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Jim Mullen
Jim Mullen
Jim Mullen
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Key Information

Jim Mullen (born 26 November 1945)[1] is a Scottish, Glasgow-born jazz guitarist with a distinctive style, like Wes Montgomery before him, picking with the thumb rather than a plectrum.[2][3]

Biography

[edit]

Jim Mullen was guitarist with Pete Brown & Piblokto! for two albums in 1970. He then played with Brian Auger's Oblivion Express,[1] appearing on the band's first three albums together with future Average White Band drummer Robbie McIntosh. Mullen then joined Kokomo and later toured with the Average White Band.[4]

It was while both musicians were touring the United States with AWB in the mid-1970s that Mullen met tenor saxophone player Dick Morrissey,[4] and throughout the 1980s, he found critical notice as joint leader of the British jazz funk band Morrissey–Mullen.[1] Record producer Richard Niles, who produced the band's sixth album, It's About Time, later produced three solo albums for Mullen.[5]

Mullen has also played and recorded with, among others, Mose Allison, Hamish Stuart, Joanna Eden, Tam White, Claire Martin, Mike Carr, Jimmy Witherspoon, Mornington Lockett, Dave O'Higgins and Georgie Fame, Sinan Alimanović, David Tughan, Jimmy Smith, Terry Callier and Frank Holder. Mullen has recorded as part of The AllStars, a collective of session musicians on their Paul McCartney-produced album All About the Music, alongside special guests Jocelyn Brown, Hamish Stuart and Angelo Starr. In 2014, he featured prominently on the Citrus Sun album, People of Tomorrow, produced by Incognito co-founder, Jean-Paul 'Bluey' Maunick.

Mullen has won many British music awards including "Best Guitar" in the British Telecom Jazz Awards (1994, 1996 and 2000).

Discography

[edit]
Further information: Morrissey–Mullen

As leader/co-leader

[edit]

As sideman

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jim Mullen

View on Grokipedia
from Grokipedia
Jim Mullen (born 26 November 1945) is a Scottish from , celebrated for his distinctive thumb-picking style inspired by and his foundational contributions to the British jazz-fusion and scenes of the 1970s and 1980s. Mullen's early career was shaped by influences from West Coast jazz guitarists like and , whom he discovered as a child through a friend's record collection, leading him to take up the guitar seriously in his teens. He honed his skills playing in local Scottish bands before moving to in the late 1960s, where he quickly rose to prominence by joining & Piblokto! in 1970 for two albums, followed by contributions to the first three recordings of Brian Auger's Oblivion Express and sessions with the . In the mid-1970s, Mullen co-founded the Morrissey-Mullen band with saxophonist , a partnership that lasted 15 years and produced six albums, blending , and fusion elements to help define the UK's jazz-funk movement during the . The band's success earned Mullen widespread recognition, including three "Best Guitar" wins at the British Telecom Jazz Awards in 1994, 1996, and 2000. Beyond these milestones, Mullen has maintained a prolific solo career since the 1990s, releasing albums such as Somewhere in the Hills (2003) and collaborating with luminaries including , , , and Claire Martin on projects like the 2019 album Bumpin', which paid homage to . He has also contributed to ensembles like Citrus Sun's People of Tomorrow (2014) and The AllStars' Paul McCartney-produced All About the Music. As of 2025, Mullen remains active, leading the Jim Mullen Quartet on their latest release For Heaven's Sake, a standards-focused album featuring Ben Paterson, saxophonist Jan Harbeck, and Kristian Leth.

Early Life

Childhood in Glasgow

Jim Mullen was born on November 26, 1945, in , , amid the post-World War II , a period marked by economic recovery and population growth in the region. His early years coincided with the tail end of wartime austerity measures, including that persisted until 1953, shaping a childhood defined by scarcity and resilience in Scotland's industrial heartland. Mullen grew up in a poor, working-class neighborhood on the east side of , an area characterized by tight-knit community bonds amid widespread economic hardship. His family relied on government assistance, such as Social Security provisions for essentials like dried and eggs, while his parents navigated financial strains—his father worked as a carpenter, and his mother held a job in a . In this environment, the family sometimes resorted to discreet measures for survival, such as selling clothes at a local rag store to afford food, a practice kept secret from his father to avoid conflict. Mullen's early school experiences reflected the limited opportunities in his socio-economic milieu, with formal education concluding in the early 1960s without a defined career path. These formative elements contributed to a strong sense of independence that would later influence his personal growth.

Musical Beginnings and Influences

Jim Mullen began his musical journey at the age of eight in a neighborhood skiffle group in , where he played the tea-chest bass, an instrument crafted with the help of his carpenter father, alongside future members Malcolm Duncan and Roger Ball. This early involvement immersed him in the vibrant, DIY spirit of the 1950s skiffle craze, which emphasized accessible, homemade instruments and drew from American folk and blues traditions. At around the same age, Mullen acquired his first proper guitar, an inexpensive Egmond model purchased on for £10, teaching himself to play despite being left-handed and adapting to a right-handed instrument. During his teenage years, Mullen shared his growing knowledge of music with friends, notably teaching comedian the basic chords for "" on the , an anecdote Mullen later described as his "claim to fame." He honed his skills in Glasgow's local music scene, practicing diligently amid the city's working-class environment and experimenting with emerging sounds. His formative influences stemmed from American jazz and blues records that made their way to , sparking a fascination with guitarists such as , whose thumb-picking technique particularly resonated with Mullen's self-taught approach. Other early inspirations included West Coast jazz artists like , , and , encountered through Pacific Jazz label releases, which shaped his initial conceptual understanding of and swing.

Career

Early Professional Work (1970s)

In the late 1960s, Jim Mullen relocated from to to pursue a professional music career, leaving behind a job in . This move immersed him in the vibrant jazz and pop scene, where he quickly established himself as a session . Mullen's breakthrough came in 1970 when he joined & !, the rock band led by the former lyricist, contributing guitar to two albums and marking his entry into the rock-jazz fusion genre. Following this, in the early 1970s, he became a key member of Brian Auger's Oblivion Express, a pioneering jazz-rock ensemble, where he appeared on the band's first three albums and helped shape their fusion sound through intricate guitar work. By the mid-1970s, Mullen had joined the soul-funk group Kokomo, though he soon departed due to creative differences, before touring the as a guest guitarist with the (AWB). During these AWB tours, he first met saxophonist , sparking a significant future collaboration, and began incorporating his signature thumb-picking technique into live performances, drawing from influences like to achieve a warm, fluid tone on the .

Morrissey-Mullen Partnership (1980s)

Jim Mullen and first met while both were touring the with the in 1975, leading to the formation of the Morrissey-Mullen duo that year. The partnership, initially rooted in , reached its commercial and artistic peak during the 1980s, with the duo becoming a staple of the scene through their blues-inflected fusion sound that blended soulful lines with Mullen's gritty guitar work. Their collaboration produced several acclaimed albums in this period, including Life on the Wire (1982), which charted at No. 47 on the , It's About Time (1983), and (1985), the latter showcasing their evolving blend of funky grooves and improvisational flair. These recordings highlighted a bluesy jazz-fusion style that drew from American influences while maintaining a distinctly British sensibility, earning them recognition as one of the era's premier acts. The duo's live performances were central to their success, frequently headlining at iconic venues like Ronnie Scott's in , where they delivered energetic sets that captivated audiences with extended improvisations and tight rhythmic interplay. They also undertook extensive tours across , solidifying their reputation as a dynamic live act at festivals and clubs, which helped bridge the gap between underground circles and broader pop audiences. Collaborations during this time further amplified their impact, notably Mullen's collaboration with organist Mike Carr and drummer Harold Smith on the 1980 live album Live at Ronnie Scott's by Mike Carr and His Trio, where the trio's organ-guitar interplay added a Hammond-driven depth to the fusion sound. These partnerships not only enriched their performances but also elevated the visibility of British jazz-fusion, inspiring a new generation of musicians by demonstrating the genre's commercial viability in the UK. The Morrissey-Mullen partnership began to wind down in the late due to Morrissey's deteriorating health from , which necessitated frequent hospital visits and made sustained touring untenable, leading to the band's dissolution in 1988. Despite the end of their regular collaboration, Mullen and Morrissey occasionally reunited for performances until Morrissey's death on November 8, 2000, at age 60. The duo's legacy endures as a cornerstone of British jazz-fusion, having popularized the style through innovative recordings and electrifying live shows that showcased the power of transatlantic influences in elevating homegrown talent.

Solo Career and Later Collaborations (1990s–Present)

Following the dissolution of the Morrissey-Mullen partnership in 1988, Mullen and Morrissey continued to work together on various projects and occasional performances until Morrissey's death in 2000, while Mullen pursued a prolific solo career, releasing a series of albums that showcased his evolving and sensibilities. His 1990 solo effort Into the 90's, recorded with a lineup including Ian Thomas and saxophonist Mike Carr, blended grooves with intricate guitar work, earning praise for its contemporary edge akin to Mike Stern's style. Earlier, in 1983, Mullen had issued Thumbs Up, a outing produced by and featuring his signature thumb-picking technique on tracks like the title song, marking an early foray into leader status amid his collaborative period. These releases highlighted Mullen's ability to helm projects independently, drawing on his experience with fusion. Mullen's contributions to the jazz scene were recognized with multiple accolades, including "Best Guitar" wins at the British Telecom Jazz Awards in 1994, 1996, and 2000, affirming his status as a leading instrumentalist. Throughout the and 2000s, he engaged in notable collaborations with American jazz icons, serving as for on tours and recordings that captured Allison's blues-inflected piano style, and backing organist Jimmy Smith during European dates where Mullen's guitar complemented Smith's soul-jazz Hammond sound. In the , he worked extensively with vocalist , contributing guitar to Fame's live performances and albums like Georgie Fame & The Birthday Big Band (2004), where their shared affinity for swinging standards shone through. Mullen also joined the acid jazz collective Citrus Sun, co-leading the 2014 release People of Tomorrow, which fused rhythms with electronic elements and featured his lyrical solos on tracks exploring urban themes. Into the 2010s and beyond, Mullen maintained a steady output of recordings and live engagements, demonstrating enduring vitality in his late seventies. His 2018 album Volunteers, a nonet project with luminaries like Gareth Williams on piano and Arnie Somogyi on bass, mixed originals such as "Spare Change" with standards like "When I Fall in Love," emphasizing ensemble interplay over virtuosic display. In 2019, he partnered with singer Claire Martin for Bumpin' – Celebrating , a tribute that evoked Montgomery's thumb-picking legacy through swinging interpretations of tunes like "I Could Get Used to This." More recent solo efforts include the 2024 quartet album For Heaven's Sake on Stunt Records, featuring organist Ben Paterson, saxophonist Jan Harbeck, and drummer Kristian Leth on tracks like the title , which balanced with upbeat swing. Mullen's live schedule remains active across the and occasional European tours, underscoring his sustained career. He has hosted jam sessions at in , including a featured appearance in October 2024 that drew local musicians for improvisational sets. Ongoing collaborations with vocalist Zoe Francis, such as their September 7 quintet show at the 606 Club in , highlight Mullen's role in mentoring emerging talent through duo and quartet explorations of the American songbook. While primarily -focused in recent years, Mullen continues select international dates, maintaining a rigorous touring presence that bridges his fusion roots with contemporary audiences.

Musical Style and Technique

Guitar Playing Approach

Jim Mullen employs an exclusive thumb-picking technique, avoiding plectrums entirely to produce a warmer, more vocal-like tone that enhances the intimacy of his lines. Inspired by Wes Montgomery's innovative approach but distinct in execution—Mullen uses primarily downstrokes without the double-jointed thumb that enabled Montgomery's fluid up- and downstroke alternation—this method allows for a relaxed, horn-inflected delivery that prioritizes feel over speed. Central to his style is an emphasis on blues-infused phrasing, characterized by bent notes, slides, and subtle rhythmic displacements that infuse swing standards with soulful grit, alongside frequent playing that creates a fuller, more orchestral texture in repertoire. This work, often integrated into melodic solos, evokes a trumpet-like frontline while maintaining a loose, swinging pulse essential to his improvisational flow. Mullen first refined this thumb-driven approach during his tenure with the in the 1970s. His technique demonstrates adaptability across jazz subgenres, transitioning from the electric fusion demands of collaborations—where thumb picking provided punchy articulation in uptempo grooves—to the more acoustic, straight-ahead swing of his later trio and settings, always preserving a blues-rooted expressiveness. For both live and recording contexts, Mullen favors hollow-body guitars like the FA-71, a model emulating the Gibson ES-175's resonant warmth and sustain, which complements his organic picking style without overpowering ensemble dynamics.

Key Influences and Evolution

Jim Mullen's primary influence as a guitarist stems from , whose thumb-picking technique and melodic phrasing profoundly shaped Mullen's approach from his early years. Mullen, a self-taught player, adopted a similar method—though without Montgomery's double-jointed flexibility—to achieve a warm, rounded tone and fluid lines, drawing inspiration from Montgomery's recordings that reached the in the and . This connection is evident in Mullen's own tribute album Bumpin' (2019), co-recorded with Claire Martin, which reinterprets classics like "" and "" to honor Montgomery's legacy. Secondary inspirations include blues icon for expressive bending and vibrato, alongside jazz figures like , whose economical phrasing and groove-oriented solos informed Mullen's rhythmic sensibility. In interviews, Mullen has cited these alongside earlier swing-era influences such as , , and , blending their elements into a versatile style that prioritizes storytelling over flash. These blues and jazz roots provided a foundation for Mullen's phrasing, allowing him to infuse emotional depth into his improvisations. Mullen's style evolved notably from the 1970s jazz-rock fusion era, where he pioneered a blend of with rhythms as co-founder of the Morrissey-Mullen Band—influenced by American acts like The Crusaders and artists such as and —toward a more blues-inflected by the . This shift incorporated elements from the British scene, including Georgie Fame's soul-jazz sensibilities, evident in Mullen's recordings and collaborations with Fame that merged Hammond grooves with swinging lines. By the , albums like those with Jimmy Witherspoon highlighted this maturation into a concise, groove-heavy blues-jazz idiom. In contemporary adaptations, Mullen continues this evolution through projects like Citrus Sun, where he integrates modern fusion textures—drawing on Incognito's acid-jazz heritage—while preserving traditional swing and phrasing. The band's 2020 release Expansions and Visions showcases Mullen's muscular, jazzy contributions on tracks that balance contemporary production with his signature thumb-picked warmth, demonstrating ongoing adaptability in the 2020s. This progression persists in his 2024 album For Heaven's Sake with the Jim Mullen Quartet, focusing on standards and maintaining his blues-rooted expressiveness in settings as of 2025.

Discography

As Leader or Co-Leader

Jim Mullen's leadership roles in recordings span , , and standards interpretations, often blending his thumb-picking guitar style with collaborative ensembles. His co-leadership with saxophonist in the Morrissey-Mullen band produced several influential albums in the and , emphasizing groovy, funk-infused that bridged scenes with American fusion influences. The debut Morrissey-Mullen album, Up (1977, Embryo Records), captured the duo's early chemistry with upbeat fusion tracks driven by Mullen's rhythmic guitar work and Morrissey's tenor sax, setting a template for their accessible yet sophisticated sound. Cape Wrath (1979, DJM Records) followed, incorporating more expansive arrangements and electric grooves that highlighted Mullen's bluesy phrasing amid fusion elements. The partnership peaked commercially with Badness (1981, Beggars Banquet), a polished effort featuring tight ensemble playing and radio-friendly jazz-funk, reaching No. 43 on the UK charts. Life on the Wire (1982, Beggars Banquet) explored edgier rhythms and improvisational flair, underscoring the duo's evolution toward mainstream appeal while retaining improvisational depth, and charted at No. 47 in the UK. It's About Time (1983, Beggars Banquet), produced by Richard Niles, refined their sound with sophisticated production and melodic hooks, marking a shift toward pop-jazz accessibility. Their final co-led effort, This Is the Way (1985, Beggars Banquet), wrapped the series with reflective, groove-oriented tracks that celebrated their decade-long synergy. Mullen's solo and co-led releases from the 1980s onward often spotlighted his guitar-centric approach in intimate settings. Live at Ronnie Scott's (1980, Spotlite Records), co-led with organist Mike Carr and drummer Harold Smith, delivered energetic live performances of standards and originals, showcasing Mullen's thumb technique in a trio format that evoked organ traditions. Thumbs Up (1983, Coda Records), Mullen's first proper solo outing, featured a mix of bluesy instrumentals and upbeat swingers, emphasizing his distinctive picking style on tracks like the title cut. Into the 90's (1990, 6 Strings And A Plank Of Wood), a studio effort with guest musicians, bridged fusion and contemporary through smooth, melodic compositions that reflected Mullen's maturing sound. In the and , Mullen continued leading projects that balanced roots with exploration. Good Times and The Blues (1993, Cargo Records), co-led with , Mike Carr, and others, alternated swinging uptempo numbers with soulful , capturing the group's live energy in a program of originals and standards. Soundbites (1993, EFZ Records) presented bite-sized, eclectic tracks blending standards with modern twists, highlighting Mullen's concise phrasing and ensemble interplay. Somewhere in the Hills (2003, Hep Records) offered a more introspective collection of originals and covers, evoking pastoral themes through warm, acoustic-leaning guitar tones. Big Blues (1997, Sequel Records), co-led with Jimmy Witherspoon, featured gritty - interpretations showcasing Mullen's soulful guitar alongside Witherspoon's vocals. We Go Back (2001, Ronnie Scott's Jazz House), co-led with , revisited their partnership with swinging standards and originals. Volunteers (2018, Diving Duck Records) brought together a nine-piece all-star ensemble for big-band style arrangements of standards, reflecting Mullen's versatility post-illness. Recent co-led and led albums demonstrate Mullen's enduring affinity for standards and tributes. Bumpin' (2019, Stunt Records), co-led with vocalist Claire Martin, paid homage to through vocalized interpretations of his repertoire, merging Martin's phrasing with Mullen's guitar emulations of Montgomery's octave playing for a celebratory, swinging vibe. For Heaven's Sake (2025, Stunt Records), leading a , featured relaxed renditions of classics, allowing Mullen's lyrical solos to shine amid understated rhythms and harmonies.

As Sideman and Collaborator

Mullen began his sideman career in the early 1970s with & !, contributing guitar to the band's two albums, Things May Come and Things May Go, but the Art School Dance Goes on Forever (1970) and Thousands on a Raft (1971), blending with elements. He soon joined Brian Auger's Oblivion Express, providing guitar on multiple releases including A Better Land (1971), Second Wind (1972), and Closer to It! (1973), where his fusion-style playing complemented the group's jazz-rock sound during extensive European and U.S. tours. In the mid-1970s, Mullen played guitar for the soul-jazz ensemble Kokomo on albums such as Kokomo (1975) and Rise and Shine (1976), showcasing his rhythmic precision in a mix of and R&B influences. He also supported the on mid-1970s tours and recordings like The Atlantic Family Live in (1977), adding blues-inflected guitar to their funk grooves. During the 1980s and 1990s, Mullen expanded into more traditional collaborations, appearing as guitarist on early Citrus Sun projects, an outfit led by Incognito's Bluey Maunick, where his soulful lines enhanced the band's funk- hybrid. He worked with American organist Jimmy Smith on live sessions and recordings, delivering bluesy, Wes Montgomery-inspired solos that highlighted Smith's Hammond grooves in performances across the . Similarly, Mullen backed vocalist in European tours and albums like The Mose Chronicles: Live in (2001), his understated thumb-picked phrasing underscoring Allison's wry blues- delivery. Notable credits include guitar on Georgie Fame's Georgie Fame & the Birthday (1996), where Mullen's fusion and blues elements enriched Fame's swinging interpretations of standards. In the 2000s and beyond, Mullen continued diverse collaborations, featuring on Citrus Sun's People of Tomorrow (2014), co-led by Bluey and emphasizing instrumental with Mullen's prominent guitar work. He contributed to Incognito-related family projects, including live appearances and recordings that integrated his jazz phrasing into the band's framework. More recently, Mullen has performed with vocalist Zoe Francis following their joint European gigs, blending his guitar with her interpretations of the American songbook in a quartet setting. He contributed guitar to the live album (2020) with the Zoe Francis Quartet.

References

  1. https://www.allaboutjazz.com/musicians/jim-mullen/
  2. https://www.jazzwise.com/features/article/jim-mullen-it-s-quite-difficult-to-get-recognition-in-this-country-it-seems-to-me-we-re-much-more-interested-in-people-from-america-and-abroad
  3. https://open.spotify.com/artist/2Z5GlupSvKDfgQ8SSqWaPW
  4. https://ukjazznews.com/jim-mullen-quartet-for-heavens-sake/
  5. https://www.amazon.com/Heavens-Sake-Jim-Mullen/dp/B0DKG3S75V
  6. https://www.sandybrownjazz.co.uk/profilejimmullen.html
  7. https://morningstaronline.co.uk/article/jim-thumb
  8. https://www.jazzwise.com/features/article/jim-mullen-guitar
  9. https://gypsyjazzuk.wordpress.com/36-2/jim-mullen/
  10. https://fleetjazz.wordpress.com/jim-mullen/
  11. https://www.allaboutjazz.com/musicians/jim-mullen
  12. https://ukvibe.org/album_reviews/jim-mullen-quartet/
  13. https://www.allmusic.com/artist/jim-mullen-mn0000346432
  14. https://www.jazzmusicarchives.com/artist/morrissey-mullen
  15. https://londonjazznews.com/2013/01/20/ronnie-scott-quartet-and-morrissey-mullen/
  16. https://www.discogs.com/release/5304205-Mike-Carr-And-His-Trio-Featuring-Jim-Mullen-And-Harold-Smith-Live-At-Ronnie-Scotts
  17. https://www.theguardian.com/news/2000/nov/09/guardianobituaries2
  18. https://www.musicradar.com/news/guitars/wes-montgomery-a-players-perspective-622741
  19. https://www.jazzguitar.be/forum/guitar-technique/47402-wes-montgomery-style-thumb-picking.html
  20. https://jazzjournal.co.uk/2025/04/07/reviewed-jim-mullen-quartet-nels-cline-dreamweavers-stian-larsen-colin-webster-ruth-goller-andrew-lisle/
  21. https://www.soulwalking.co.uk/Respect2.html
  22. https://equipboard.com/pros/jim-mullen
  23. https://www.jazzwise.com/review/claire-martin-and-jim-mullen-bumpin
  24. https://londonjazznews.com/2015/03/11/interview-jim-mullen-lifestories-at-cafe-posk-sat-14th-march/
  25. https://www.allmusic.com/album/bumpin-celebrating-wes-montgomery-mw0003273594
  26. https://rudenoterecords.wordpress.com/release-notes-jim-mullen/
  27. https://www.jazzwise.com/review/citrus-sun-expansions-and-visions
  28. https://www.soulandjazzandfunk.com/reviews/citrus-sun-expansions-and-visions-dome/
  29. https://www.jazzviews.net/jim-mullen-bop-til-you-drop/
  30. https://www.discogs.com/master/268326-Morrissey-Mullen-Life-On-The-Wire
  31. https://www.allaboutjazz.com/album/thumbs-up-jim-mullen
  32. https://www.allaboutjazz.com/album/into-the-90s-jim-mullen
  33. https://www.discogs.com/release/8685845-Mike-Carr-Quartet-Trio-Good-Times-The-Blues
  34. https://www.allaboutjazz.com/album/soundbites-jim-mullen
  35. https://www.allaboutjazz.com/album/somewhere-in-the-hills-jim-mullen
  36. https://www.jazzmessengers.com/en/102970/for-heaven-s-sake
  37. https://www.discogs.com/artist/1307499-Pete-Brown-Piblokto
  38. https://www.discogs.com/release/4734370-Brian-Augers-Oblivion-Express-A-Better-Land-Second-Wind
  39. https://www.citrussun.mu/about
  40. https://music.apple.com/us/album/georgie-fame-the-birthday-big-band-live/1616946839
  41. https://www.discogs.com/release/9092894-Citrus-Sun-Feat-Bluey-3-And-Jim-Mullen-People-Of-Tomorrow
  42. https://www.incognito.london/incognito
  43. https://www.instagram.com/p/DQEUVn_iCEx/
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