), became one of the most influential bodies of music in jazz. Their concepts led to the Evans-Davis collaborations that resulted in Miles Ahead, Porgy and Bess, and Sketches of Spain (Columbia), Mulligan's 1953 Tentette (Capitol), and his Concert Jazz Band (Verve, EuroJazz)." [p. 413]. Davis
In his incisive insert notes to the CD reissue of Birth of the Cool, Pete Welding offers these thoughtful and thought-provoking comments about this seminal recording and its significance:
"In jazz, as in other music, some things are of their time, some ahead of it, while others simply know no time at all. The music produced by the Miles Davis Nonet, whose entire recorded output is contained in this album, is all of these and more. Not only was it the product of a specific time and place -and the special grouping of musicians involved in its creation-but it was demonstrably ahead of its time, having influenced a number of jazz developments that followed and took their lead from it. Then too, as listening will make immediately apparent, it's timeless as well, as most perfect things are.
Many things flowed from this seminal source-subsequent developments in Davis' own music and in those of various of its participants, notably Gerry Mulligan, Gil Evans and John Lewis; much small group jazz of the '50s and '60s which drew upon various of its elements as well as its underlying philosophy; the whole West Coast jazz movement, and so on. All of which is even more remarkable when one considers how little the Nonet recorded or, more important, performed in public. (The latter generally is the best indication of how musical advances are perceived and received by the listening public.)
Still, while jazz audiences of the late 1940s may have been indifferent to the music of the Nonet, at least to the extent of supporting its New York club dates, jazz players of the time evinced no such resistance but, rather, were quick to recognize the beauty and creative audacity of its music, the quietly revolutionary character of its approach to the small jazz ensemble, and the potential for further development implicit in it. Musicians in fact were the first to respond to what was signaled in the Nonet's recordings, and they did so almost immediately. Within two years of the group's final recording session Gerry Mulligan had incorporated various of the Nonet's musical precepts in the formation of his celebrated pianoless quartet with Chet Baker and was enjoying great success. Trumpeter-arranger Shorty
Rogers assimilated its lessons, first into the arrangements he was doing for the Stan Kenton Orchestra and, from 1951 on, even more fully for his small group The Giants from which so much that was viable in the then emerging West Coast jazz idiom took its lead. John Lewis, another Nonet member, had formed and set the musical direction for the Modern Jazz Quartet based largely on his experiences with the group. Davis
Throughout jazz, in fact, the most forward-looking younger musicians studied the Nonet's recordings with the closest interest and translated whatever they could to their own music. Nor did its influence end with these and like activities of the '50s, but in the four decades that have elapsed since the Nonet made its first recordings has colored the very fabric of small group and, through the further collaborations of Davis and Evans which grew from their work for the Nonet, orchestral jazz as well. Hindsight has shown, and only too clearly, that these are among the landmark recordings of modern jazz, the implications of which continue to resonate in ways large and small through the music even today.
While it would be stretching the truth to say that the
Nonet came about through happenstance, there was a certain amount of the fortuitous to it. And like many things labeled revolutionary after the fact, the Nonet's music actually evolved gradually, through a steady process of development and experimentation in which its approach was defined, refined and given final shape. … Davis
In its music the Nonet sought to realize a number of interlocking goals. Foremost of these was the development of an approach to ensemble writing that would retain the freshness and immediacy of improvised music and in which would be fused elements from bop, and Parker's music in particular, with a number of jazz practices such as a light, vibrato-less tonality and a more subtle approach to rhythm that the boppers largely had eschewed, as well as an attempt at achieving the broadened coloristic and textural palette of the large orchestra while using a relatively small number of instruments. A corollary goal was the production of a balanced, more seamless integration between the music's written and improvised elements than was characteristic of bop, the arrangement in effect leading and anchoring the soloist who was, in turn, expected to return his improvisation and resolve it in reference to the written segment that followed. …
Let's reaffirm something here: catchy album title notwithstanding, the music of the Miles Davis Nonet was, is anything but cool. Controlled, lucid, tightly focused, succinct -yes. It's all these and more. but cool in the sense of being dispassionate or otherwise lacking in the fundamental emotional character one always associates with the best jazz, no! As anyone familiar with the Nonet's music can attest, it possesses an abundance of focused emotional power all the more effective for being so low-keyed, so apparently subdued in character." …"
And fortunately, in 1971 Gerry Mulligan himself was able to add his own reflections about the making of Birth of the Cool and many of the musicians who performed with him on these recordings:
"I was lucky to be in the right place at the right time to be part of Miles' band. I'd been on the road a couple of years with various band by that time, but with Gil's encouragement I decided to stay in
. With all the great bands that were around then, big and little, it was an exciting time musically. And everybody seemed to gravitate to Gil's place. Everybody influenced everybody and Bird was no. I influence on us all. New York
Gil lived in a room in a basement on 55th Street, near
5th Avenue. Actually it was behind a Chinese laundry and had all the pipes for the building as well as a sink, a bed, a piano, a hot-plate, and no heat. Some of the more-or-less regulars at Gil's I remember:
John Carisi, almost as hot-headed in an argument as I am. Anyone who writes a piece like "
" can't be all bad, right? Israel
John Lewis, our resident classicist.
George Russell, our resident innovator. (Wrote a couple of fine, interesting charts for Claude Thornhill's band that I suppose there's no trace of now.)
John Benson Brooks, our dreamer of impossible dreams.
Dave Lambert, our itinerant practical yankee.
George Russell, our resident innovator. (Wrote a couple of fine, interesting charts for Claude Thornhill's band that I suppose there's no trace of now.)
John Benson Brooks, our dreamer of impossible dreams.
Billy Exiner, drummer with Thornhill and our home philosopher, with his beautiful attitude toward life and music.
Joe Shulman, bassist with Thornhill; he believed Count Basie had the only rhythm section.
Barry Galbraith, the Freddy Greene of the Thornhill rhythm section and an altogether beautiful musician.
Specs Goldberg, blithe spirit. A fantastic intuitive musician who had a tough time trying to channel his free-wheeling imagination.
Sylvia Goldberg (no relation), piano student and whirlwind.
Blossom Dearie, blossom is blossom.
And Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip
Max Roach, genius. I can't say enough about his playing with the band. His melodic approach to my charts was a revelation to me. He was fantastic and for me the perfect drummer for the band. (No small statement in view of the fact that Miles brought in Art Blakey and Kenny Clarke on the later dates.)
Lee Konitz, genius. Lee had joined Claude's band in
and knocked us all out (including Bird) with his originality. Chicago
For the rest of the band, J.J. and Kai alternated on trombone. It wasn't too easy to find French horn players who were trying to play jazz phraseology but among those at our rehearsals were Sandy Siegelstein (from Thornhill), Junior Collins (who could play some good blues) and probably Jim Buffington. And Bill Barber on tuba. He used to transcribe Lester Young tenor choruses and play them on tuba. What a great player. As I recall, Gil and I also wanted Danny Polo on clarinet but he was out with Claude's band all the time and there was nobody to take his Place. Not long before Danny died we had some jam sessions at which he played the best modern clarinet jazz I've ever heard.
As I said at the beginning, I consider myself fortunate to be there and I thank whatever lucky stars responsible for placing me there. There's a kind of perfection about those recordings and I'm pleased that all the material is finally being released on one set. And without electronic "stereo." To paraphrase an American innovator, Gertrude Stein: a band is a band is a great band.
-GERRY MULLIGAN May 1971."
To be continued in Part 2 with
Bill Crow.


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Last night on my way home I spent some of the time crying. You may not know this about me, but I cry about a lot of things. Commercials, pretty much every movie, tv shows, the nice things that people take the time to do for me, a sweet card, yea, so pretty much everything. It's weird because before my mom died, I never remember crying much. Since she died, it seems like I'm making up for all the lost time crying. I've accepted the fact that I'm a crier now though, so it's okay. Sometimes the holidays are just a hard time, and though they can make me incredibly happy and remind me of all the blessings I have and how lucky I am to be alive, I still miss memories of my family and especially miss my mom. I can remember her in the kitchen Christmas morning baking tons of goodies for the rest of the day, I remember the traditions we used to all share and those memories make me incredibly happy and also at the same time sad. I never feel sorry for myself, nor do I want people to feel sorry for me, I was lucky enough to make those memories with her, but sometimes the holidays can sting a little bit. Sometimes you just need a good cry and last night was one of those times.
Then I talked to my swimming coach about the workout I was suppose to do the next morning. I had just gotten home and he could tell I was crying on the phone and asked me why I was crying. A few sniffles, some convincing words, me arguing about the temperature outside and him telling me to 'man up and get in the damn pool.' I decided that a night swim would be beneficial to me, especially since I realized that the pool I was going to use over Christmas break is closed, so I would have to go with him to get into the gym he uses to use the pool.
I swam and swam and I really enjoyed it. I worked really hard at my breathing and the lifeguard and my swimming coach told me some tips that were very helpful. He told me at the end of my 2000 meter swim that I was looking much, much better and that he was proud of me. Those words mean a lot to me. I really actually felt a lot better on this swim, not like a dolphin with a broken fin. Though I do seem to have some inflammation and bruising in my knee, which I am going to ice and hope that it heals itself and it's just a small problem.
So I swam last night, and I swam 2000 meters on accident. I was only suppose to do 1000 but I'm not the best at math and added everything up wrong. I have no idea how long it took me, but it felt great. So now, since I already hit 2000 meters, I'm going to have to adjust the swimming on my training plan too. See I even have proof I was in the pool!
Along with my hardcore training plan that I posted yesterday, I have come to the realization that, gasp, I don't ever work out my core. As in the most workout it gets is reaching for the remote for the TV. Crunch, feel that abs, I'm reaching, Crunch, and ahhhh lean back and watch TV. Well this isn't sufficient with this hardcore training plan. I need to up my game if we are going to be going all out for this race.
Also, breaking announcement. I haven't eaten fast food in 12 days. If you know me, that is pretty much monumental.
Anyways, back to the ab work out. So basically I got hooked up from a friend with a sweet Ab Roller. Now, you may think, oh how hard can the ab roller be? Ab roller = Death. I know I have a weak core, but seriously, I sweat much more doing 3 sets of 10 ab rollers than running ten miles. So I use the ab roller as one aspect of my ab workout. I try to do 3-6 sets of ten and will increase those numbers hopefully with time. I also do planks, which look like this,
I do sets of those for about a minute each. Did I mention I have a weak core? I am hoping to up the time on each of those, but those also hurt my lower back unfortunately and in our house we have all wooden floors so it's not my favorite thing to do. So ab roller, planks and then we have crunches. These are also not fun, but if you don't feel the burn, they probably aren't working. I do crunches where I crunch my legs up at the same time as I crunch my abs. The key to any ab workout is ENGAGING THE CORE. That sounds funny, but it's true. Make sure you are tightening your abs the entire time you are doing an ab workout. The important part is not using your back or neck to lift your head but to use your abs to lift yourself, no matter what ab workout your doing. Tighten, tighten, tighten! Just think, tight like a tiger!
I with this hardcore training plan I'm going to try to do a core workout at least 4 times a week. I think that will be beneficial to me and that will be 'enough' to make my core feel stronger.
Now finally, I have the giveaway winner for the 13.1! I hope you are ready to run a half marathon on January 10th, 2010 because you won a free entry Madison! Email me at email@example.com and I will set you up with the code. :)
Tomorrow is Christmas Eve already? Where does the time go!


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Andrew Kelly / Reuters
Lisa and Julia Kravchenko pose in their Halloween costumes as they stand in an area ruined by Hurricane Sandy in Staten Island, New York, on October 31, 2012.
Mega-storm Sandy played Wicked Witch on Wednesday, postponing Halloween for millions of disappointed East Coast children warned not to trick or treat amid dangling electrical wires and trees uprooted by the deadly weather, Reuters reports.
But the lingering effects of the deadly storm didn't stop all the fun, as these pictures show.
Peter Foley / EPA
New York City residents light jack-o'-lanterns made from cut out pumpkins on Hudson Street in lower Manhattan, October 31, 2012. Hurricane Sandy knocked out power to much of lower Manhattan and has forced many residents to seek shelter in other parts of the city.
Adrees Latif / Reuters
Revellers dressed up for Halloween share a laugh in Times Square, New York in the early hours of November 1, 2012.
John Minchillo / AP
Lisa Kravchenko stands amongst flood debris in her princess Halloween costume on Oct. 31, 2012 in Staten Island.
Richard Drew / AP
Commuters, including one man dressed for Halloween, cross New York's Brooklyn Bridge on Oct. 31, 2012.
Share your photos with us
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It took just 18 months for the nation's unemployment rate to rise from 5 percent to over 10 percent during the economic downturn. It is likely to take many years before the jobless rate drops back anywhere near 5 percent, economists say.
The unemployment rate fell in December to 9.4 percent from 9.8 percent in November, the Labor Department said Friday. It was the lowest in 19 months as the economy generated a net total of 103,000 jobs and marked the biggest one-month decline in the jobless rate since April 1998.Story: U.S. businesses stepped up hiring in December
The economy is moving in the right direction, analysts say, having added 1.1 million jobs, or an average of 94,000 jobs a month in 2010. But it is not enough to have a significant impact on the unemployment rate, which remains uncomfortably close to the 27-year high of 10.1 percent hit in October 2009.
"It's going to take a whale of a long time to get back to any semblance of normal, even if the numbers are going up," said Mike Montgomery, U.S. economist with IHS Global Insight.
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- Wild Wall St.
Like most economists, Montgomery does not expect the unemployment rate to drop below 9 percent this year, even as the economy steadily adds jobs at a modest rate amounting to a net 100,000 to 200,000 positions monthly. By the end of 2012, he expects the jobless rate to remain at a historically high level of 8.5 percent.
Part of the problem is that the growing U.S. population means the economy needs 100,000 new jobs each month just to absorb new workers and prevent the unemployment rate from rising, said Paul Ashworth, chief U.S. economist with Capital Economics.
As the economy improves more people will come off the sidelines to look for work too, either because they have been in school getting retrained or simply because they see job prospects improving. The government measures the unemployment rate by a survey method in which people are considered unemployed only if they are actively seeking work.
In December, the Bureau of Labor Statistics said the number of people in the labor force actually fell by around 260,000, which is one reason the unemployment rate declined so sharply.A broader glimpse at the unemployment rate
Goldman Sachs projects that employers will add 2.2 million jobs this year, or about 180,000 a month, double last year's amount. Moody's Analytics puts the figure at about 250,000 per month.
Economist Joel Naroff noted in a research note Friday morning that we have come a long way from last year, when the economy was still shedding jobs. But he said Friday's unemployment report shows improvements in the jobs picture will be slow.
"The details of the report support the view that businesses continue to hire but still see no reason to add lots of workers," Naroff wrote.
Federal Reserve Chairman Ben Bernanke, who spoke about the economic outlook Friday on Capitol Hill, said it will take years for the unemployment rate to return to a healthy level of about 5.5 percent.
"The economic recovery that began a year and a half ago is continuing, although, to date, at a pace that has been insufficient to reduce the rate of unemployment significantly," Bernanke said in testimony released Friday morning.
The Fed said the testimony was written before the unemployment rate was announced.
Readers, are you back at work after a long job hunt?
Where the jobs are, and aren't
For millions of jobless Americans, the big question is where the jobs are.
Experts expect continued job growth in health care, which has been a bright spot even during the sluggish recovery.
Montgomery also is expecting to continue to see strength in temporary jobs. But while such jobs have traditionally been seen as an indicator that employers were gearing up to hire more full-time workers, it's not clear that will be as true this time around.
Instead, he said, some of those jobs may be designed to employ temporary workers for longer, so the employer doesn't have to take on the burden of benefits and other costs of full-time employees.
Ashworth is expecting to continue to see jobs growth in manufacturing, as the weak dollar and economic growth in Asia and parts of Europe spur demand for experts.
It's not likely to be enough to offset the approximately two million manufacturing jobs that have been lost since the recession began.
The job market will remain tough in industries including construction, Ashworth said. That sector has been decimated by the housing bust and a slowdown in commercial building.
Employment gains in December were led by the private services sector, which saw payrolls rising 115,000 after gaining 84,000 in November. Retail jobs increased 12,000 after a surprise 19,400 slump in November when retailers reported their best sales in years.
Temporary hiring increased 15,900 after 31,100 in November.
The goods-producing sector shed 2,000 jobs in December after losing 5,000 in November, but manufacturing payrolls rose 10,000. Construction employment fell 16,000 after slipping 2,000 in November.
Montgomery also is expecting the government to continue to shed jobs in the coming year, as cash-strapped states and budget-minded federal officials look for more ways to pinch pennies.
That's one of the reasons President Obama is courting business so heavily lately. It's estimated that non-financial companies have almost $2 trillion in their coffers and the president would like companies to use some of that to hire workers in the U.S.
With the unemployment rate still extremely high by historical standards, experts say jobseekers shouldn't limit themselves to any one field. After all, even in a sector that isn't adding many jobs, there are bound to be people who leave and jobs that come open.
"Look everywhere," Montgomery said. "It's not like you can target an industry and say, 'I want to work for the high-tech companies,' as much as you could have five years ago."
Take a break and follow me on Twitter @alinnmsnbc
The Associated Press and Reuters contributed to this report.


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Explainer: The 10 deadliest earthquakes in recorded history
A look at the worst earthquakes in recorded history, in loss of human life. (The March 11, 2011, earthquake and tsumani that affected eastern Japan is not included because the fatalities caused, about 15,000, are fewer than those resulting from the temblors listed below.) Sources: United States Geological Survey, Encyclopedia Britannica
1: Shensi, China, Jan. 23, 1556
Magnitude about 8, about 830,000 deaths.
This earthquake occurred in the Shaanxi province (formerly Shensi), China, about 50 miles east-northeast of Xi'an, the capital of Shaanxi. More than 830,000 people are estimated to have been killed. Damage extended as far away as about 270 miles northeast of the epicenter, with reports as far as Liuyang in Hunan, more than 500 miles away. Geological effects reported with this earthquake included ground fissures, uplift, subsidence, liquefaction and landslides. Most towns in the damage area reported city walls collapsed, most to all houses collapsed and many of the towns reported ground fissures with water gushing out.
2: Tangshan, China, July 27, 1976
Damage extended as far as Beijing. This is probably the greatest death toll from an earthquake in the last four centuries, and the second greatest in recorded history.
3: Aleppo, Syria, Aug. 9, 1138
Magnitude not known, about 230,000 deaths.
Contemporary accounts said the walls of Syria's second-largest city crumbled and rocks cascaded into the streets. Aleppo's citadel collapsed, killing hundreds of residents. Although Aleppo was the largest community affected by the earthquake, it likely did not suffer the worst of the damage. European Crusaders had constructed a citadel at nearby Harim, which was leveled by the quake. A Muslim fort at Al-Atarib was destroyed as well, and several smaller towns and manned forts were reduced to rubble. The quake was said to have been felt as far away as Damascus, about 220 miles to the south. The Aleppo earthquake was the first of several occurring between 1138 and 1139 that devastated areas in northern Syria and western Turkey.
4: Sumatra, Indonesia, Dec. 26, 2004
Magnitude 9.1, 227,898 deaths.
This was the third largest earthquake in the world since 1900 and the largest since the 1964 Prince William Sound, Alaska temblor. In total, 227,898 people were killed or were missing and presumed dead and about 1.7 million people were displaced by the earthquake and subsequent tsunami in 14 countries in South Asia and East Africa. (In January 2005, the death toll was 286,000. In April 2005, Indonesia reduced its estimate for the number missing by over 50,000.)
5: Haiti, Jan 12, 2010
Magnitude 7.0. According to official estimates, 222,570 people killed.
According to official estimates, 300,000 were also injured, 1.3 million displaced, 97,294 houses destroyed and 188,383 damaged in the Port-au-Prince area and in much of southern Haiti. This includes at least 4 people killed by a local tsunami in the Petit Paradis area near Leogane. Tsunami waves were also reported at Jacmel, Les Cayes, Petit Goave, Leogane, Luly and Anse a Galets.
6: Damghan, Iran, Dec. 22, 856
Magnitude not known, about 200,000 deaths.
This earthquake struck a 200-mile stretch of northeast Iran, with the epicenter directly below the city of Demghan, which was at that point the capital city. Most of the city was destroyed as well as the neighboring areas. Approximately 200,000 people were killed.
7: Haiyuan, Ningxia , China, Dec. 16, 1920
7.8 magnitude, about 200,000 deaths.
This earthquake brought total destruction to the Lijunbu-Haiyuan-Ganyanchi area. Over 73,000 people were killed in Haiyuan County. A landslide buried the village of Sujiahe in Xiji County. More than 30,000 people were killed in Guyuan County. Nearly all the houses collapsed in the cities of Longde and Huining. About 125 miles of surface faulting was seen from Lijunbu through Ganyanchi to Jingtai. There were large numbers of landslides and ground cracks throughout the epicentral area. Some rivers were dammed, others changed course.
8: Ardabil, Iran, March. 23, 893
Magnitude not known, about 150,000 deaths
The memories of the massive Damghan earthquake (see above) had barely faded when only 37 years later, Iran was again hit by a huge earthquake. This time it cost 150,000 lives and destroyed the largest city in the northwestern section of the country. The area was again hit by a fatal earthquake in 1997.
9: Kanto, Japan, Sept. 1, 1923
This earthquake brought extreme destruction in the Tokyo-Yokohama area, both from the temblor and subsequent firestorms, which burned about 381,000 of the more than 694,000 houses that were partially or completely destroyed. Although often known as the Great Tokyo Earthquake (or the Great Tokyo Fire), the damage was most severe in Yokohama. Nearly 6 feet of permanent uplift was observed on the north shore of Sagami Bay and horizontal displacements of as much as 15 feet were measured on the Boso Peninsula.
10: Ashgabat, Turkmenistan, Oct. 5, 1948
7.3 magnitude, 110,000 deaths.
This quake brought extreme damage in Ashgabat (Ashkhabad) and nearby villages, where almost all the brick buildings collapsed, concrete structures were heavily damaged and freight trains were derailed. Damage and casualties also occurred in the Darreh Gaz area in neighboring Iran. Surface rupture was observed both northwest and southeast of Ashgabat. Many sources list the casualty total at 10,000, but a news release from the newly independent government on Dec. 9, 1988, advised that the correct death toll was 110,000. (Turkmenistan had been part of the Soviet Union, which tended to downplay the death tolls from man-made and natural disasters.)
© 2013 msnbc.com Reprints


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Message Board
Kate Brian Message Board
Talk about the novels, new and used books that Brian has written!
Author Brian's Book Reviews
Rory Miller is being chased by a serial killer causing her family to go into the Witness Protection Program. Taking a short cut home from school that leads through the woods, Rory Miller is attacked by her math teacher, Steven Nell. Escaping, she is brought home by her boyfriend, Christopher. After an investigation, Rory learns that Mr. Nell is a serial killer that has never let a girl escape him before. Rory, her sister Darcy and father are locked in...
The Princess and the Pauper
Julia is a regular girl in Los Angeles living in a crummy apartment with her mom and on scholarship at a very exclusive girls school, where everyone else has more money. Meanwhile, in Vineland, the life of privilege is starting to get on the nerves of Princess Carina. At the beginning of the book, she "falls in love" with the lead singer of a heavy metal band. In order to meet him, Carina and her best friend Ingrid concot a scheme after meeting Ju...
Reed Brennan is a Billings Girl. A Bilings Girl means being popular rich (although she is not), and secretive. Her old boyfriend, Thomas Pearson, is dead. His roommate, Josh, is as hot as ever. Reed feels guilty, but she really likes Josh. The other Billings Girls dissapproved of Thomas, and they aren't sure how they feel about Josh. Now, the police are suspecting Josh of murdering Thomas, and Reed doesn't know what to do. With help from the other...


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1. THE SHOP AROUND THE CORNER (97 minutes) G
Ernst Lubitsch made many great films, but this 1940 "workplace comedy," set in a small Budapest gift shop, is uniquely gentle and extremely touching. James Stewart and Margaret Sullavan lead the ensemble cast as colleagues who can't stand each other in person but carry on an unknowing flirtation by post. 35-millimetre print. ACMI, today and tomorrow, 11am. Seniors $6, carers free.
2. THE WIZARD OF OZ (98 minutes) G
Judy Garland sings Over the Rainbow, Bert Lahr works himself into a tizz as the Cowardly Lion, and everyone is off to see the Wizard, striding down the Yellow Brick Road in glorious Technicolor. A classic that every generation deserves to see on the big screen. 35-millimetre print. Astor, tomorrow, 2pm. Double bill with Willy Wonka & the Chocolate Factory.
3. BREAKFAST AT TIFFANY'S (115 minutes) PG
Audrey Hepburn is the essence of faux-bohemian chic as Manhattan party girl Holly Golightly in this beloved 1961 comedy-drama, directed by Blake Edwards and based on the novella by Truman Capote. Much like its heroine, the film is stylish, whimsical, prone to drastic shifts in mood and transparently phoney yet enchanting all the same. Digitally projected. Astor, today, 7.30pm. Double bill with Roman Holiday.
4. THE FRENCH CONNECTION (104 minutes) M
Gene Hackman stars as "Popeye" Doyle, an unlovely but dogged cop trailing a gang of drug smugglers through New York City, in William Friedkin's classic 1971 thriller. All these years later, Friedkin's jolting, kinetic style – with its undertones of absurdism and horror – still puts the Bourne series in the shade. Digitally projected. Astor, tomorrow, 7pm. Double feature with The Hustler.
5. PICNIC AT HANGING ROCK (107 minutes) PG
A group of schoolgirls head out to the famous Victorian picnic spot and find themselves faced with eternal mystery in Peter Weir's 1975 period piece, deliberately designed as a riddle with no answer. Russell Boyd's cinematography may be too "pretty" for some tastes, but modern Australian art cinema starts here. 35-millimetre print. ACMI, today, 4pm. Tickets $6 or less.
6. THIS IS 40 (134 minutes) MA
Judd Apatow's output as writer and director is wildly uneven, but at best there's a fair amount of insight mixed in with the profanity and the fart jokes. This spinoff of his 2007 hit Knocked Up is a love letter to his real-life wife Leslie Mann as well as a candid look at the trials and tribulations of middle age. General.
7. WEEKEND (97 minutes) MA
Two young men (Tom Cullen and Chris New) hook up at a Nottingham club then slowly get to know one another in this finely acted low-budget romance from British writer-director Andrew Haigh – a frank report on urban gay life in the 21st century, and a demonstration that lust and tenderness can go hand in hand. Rooftop Cinema, today, 9.30pm.
8. MONSTERS INC (96 minutes) G
This 2001 computer-animated fantasy adopts the reassuring premise that monsters are more scared of children than the other way round. Now in 3D, it remains one of the cleverest storytelling experiments to emerge from the Pixar studio – a workplace comedy in Halloween costume, flowing seamlessly from farce to pathos and back again. General.
9. TRAINSPOTTING (94 minutes) R
Danny Boyle's 1996 adaptation of Irvine Welsh's novel is oddly energetic for a film about heroin addiction – but there's still plenty of scabrous humour, as well as the definitive Britpop soundtrack. The young Ewan McGregor leads a crew of up-and-coming Scottish stars, with Kelly McDonald as his under-age love interest and Robert Carlyle as the psychopathic Begbie. Digitally projected. Shadow Electric (Abbotsford Convent), tomorrow, sundown (around 8.40pm).
10. YOU WILL MEET A TALL DARK STRANGER (98 minutes) M
Woody Allen's gloomy 2010 comedy of love and betrayal sets out to prove that truth and beauty are worlds apart. Anthony Hopkins is unusually vulnerable as a divorced London businessman hoping to regain his lost youth; the impressive cast also includes Gemma Jones, Naomi Watts and Lucy Punch as the kind of gold-digging floozy Allen not so secretly adores. Cinema Nova.
The original release of this article first appeared on the website of Hangzhou Night Net.


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Justin Bieber's had a rough week. His computer was stolen. Someone punked the police claiming they broke into his home and he might be related to Celine Dion. Here's a look into the best Bieber headlines and Tweets from the week.
In the midst of his Believe Tour even Bieber falls victim to burglary. He took to Twitter to let the world know.
yesterday during the show me and my tour manager josh had some stuff stolen. really sucks. people should respect other's property
— Justin Bieber (@justinbieber) October 10, 2012
i had a lot of personal footage on that computer and camera and that is what bothers me the most. #lame #norespect
— Justin Bieber (@justinbieber) October 10, 2012
Justin Bieber has some famous relatives.
Justin Bieber is distantly related to Ryan Gosling, Avril Lavigne, and Celine Dion. You will be, too, if you marry him. bit.ly/RiyYAQ
— Interview Magazine (@InterviewNews) October 11, 2012
You read that right. According to Ancestry.com the Biebs is a distant cousin of actor Ryan Gosling and singer Avril Lavigne as well as a distant relative of fellow Canadian singer Celine Dion. Bieber and Gosling are reportedly 11th cousins once removed, and Bieber and Lavigne are 12th cousins.
While Bieber may have had a difficult week, he's still doing some good.
Justin Bieber's New Bullying PSA bit.ly/Qdsmlh <– directed by @javidlouis shot by @jddapper @cj_something edited by @leland_malinski
— the.LIFE Files (@thelifefiles) October 10, 2012
"The Web should be used to inspire others, not spread hate or hurt," he said in the PSA.
The Newark Bears are investigating a fraudulent representation of Justin Bieber who had no part of any Bears That Care fundraiser.
— Newark Bears (@NewarkBears) October 9, 2012
Shortly after the Newark Bears posted a Tweet confirming that Bieber would be performing, they retracted the news when it was discovered to be fraudulent promises.
And perhaps the most surprising news of the week is Justin Bieber is a Phish fan.
I may be the only one but I love that Justin Bieber's guitarist is teasing #phish
— Chelsey Thornton (@chelseythornt0n) October 11, 2012
At a recent concert the pop star surprised everyone when performing three different Phish songs during his current tour including "Sand," "First Tube" and "Divided Sky."
Meanwhile, fans can expect to see the video for his collaboration with Nicki Minaj soon. Nicki Tweeted all about it. "I am speechless. just saw the @justinbieber "beauty and a beat" video. This sh** will change the game. Blown away. Wait til u c it!"
-Annie Reuter, CBS Local
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Will you be attending the CLiC Spring Workshops in Pueblo this week? If so, we hope you will join us for our two sessions:
Don't Say Cheese: Take Great Photos for Your Website and Social Media Networks, Thursday, April 24, 9:45-11:00 AM, Aspen Leaf, Linda Hofschire & Dave Hodgins
Learn how to take better photos with your digital camera, whether you use the camera on your phone, a point and shoot, or an SLR. In this session, we will discuss exposure, composition, photographing people and objects, and basic photo editing. We will also share examples of how libraries are using photos effectively on their websites and social media networks to attract and engage users.
Minute To Win It: Make the Case for Your Library with a Data-Based Elevator Speech,Thursday, April 24, 11:15-12:30, Aspen Leaf, Linda Hofschire & Meghan Wanucha
Circulation, program attendance, website visits—these are just a few of the statistics you are already gathering at your library. But how do you take these data and turn them into effective advocacy? In this interactive session, learn how to develop an elevator speech about your library, use statistics and stories to add value, and tailor the message to various stakeholders. You will have the opportunity to draft an elevator speech and share it with others if desired. You are encouraged to bring any statistics you collect about your library for use in drafting your speech.