D I S C O G R A P H Y
LIVE AT JAZZ SHOWCASE - 2010
Ted Hogarth and the
MULLIGAN MOSAICS BIG BAND
Ted Hogarth - baritone saxophone, baritone clarinet
Chris Madsen - alto saxophone and clarinet
Mark Colby - tenor saxophone and clarinet
Rob Denty - tenor saxophone and clarinet
Nick Moran - baritone saxophone and bass clarinet
Tim Coffman - trombone
Bryan Scott - trombone
Tom Matta - bass trombone
Terry Connel - trumpet
Tom Tallman, trumpet
Art Davis - trumpet
Joe Policastro - bass
Ed Breazeale - drums
MISCONCEPTION - Wide Sound WD134 - 2004
TED HOGARTH COLLECTIVE
Ted Hogarth - C Melody, Tenor, Baritone Saxophones
Andy Baker - Trombone
Jo Ann Daugherty - Piano, Fender Rhodes
Bob Lovecchio - Bass
Brain Schwab - Trumpet, Flugelhorn
Darren Scorza - Drums
STEPS TAKEN
TED HOGARTH
Ted Hogarth- Baritone Saxophones, Bass Clarinet
Neal Alger - Guitar
Tom Knific - Bass
Kevin Cole - Piano
Darren Scorza - Drums
TED HOGARTH can also be heard on:
Jeru
A Pianoless Quartet
Rob Parton's Jazztech Big Band
Just One of Those Things - Sea Breeze Jazz 2148
DePaul University Jazz Ensemble & Slide Hampton
DPUSM 2006
DePaul University Jazz Ensemble with Phil Woods
Woodlands - DPUSM 2005
Rob Parton's Jazztech Big Band
Two Different Days - Sea Breeze Jazz, May 2004
John Fournier
Drinking in Airports - LunaDisc 013 - 2004
Kimotion
Live 2002 - Little Beck Music LBM 8052 - 2002
Kimotion
Tracking - Little Beck Music LBM 8050 - 2001
Catherine Gauthier
First Steps - 2001
Chicago Jazz Ensemble
Kenton á la Russo - Hallway Records 9710 - 2000
Michele Thomas
I'll Take Romance - 1999
Brian O'Hern and the Model Citizens Big Band
Party, Party, Party - CD - MC 98 - 1998
North Eastern Illinois University Jazz Ensemble
Midlife Crisis - HD 3306, 1998
North Eastern Illinois University Jazz Ensemble
HD 2723, 1997
ONLINE REVIEWS
AUDIOFILE AUDITION by Robbie Gerson
CHICAGOJAZZ.COM by Paul Abella
CHICAGOJAZZ.COM by Paul Abella
- LIVE AT JAZZ SHOWCASE
Harvey Siders, JazzTimes
Back in the early Fifties, when Gerry Mulligan formed his
famous quartet with Chet Baker, it was without a piano
to provide that front line with the ultimate harmonic
freedom. In 1960, when Mulligan expanded his
composing and arranging palettes to embrace the
13-member Concert Jazz Band, he again eschewed
piano. Four years ago, when Chicago's Ted Hogarth
created his homage to Mulligan with the Mulligan
Mosaics Big Band, the latter consisted of 13 players but
no pianist. That's where most similarities end.
Hogarth has successfully re-created the spirit of the
original Concert Jazz Band (he was given total access
to the Mulligan library by Gerry's widow, Franca), with
first-class Chicago-area musicians, but the spirit of the
solo work fails to match the the original excitement of
exploration. No surprises there; how can one expect
baritonist Hogarth to duplicate the pristine freshness of
the two Mulligan solos on the Brookmeyer chart, "A
Ballad," or what tenorist Mark Colby does with Bill
Holman's arrangement of "Apple Core," originally
peeled by Zoot Sims? Another highlight comes on the
Billy Strayhorn composition, "Intimacy of the Blues." As
arranged by Tom Matta, the orchestration of the horns
behind Colby and Matta's own trumpet are sufficiently
chordal to make up for the comping of a piano or guitar.
Hogarth's intent, for this project, is to
honor-by-update...not to duplicate. He successfully
refreshes the Mulligan message and even makes
orchestrations available online through the Library of
Congress. That should provide enough to feed a whole
new generation plenty of Mulligan stew. go to the article
Harvey Siders, JazzTimes
Back in the early Fifties, when Gerry Mulligan formed his
famous quartet with Chet Baker, it was without a piano
to provide that front line with the ultimate harmonic
freedom. In 1960, when Mulligan expanded his
composing and arranging palettes to embrace the
13-member Concert Jazz Band, he again eschewed
piano. Four years ago, when Chicago's Ted Hogarth
created his homage to Mulligan with the Mulligan
Mosaics Big Band, the latter consisted of 13 players but
no pianist. That's where most similarities end.
Hogarth has successfully re-created the spirit of the
original Concert Jazz Band (he was given total access
to the Mulligan library by Gerry's widow, Franca), with
first-class Chicago-area musicians, but the spirit of the
solo work fails to match the the original excitement of
exploration. No surprises there; how can one expect
baritonist Hogarth to duplicate the pristine freshness of
the two Mulligan solos on the Brookmeyer chart, "A
Ballad," or what tenorist Mark Colby does with Bill
Holman's arrangement of "Apple Core," originally
peeled by Zoot Sims? Another highlight comes on the
Billy Strayhorn composition, "Intimacy of the Blues." As
arranged by Tom Matta, the orchestration of the horns
behind Colby and Matta's own trumpet are sufficiently
chordal to make up for the comping of a piano or guitar.
Hogarth's intent, for this project, is to
honor-by-update...not to duplicate. He successfully
refreshes the Mulligan message and even makes
orchestrations available online through the Library of
Congress. That should provide enough to feed a whole
new generation plenty of Mulligan stew. go to the article
- MISCONCEPTION
JAZZREVIEW.COM by Stephen Latessa
JAZZ TIMES by David Franklin
ALLMUSIC by Paula Edelstein
ALL ABOUT JAZZ by Jack Bowers
- STEPS TAKEN
ALL ABOUT JAZZ by Dave Nathan
JAZZREVIEW.COM by Lee Prosser
JAZZREVIEW.COM by Stephen Latessa
JAZZ TIMES by David Franklin
ALLMUSIC by Paula Edelstein
ALL ABOUT JAZZ by Jack Bowers
- STEPS TAKEN
ALL ABOUT JAZZ by Dave Nathan
JAZZREVIEW.COM by Lee Prosser
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