In the ealry 1950s, Bill became exquisite on the bass while playing and recording with some of the era's finest collaborative jazz musicians. Yesterday, Bill and I covered his year with Stan Getz. Today, Bill talks about working with a growing number of leading artists in tjhe 1950s, including Al Haig, Jimmy Raney, Marian McPartland, Jackie Cain and Roy Kral, Phil Woods, Sal Salvador, Sam Most and Gerry Mulligan. Along the way, he developed his chops and a reputation for being a warm, straight-up muscular bassist. His sound was thick, punchy and pronounced, making him both a serious time-keeper for ensembles and for our foot, which you'll find is going up and down with his swinging bass lines.
Here's Part 3 of my interview with Bill Crow:
JazzWax: Why did Stan Getz let you go in 1953?
Bill Crow: The band had evolved two or three times. And by '53, we had pianist Johnny Williams, drummer Al Levitt, Bob Brokmeyer on valve trombone, Stan and me. That particular rhythm section had never gelled. We played some hot things that you can hear on those early records, but Johnny wanted to be up on top of the beat all the time. He was constantly like, “Come on. Come on. Come on," and “shuffle, shuffle, shuffle." His rhythmic feel was very forward. Al liked to lay back and smooth things out. And I was kind of in the middle of their tug of war. I didn't know which way to go.
JW: Too tough to be where Johnny Williams wanted you?
BC: I tried to move up but I never seemed to satisfy him and never felt that the rhythm section was as tight as some of the others we'd had.
JW: How did it go down?
BC: After a job in Philadelphia in ‘53, Stan came up to me and said, “Look, we're going out to the West Coast and I want to get [bassist] Teddy Kotick to come back with the band. I don't have the two weeks’ notice to give you, but I hope you'll see what my problem is, that I don't want to take you out for two weeks and then send you home."
JW: What did you say?
BC: I said, “No, that's cool. Just let this be the end of it." I drove back up to New York that night and went into Charlie’s Tavern feeling very glum. There, I ran into Winston Welch, who was with Claude Thornhill's band at the time. I said, “What's happening, Winston?" He said, “Oh, we just lost our bassist." I said, “Teddy Kotick’s going with Stan Getz." He said, “Oh, does that mean you're open?" I said, “Sure." He called the band’s manager, and I went right onto Claude’s band.
JW: That was a nice band.
BC: Oh, it was a wonderful band. Trumpeters Dale Pierce, Sonny Rich and Dick Sherman were in there, Billy Ver Planck was on trombone, the saxophones were Gene Quill and Ralph Aldridge on altos, Red Norman and Dave Figg on tenors, and Dick Zubak on baritone. I was there on the road with the band for about seven months doing one-nighters. I loved Claude. He was a bizarre man, but he was a darling guy.
JW: Why bizarre?
BC: He didn't like the limelight. If the band had a hit record, Claude would go fishing for a couple of months until things died down a little bit. He hated all of the attention that accompanied good press.
JW: He’s sort of the father of mood music, Claude and Paul Weston.
BC: He loved Gil Evans's writing. He wrote lush stuff himself. He had a way with the piano. No matter how rotten the pianos were on those road trips, he'd come in and run a couple of chromatic scales and find all the notes he never wanted to hear again. By fooling around with the soft pedal, He would get some little chime notes that sounded beautiful. He’d tuck those into the arrangements and not play too much when the pianos were bad.
JW: In 1954, you recorded one of the great piano trio albums, what originally was called The Al Haig Trio and became Jazz Will-O'-the Wisp, with Al Haig on piano, you on bass and Lee Abrams on drums. Extraordinary music. How did that come about?
BC: I lived in Greenwich Village at the time. One day my phone rang and it was Jerry Newman, the recording engineer. He said, “Hey, this guy from Paris is in town with some money and wants to record Al Haig for the French Swing label. Can you come up tonight?" I must have been the first bassist who answered the call. I said yes because I admired Al, but I'd never met him or Lee before that date. We all went up to Jerry’s studio. Jerry was into some kick of wanting to record everything with one microphone.
JW: What did he do?
BC: He placed the mic over the topless piano and stood me on a box in the curve of the piano so I’d be as close to the mic as possible. Then he kept moving Lee back until Lee ended up sitting in the doorway across the room
JW: The album sounds great.
BC: I was still just playing by ear. Al would play three or four bars of some standard tune and say, “You know this?" I'd say, “Yeah." We would record it with no run-throughs, nothing. I never got a chance to find out what chord substitutions Al was going to use or how he was going to do the tune. And every one of those things was one take. We recorded nine songs for Swing. And as I'm playing, I'm hearing notes all the way through that I wish to God I hadn't played. But I didn't get a second chance.
JW: But many more songs were recorded that night on March 13, 1954, yes?
BC: Well, we got through the nine-song date so quickly that Jerry said, “Hey, Jesus, we still have a couple of hours left. Why don't we do an album for my Esoteric label in the States?" Al said, “Sure." He sat down and we did another 13 tunes. Eight of them were originally released in the U.S. on Jerry's 10-inch Esoteric label. Jerry eventually released all 13 of the songs recorded for the U.S. portion of the session on a 12-inch LP for his renamed Counterpoint label. Al had recorded three solo songs, which were included.
JW: You're right: Don't Blame Me, April in Paris and My Old Flame.
BC: Even though we wound up recording two albums, I only got paid for the one French date. Jerry slipped one in there.
JW: In the summer of 1954, you wind up with the Jimmy Raney Ensemble. That’s another unbelievable group.
BC: That was wonderful. We rehearsed down at Jimmy's apartment in Greenwich Village. Sal Salvador came down and took the photo that's on the cover of the album. Then we went over to Rudy Van Gelder's parents’ house in Hackensack, N.J., where he had his studio then. He didn't have a piano then, which was perfect since we didn't have a piano in the group. That was the first time I played with trumpeter John Wilson, alto saxophonist Phil Woods and drummer Joe Morello. I knew Phil through Joe, because they were all from the Springfield, Mass., area.
JW: How did that group sound compared to the Stan Getz Quintet?
BC: It was much more aggressive because of Phil. He had that strong, lead-player's edge. And John was more laid back on the time, but they worked well together.
JW: Without a piano in there, did more rest on your shoulders?
BC: I just followed Jimmy Raney. I figured if I could match his chords, I was all set. Joe was an interesting drummer. I was working with him and Marian McPartland around this time at Manhattan’s Hickory House. It was easy for people to drop in there. We were in the middle of a big oval bar and people would come and have a drink and listen to the jazz. It was an audition for Joe and me to see how we worked as a rhythm section. We got hired by people that would come in and listen to us and think that we played well together. We wound up doing albums with Jimmy, Jackie and Roy, and others. [Photo above of Marian McPartland at the Hickory House with Bill Crow on bass and Joe Morello on drums, courtesy of Bill Crow]
JW: What were Jackie Cain and Roy Kral like to work with?
BC: Wonderful. I knew them because when I was in the Army in 1948, I went to see Charlie Ventura's band with Jackie and Roy several times when stationed at Fort Meade, Md., between Baltimore and Washington, D.C. My Army buddies and I got friendly with the guys on the band just because we were hanging around so much. Charlie Ventura's brother, Benny, was very kind to us. He was playing baritone sax. We also got to know Jackie and Roy and drummer Ed Shaughnessy, mainly.
JW: Speaking of Jackie and Roy, you record with guitarist Barry Galbraith on Jackie and Roy's Storyville album in 1955 that included Mountain Greenery. How did Galbraith differ from Jimmy Raney?
BC: I got to know him in the studios as a very good sight reader, but I didn't really think of him as having a particular style of his own, because the job was to figure out the music and get it played during the time you were in the studio. But I always felt he had really solid rhythm and a nice selection of voicings for chords.
JW: What did Marian McPartland teach you?
BC: She modulated all over the place. She liked to play in all the sharp keys. I was scuffling with my technique at that time. I didn't know what the fingering system was on the bass other than what I'd figured out for myself. So sometimes, you'd get into keys with her that didn't have many open strings in the scale, like D-flat and F-sharp. But it was really good for me because by the time I got off of that group and joined Gerry Mulligan, my technique had improved tremendously.
JW: Is that because of things that other musicians showed you or because you worked hard and figured it out?
BC: I figured it out. When I went with Gerry in 1956 and found out that there were parts he had written that started in the upper register, I had no idea how to find those notes accurately without working my way up to them. As long as I was able to pick out my own lines, I could construct something musical that was within my technical grasp.
JW: How did you wind up with the Gerry Mulligan Sextet in '56?
BC: Bob Brookmeyer recommended me. Which was weird, since he was the one who recommended that Stan fire me. Three years earlier he felt the rhythm section wasn't hot enough and complained to Stan. Stan said, “Well, what do you think we should do?" And Bob said, “Well, maybe we should go back to Teddy Kotick." [Photo above, from left, of Bill Crow, Gerry Mulligan and Bob Brookmeyer]
JW: Then why would he turn around and recommend you to Gerry?
BC: When he was on the West Coast, Gerry had established that he wanted guys who were more interested in the company of others on the bandstand rather than just soloing. He found Chico Hamilton, who was good that way, and two or three bass players who he had played with out there. So when he came back to New York, his original sextet was Idris Suleman, Zoot Sims, Bobby Brookmeyer, Peck Morrison and Dave Bailey. Idris didn't stay too long, so Gerry got John Edley, and then Peck had a chance to go with Johnny Hodges or somebody. Gerry and Bobby were wondering who they shoudl get. Bobby said, “Well, Bill Crow's there. And he may be the kind of bassist you're looking for. He has good ears, and he’s an an accompanist."
JW: What happened?
BC: Gerry or Bob reached out to me and I gave Marian my two weeks’ notice. I said to her,, “I loved this job with you, but I can't pass up the chance to go play with Gerry, Bobby and Zoot." She understood. In fact, after I'd been with Gerry for six or eight months, we had a disagreement about something that didn't have anything to do with the music, and I quit.
JW: And?
BC: Marion immediately hired me back at the Hickory House and I stayed.
JW: What was the disagreement with Mulligan about?
BC: About me not giving the group enough attitude on the bass. Many of Gerry's originals were based on another song that I knew. So most of his originals were lyrical and easy. They didn't usually give me anything written out to follow. Once in a while, Gerry would have a lead sheet.
JW: How was Zoot in that group? What made him special?
BC: It's Zoot's certain spirit. Besides the years and the technique under his belt, he had a spirit for swing that he tried to inject into everything he played. In fact, I was with him on some pub crawls in Europe where he would end up so drunk he couldn't articulate what he wanted to say but he could still swing.
JW: In 1956, you recorded Musically Yours with flutist and clarinetist Sam Most. Nice player, yes?
BC: Yeah, Sam was a sweet guy. He didn't stay around New York too long. He went out to the West Coast, and I didn't seem him again. But we did get that one album made.
JW: You also recorded with Sal Salvador on Shades of Sal Salvador for Bethlehem in October 1956. Then you went back with Mulligan?
BC: I did. I stayed with the sextet until the sextet became a quartet. And then I left. I was only away for couple of years when Gerry called me up. He said, “I'm putting together a new quartet with Art Farmer. Do you want to be on it?" I said, sure. So we got ready for the Newport Jazz Festival. That was a nice stretch. We did some European tours with that quartet.
JW: You guys recorded for World Pacific in Septeber 1958.
BC: Oh, yeah. Owner Dick Bock was really an amazing guy. Gerry told me that when he had his original quartet at the Haig in L.A. in the summer of 1952, Bock came in and told Gerry, “Oh man, I love this band. Where can I buy a record?" Gerry said, “We haven't recorded yet." Gerry said, “How much does it cost to make a record?" I think they did it for $300 or $400. That quartet's 10-inch record \Dick's Pacific Jazz label off the ground.
JW: Backing up to Boston in December 1956, when you recorded live at Storyville as a quartet. That's an amazing album. Incredible collaboration between the four of you.
BC: When Dick Bock came up there to record us, he was really grateful to Gerry, who had created a career for him. He paid us for the album and gave us bonuses because it was near Christmas and he took us out to dinner. He brought Bill Clarkston along to do the cover shoot.
JazzWax tracks: Here are a bunch of Bill's recordings covered in this post:
Here's Bill with the Al Haig Trio on the full Jazz Will-O-the-Wisp...
Here's Marian McPartland live at the Hickory House with Bill on bass and Joe Morello on drums...
Here's Bill with the Jimmy Raney Ensemble playing Stella by Starlight...
Here's Bill with Jackie and Roy on Mountain Greenery...
Here's Two Sleepy People from Shades of Sal Salador with Eddie Costa (p), Sal Salvador (g), Bill Crow (b) and Joe Morello (d)...
Here's the Gerry Mulligan Sextet playing Elevation, with Don Ferrara (tp), Bob Brookmeyer (v-tb), Zoot Sims (ts), Gerry Mulligan (bar), Bill Crow (b) and Dave Bailey (d)...
And here's the entire Gerry Mulligan Quartet Live at Storyville...
Here's Part 3 of my interview with Bill Crow:
JazzWax: Why did Stan Getz let you go in 1953?
Bill Crow: The band had evolved two or three times. And by '53, we had pianist Johnny Williams, drummer Al Levitt, Bob Brokmeyer on valve trombone, Stan and me. That particular rhythm section had never gelled. We played some hot things that you can hear on those early records, but Johnny wanted to be up on top of the beat all the time. He was constantly like, “Come on. Come on. Come on," and “shuffle, shuffle, shuffle." His rhythmic feel was very forward. Al liked to lay back and smooth things out. And I was kind of in the middle of their tug of war. I didn't know which way to go.
JW: Too tough to be where Johnny Williams wanted you?
BC: I tried to move up but I never seemed to satisfy him and never felt that the rhythm section was as tight as some of the others we'd had.
JW: How did it go down?
BC: After a job in Philadelphia in ‘53, Stan came up to me and said, “Look, we're going out to the West Coast and I want to get [bassist] Teddy Kotick to come back with the band. I don't have the two weeks’ notice to give you, but I hope you'll see what my problem is, that I don't want to take you out for two weeks and then send you home."
JW: What did you say?
BC: I said, “No, that's cool. Just let this be the end of it." I drove back up to New York that night and went into Charlie’s Tavern feeling very glum. There, I ran into Winston Welch, who was with Claude Thornhill's band at the time. I said, “What's happening, Winston?" He said, “Oh, we just lost our bassist." I said, “Teddy Kotick’s going with Stan Getz." He said, “Oh, does that mean you're open?" I said, “Sure." He called the band’s manager, and I went right onto Claude’s band.
JW: That was a nice band.
BC: Oh, it was a wonderful band. Trumpeters Dale Pierce, Sonny Rich and Dick Sherman were in there, Billy Ver Planck was on trombone, the saxophones were Gene Quill and Ralph Aldridge on altos, Red Norman and Dave Figg on tenors, and Dick Zubak on baritone. I was there on the road with the band for about seven months doing one-nighters. I loved Claude. He was a bizarre man, but he was a darling guy.
JW: Why bizarre?
BC: He didn't like the limelight. If the band had a hit record, Claude would go fishing for a couple of months until things died down a little bit. He hated all of the attention that accompanied good press.
JW: He’s sort of the father of mood music, Claude and Paul Weston.
BC: He loved Gil Evans's writing. He wrote lush stuff himself. He had a way with the piano. No matter how rotten the pianos were on those road trips, he'd come in and run a couple of chromatic scales and find all the notes he never wanted to hear again. By fooling around with the soft pedal, He would get some little chime notes that sounded beautiful. He’d tuck those into the arrangements and not play too much when the pianos were bad.
JW: In 1954, you recorded one of the great piano trio albums, what originally was called The Al Haig Trio and became Jazz Will-O'-the Wisp, with Al Haig on piano, you on bass and Lee Abrams on drums. Extraordinary music. How did that come about?
BC: I lived in Greenwich Village at the time. One day my phone rang and it was Jerry Newman, the recording engineer. He said, “Hey, this guy from Paris is in town with some money and wants to record Al Haig for the French Swing label. Can you come up tonight?" I must have been the first bassist who answered the call. I said yes because I admired Al, but I'd never met him or Lee before that date. We all went up to Jerry’s studio. Jerry was into some kick of wanting to record everything with one microphone.
JW: What did he do?
BC: He placed the mic over the topless piano and stood me on a box in the curve of the piano so I’d be as close to the mic as possible. Then he kept moving Lee back until Lee ended up sitting in the doorway across the room
JW: The album sounds great.
BC: I was still just playing by ear. Al would play three or four bars of some standard tune and say, “You know this?" I'd say, “Yeah." We would record it with no run-throughs, nothing. I never got a chance to find out what chord substitutions Al was going to use or how he was going to do the tune. And every one of those things was one take. We recorded nine songs for Swing. And as I'm playing, I'm hearing notes all the way through that I wish to God I hadn't played. But I didn't get a second chance.
JW: But many more songs were recorded that night on March 13, 1954, yes?
BC: Well, we got through the nine-song date so quickly that Jerry said, “Hey, Jesus, we still have a couple of hours left. Why don't we do an album for my Esoteric label in the States?" Al said, “Sure." He sat down and we did another 13 tunes. Eight of them were originally released in the U.S. on Jerry's 10-inch Esoteric label. Jerry eventually released all 13 of the songs recorded for the U.S. portion of the session on a 12-inch LP for his renamed Counterpoint label. Al had recorded three solo songs, which were included.
JW: You're right: Don't Blame Me, April in Paris and My Old Flame.
BC: Even though we wound up recording two albums, I only got paid for the one French date. Jerry slipped one in there.
JW: In the summer of 1954, you wind up with the Jimmy Raney Ensemble. That’s another unbelievable group.
BC: That was wonderful. We rehearsed down at Jimmy's apartment in Greenwich Village. Sal Salvador came down and took the photo that's on the cover of the album. Then we went over to Rudy Van Gelder's parents’ house in Hackensack, N.J., where he had his studio then. He didn't have a piano then, which was perfect since we didn't have a piano in the group. That was the first time I played with trumpeter John Wilson, alto saxophonist Phil Woods and drummer Joe Morello. I knew Phil through Joe, because they were all from the Springfield, Mass., area.
JW: How did that group sound compared to the Stan Getz Quintet?
BC: It was much more aggressive because of Phil. He had that strong, lead-player's edge. And John was more laid back on the time, but they worked well together.
JW: Without a piano in there, did more rest on your shoulders?
BC: I just followed Jimmy Raney. I figured if I could match his chords, I was all set. Joe was an interesting drummer. I was working with him and Marian McPartland around this time at Manhattan’s Hickory House. It was easy for people to drop in there. We were in the middle of a big oval bar and people would come and have a drink and listen to the jazz. It was an audition for Joe and me to see how we worked as a rhythm section. We got hired by people that would come in and listen to us and think that we played well together. We wound up doing albums with Jimmy, Jackie and Roy, and others. [Photo above of Marian McPartland at the Hickory House with Bill Crow on bass and Joe Morello on drums, courtesy of Bill Crow]
JW: What were Jackie Cain and Roy Kral like to work with?
BC: Wonderful. I knew them because when I was in the Army in 1948, I went to see Charlie Ventura's band with Jackie and Roy several times when stationed at Fort Meade, Md., between Baltimore and Washington, D.C. My Army buddies and I got friendly with the guys on the band just because we were hanging around so much. Charlie Ventura's brother, Benny, was very kind to us. He was playing baritone sax. We also got to know Jackie and Roy and drummer Ed Shaughnessy, mainly.
JW: Speaking of Jackie and Roy, you record with guitarist Barry Galbraith on Jackie and Roy's Storyville album in 1955 that included Mountain Greenery. How did Galbraith differ from Jimmy Raney?
BC: I got to know him in the studios as a very good sight reader, but I didn't really think of him as having a particular style of his own, because the job was to figure out the music and get it played during the time you were in the studio. But I always felt he had really solid rhythm and a nice selection of voicings for chords.
JW: What did Marian McPartland teach you?
BC: She modulated all over the place. She liked to play in all the sharp keys. I was scuffling with my technique at that time. I didn't know what the fingering system was on the bass other than what I'd figured out for myself. So sometimes, you'd get into keys with her that didn't have many open strings in the scale, like D-flat and F-sharp. But it was really good for me because by the time I got off of that group and joined Gerry Mulligan, my technique had improved tremendously.
JW: Is that because of things that other musicians showed you or because you worked hard and figured it out?
BC: I figured it out. When I went with Gerry in 1956 and found out that there were parts he had written that started in the upper register, I had no idea how to find those notes accurately without working my way up to them. As long as I was able to pick out my own lines, I could construct something musical that was within my technical grasp.
JW: How did you wind up with the Gerry Mulligan Sextet in '56?
BC: Bob Brookmeyer recommended me. Which was weird, since he was the one who recommended that Stan fire me. Three years earlier he felt the rhythm section wasn't hot enough and complained to Stan. Stan said, “Well, what do you think we should do?" And Bob said, “Well, maybe we should go back to Teddy Kotick." [Photo above, from left, of Bill Crow, Gerry Mulligan and Bob Brookmeyer]
JW: Then why would he turn around and recommend you to Gerry?
BC: When he was on the West Coast, Gerry had established that he wanted guys who were more interested in the company of others on the bandstand rather than just soloing. He found Chico Hamilton, who was good that way, and two or three bass players who he had played with out there. So when he came back to New York, his original sextet was Idris Suleman, Zoot Sims, Bobby Brookmeyer, Peck Morrison and Dave Bailey. Idris didn't stay too long, so Gerry got John Edley, and then Peck had a chance to go with Johnny Hodges or somebody. Gerry and Bobby were wondering who they shoudl get. Bobby said, “Well, Bill Crow's there. And he may be the kind of bassist you're looking for. He has good ears, and he’s an an accompanist."
JW: What happened?
BC: Gerry or Bob reached out to me and I gave Marian my two weeks’ notice. I said to her,, “I loved this job with you, but I can't pass up the chance to go play with Gerry, Bobby and Zoot." She understood. In fact, after I'd been with Gerry for six or eight months, we had a disagreement about something that didn't have anything to do with the music, and I quit.
JW: And?
BC: Marion immediately hired me back at the Hickory House and I stayed.
JW: What was the disagreement with Mulligan about?
BC: About me not giving the group enough attitude on the bass. Many of Gerry's originals were based on another song that I knew. So most of his originals were lyrical and easy. They didn't usually give me anything written out to follow. Once in a while, Gerry would have a lead sheet.
JW: How was Zoot in that group? What made him special?
BC: It's Zoot's certain spirit. Besides the years and the technique under his belt, he had a spirit for swing that he tried to inject into everything he played. In fact, I was with him on some pub crawls in Europe where he would end up so drunk he couldn't articulate what he wanted to say but he could still swing.
JW: In 1956, you recorded Musically Yours with flutist and clarinetist Sam Most. Nice player, yes?
BC: Yeah, Sam was a sweet guy. He didn't stay around New York too long. He went out to the West Coast, and I didn't seem him again. But we did get that one album made.
JW: You also recorded with Sal Salvador on Shades of Sal Salvador for Bethlehem in October 1956. Then you went back with Mulligan?
BC: I did. I stayed with the sextet until the sextet became a quartet. And then I left. I was only away for couple of years when Gerry called me up. He said, “I'm putting together a new quartet with Art Farmer. Do you want to be on it?" I said, sure. So we got ready for the Newport Jazz Festival. That was a nice stretch. We did some European tours with that quartet.
JW: You guys recorded for World Pacific in Septeber 1958.
BC: Oh, yeah. Owner Dick Bock was really an amazing guy. Gerry told me that when he had his original quartet at the Haig in L.A. in the summer of 1952, Bock came in and told Gerry, “Oh man, I love this band. Where can I buy a record?" Gerry said, “We haven't recorded yet." Gerry said, “How much does it cost to make a record?" I think they did it for $300 or $400. That quartet's 10-inch record \Dick's Pacific Jazz label off the ground.
JW: Backing up to Boston in December 1956, when you recorded live at Storyville as a quartet. That's an amazing album. Incredible collaboration between the four of you.
BC: When Dick Bock came up there to record us, he was really grateful to Gerry, who had created a career for him. He paid us for the album and gave us bonuses because it was near Christmas and he took us out to dinner. He brought Bill Clarkston along to do the cover shoot.
JazzWax tracks: Here are a bunch of Bill's recordings covered in this post:
Here's Bill with the Al Haig Trio on the full Jazz Will-O-the-Wisp...
Here's Marian McPartland live at the Hickory House with Bill on bass and Joe Morello on drums...
Here's Bill with the Jimmy Raney Ensemble playing Stella by Starlight...
Here's Bill with Jackie and Roy on Mountain Greenery...
Here's Two Sleepy People from Shades of Sal Salador with Eddie Costa (p), Sal Salvador (g), Bill Crow (b) and Joe Morello (d)...
Here's the Gerry Mulligan Sextet playing Elevation, with Don Ferrara (tp), Bob Brookmeyer (v-tb), Zoot Sims (ts), Gerry Mulligan (bar), Bill Crow (b) and Dave Bailey (d)...
And here's the entire Gerry Mulligan Quartet Live at Storyville...
This story appears courtesy of JazzWax by Marc Myers.
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