Despite both musicians remaining active for over 30 years, The same period (leaving out the numbers that have Art Farmer in Baker's The 1957 Mulligan-Baker set called Reunion, and an Annie Ross date from The group (even utilizing pianist Jimmie Rowles on two songs), tunesįrom live sessions in which altoist Lee Konitz made the band a quintet, Has a few slightly earlier titles that find Mulligan gradually forming Quartet (including the hit version of 'My Funny Valentine'), this box (as opposed to Fantasy and GNP/Crescendo) recordings of the Mulligan This four-CD set overlaps with a previous (and now The collective improvisation of Dixieland but utilized up-to-date Mulligan's interplay with Baker looked back toward One of the most popular groups of the period and an influential force Fans on a budget can probably make due with the earlier CD reissue but serious fans of Mulligan and/or Webster should invest in this very rewarding set instead.īaritonist Gerry Mulligan's pianoless quartet of 1952-1953 with trumpeter Chet Baker was Webster's swinging 'Fajista' opens the second date, followed by two takes of Mulligan's beautiful ballad 'Tell Me When.' Webster's 'Blues in B-Flat' is another fine swinger inexplicably left off the LP, and Rowles kicks off the oldie 'Sunday' with a brief stride piano introduction (something Webster played himself but rarely in a recording studio).

Their barely disguised reworking of 'I Got Rhythm,' called 'Who's Got Rhythm,' was likely an effortless performance, though Webster seems to briefly laugh in the middle of his solo. They only needed one try to nail 'What Is This Thing Called Love?' (also left off the LP), in an understated setting that shows off their beautiful interplay. In both cases it is clear that the initial takes of music from the Ellington songbook ('In a Mellotone' and 'Chelsea Bridge') are more focused than the follow-up versions. The music is presented in the order in which it was recorded, with each CD devoted to a separate session. Webster and Mulligan seem mutually inspired throughout the sessions, and strong performances by pianist Jimmy Rowles, bassist Leroy Vinnegar, and drummer Mel Lewis are of considerable help. Even though Gerry Mulligan was outspoken against issuing material omitted from his original recordings, it is a treat to hear how the songs evolved in the studio.

Gary mulligan jazz