A Quote by Gerry Mulligan

When [Billy] Strayhorn came on the scene, he just blew us away. — © Gerry Mulligan
When [Billy] Strayhorn came on the scene, he just blew us away.
Billy Strayhorn wrote Multicolored Blue. Billy to me is the boss of the arrangers.
In music, as you develop a theme or musical idea, there are many points at which directions must be decided, and at any time I was in the throes of debate with myself, harmonically or melodically, I would turn to Billy Strayhorn. We would talk, and then the whole world would come into focus. The steady hand of his good judgment pointed to the clear way that was fitting for us. He was not, as he was often referred to by many, my alter ego. Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine.
I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.
I had a world, and it slipped away from me. The War blew up more than the bodies of men....It blew ideas away.
I was probably 16 or 17 when 'Core' came out, and I just remember how Scott could cater to the song and create these characters. That blew me away.
That's all I did - that's all I ever did - try to do what Billy Strayhorn did.
Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine.
[Billy Strayhorn] understood the violin as well as he understood Jazz, and he wrote for the violin as a violin.
When the jury came in, it didn't just disappoint me it shook the foundations of my beliefs, it shook the foundations of my beliefs in the justice system, in human beings, in my abilities and judgement and in my sense of reality. It just blew me away emotionally and psychologically.
It was really amazing. I mean, he'd never mentioned that he played in the symphony, like serious violin playing, not fiddle playing. And he just blew us away.
This was a new recognition that perfection is admirable but a trifle inhuman, and that a stumbling kind of semi-success can be much more warming. Most of all, perhaps, these exultant yells for the Mets were also yells for ourselves, and came from a wry, half-understood recognition that there is more Met than Yankee in every one of us. I knew for whom that foghorn blew; it blew for me.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
We got word that Mick Jagger heard our first album and liked it. And he wanted us to open for the Stones in Hawaii. That just blew us away. But the next thing I heard was that Stevie Wonder opened for them here in the States and actually got booed at one show. So I was scared to death.
You know, Billy Corgan has a big vision. He has a great idea for what he wants to do and how he wants to distribute it and I have always liked Billy and Dave Lagana's platform as far as being more character-driven and just kind of let us do our own thing and let the talent be talented.
It (Strayhorn's Compositions) made us all think a little differently about what we were doing
The Sex Pistols came through Atlanta, and I got to go see them. That was historic. It blew me away; it was so much fun. I bought 45s of bands you don't hear about anymore.
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