A Quote by Carla Bley

Gerry Mulligan and Chet Baker seemed so sophisticated and bad. I wanted to be like that. — © Carla Bley
Gerry Mulligan and Chet Baker seemed so sophisticated and bad. I wanted to be like that.
Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.
Chet Faker's a reference to the late Chet Baker. I'm a big fan of his vocal style; it's quite fragile and soft, and that was a style I wanted to take on.
When I was younger, I'd go to the Museum of Television and Radio in New York and watch this beautiful clip of Billie Holiday playing with a bassist, a pianist and Gerry Mulligan, who was a friend of mine, on baritone sax. At one point, she looks over at Gerry, and they just smile. When those moments happen, it's just lovely.
I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.
I think we had a Ben Webster/Gerry Mulligan record... that might have been it. We only had a few records in the house.
I listen to a lot of jazz. I'm a big Sinatra geek. I love Chet Baker.
My mum loves jazz, and together we listen to loads of Chet Baker back home.
One of the people that wrote a forward to my book is Gerry Spence, whom I admire. Gerry is a friend of mine, and Gerry's perhaps the leading criminal defense attorney in the country.
Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part.
I got a poster from Columbia Records, and there's Miles Davis, Charlie Mingus, Ellington, Count Basie - everybody in that poster has died, I'm the only one left. And great players like Paul Desmond and Gerry Mulligan, it's hard to believe they're gone because we were all so close. But I believe in the future and the tradition will go on.
My mother had a gorgeous singing voice, and she'd play these amazing vinyls. My favorite was 'But Not for Me,' on the 1954 album 'Chet Baker Sings.'
People behind the Iron curtain have such an incredible image of America and jazz. I expected to find a Gerry Mulligan or Miles Davis on every corner...I almost expected a Shorty Rogers to deliver the milk, a Bud Shank to be the mailman.
Adele's voice is incredible. Chet Baker also has one of my favorite voices of all time, and so does Joni Mitchell. And Frank Black. Oh, and Stevie Nicks.
Over time, I've loved jazz, Miles Davis and Chet Baker, then Janis and Jimi and Creedence, then classic rock.
We sailed to Italy on the Andrea Doria, a year before it sank, and Zoot (Sims) and I played a lot of ping-pong on deck during that trip. Zoot sparked that [Gerry Mulligan's] sextet in an extraordinary way, soloing with joyous abandon and infusing the ensemble parts with his special brand of swing.
When I was banned for nine months I had an opportunity to focus on something else and I needed to focus on something else. It's who I am. I admire Miles Davis and Chet Baker a lot and I like this instrument, so I tried and I learned and practised for two months. But I stopped after that.
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