…he has an undergraduate degree in piano and jazz studies from Indiana University, a masters from the Eastman school and a doctorate in education from Sarasota University. There is more on his background here. Gilman, with six CDs under his belt, is a teacher who can do. His albums date back to 1987. One from 1992 has drummer Bob Hurst and Jeff “Tain” Watts as sidemen and the brilliant tenor saxophonist Joe Henderson as guest soloist.
In the course of his teaching, Gilman has become an expert on Brubeck’s music. Not a mimic of Brubeck’s playing style, he has more in common with bop and post-bop players. His Time Again: Brubeck Revisited, volume 1 and volume 2 present twenty Brubeck compositions. “In Your Own Sweet Way” is included, as are “Blue Rondo a la Turk,” and Paul Desmond’s “Take Five” in a wildly cartoonish version on prepared piano. He also interprets such less-well-known pieces as “Recuerdo,” “There Will Be No Tomorrow” and the stirring “Love and Anger.” Gilman is accompanied by bassist Joe Sanders and drummer Justin Brown. They take unBrubeckian approaches to “Blue Rondo” and “Summer Song,” to single out just two examples. Gilman sees “The Duke,” as less Ellingtonian than like a Velvet Gentleman with a touch of decidedly unarthritic atonality in the left hand.
Brubeck appreciates adventurousness by others as much as he enjoys committing it. He is reported to be delighted with Gilman’s versions of his songs.





The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
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