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Most Helpful Customer Reviews
23 of 23 people found the following review helpful
Format:Audio CD
This double CD set from Avid comprises four vinyl albums, and is so jam-packed that it's just seventeen seconds short of 2 hours 40 minutes. "Gerry Mulligan Meets Johnny Hodges" dates from July 1960, when the two virtuosi were ably supported by Claude Williamson on piano, Buddy Clark on bass, and Mel Lewis on drums. The Gerry Mulligan Quartet, that is himself on baritone sax, Art Farmer on trumpet, Bill Crow on bass, and Dave Bailey on drums, recorded "What is There to Say?" in December 1958/January 1959.
The second CD starts with an album from an earlier Quartet, which instead of a trumpeter featured Bob Brookmeyer on valve trombone, and Gerry took a turn at the piano; it was recorded in George Wein's Storyville Club in Boston in December 1956. One track from this album, "Gerry Mulligan at Storyville", had to be switched to the end of the first CD in order to accommodate everything within the space available. In conclusion, we have "Gerry Mulligan Meets Ben Webster" from November and December 1959, where the rhythm section was made up of Jimmy Rowles on piano, Mel Lewis on drums, and Leroy Vinnegar on bass.
The first album is beautifully recorded, and very relaxed, with the two horn men, who contributed three original compositions apiece, obviously enjoying a splendid rapport. I'd single out the slow ballads "What's the Rush?" and "What's it All About?" as particularly showcasing Hodges' lyricism. The second album was Mulligan's first recording for Columbia, and the last of his pianoless quartet albums. It's a splendid romp through a mixture of standards and originals, with Mulligan very much the focal point around which everything revolves. Art Farmer's throaty trumpet, which he abandoned soon after in favour of the flugelhorn, is the perfect foil to Mulligan`s horn.
Ben Webster's tenor and Mulligan's baritone make for an intoxicating mix, nowhere more so than on Billy Strayhorn's "Chelsea Bridge", where Mulligan's horn shimmers behind Webster's introduction. The final number is a joint collaboration, and stretches out into an extended essay. The final album is also the earliest, taped in concert with a respectful audience in attendance. Here Gerry plays in tandem with Bob Brookmeyer's valve trombone, underpinned by the reliable Crow/Bailey rhythm section, and their contrasting tones are a constant delight.
As is Avid's usual practice, the original sleeve notes, by Nat Hentoff, Alun Morgan, and (I guess) Gerry himself, are reproduced in the liner, and their articulateness is to be commended. Remastering is excellent, and this reissue should be snapped up.
The second CD starts with an album from an earlier Quartet, which instead of a trumpeter featured Bob Brookmeyer on valve trombone, and Gerry took a turn at the piano; it was recorded in George Wein's Storyville Club in Boston in December 1956. One track from this album, "Gerry Mulligan at Storyville", had to be switched to the end of the first CD in order to accommodate everything within the space available. In conclusion, we have "Gerry Mulligan Meets Ben Webster" from November and December 1959, where the rhythm section was made up of Jimmy Rowles on piano, Mel Lewis on drums, and Leroy Vinnegar on bass.
The first album is beautifully recorded, and very relaxed, with the two horn men, who contributed three original compositions apiece, obviously enjoying a splendid rapport. I'd single out the slow ballads "What's the Rush?" and "What's it All About?" as particularly showcasing Hodges' lyricism. The second album was Mulligan's first recording for Columbia, and the last of his pianoless quartet albums. It's a splendid romp through a mixture of standards and originals, with Mulligan very much the focal point around which everything revolves. Art Farmer's throaty trumpet, which he abandoned soon after in favour of the flugelhorn, is the perfect foil to Mulligan`s horn.
Ben Webster's tenor and Mulligan's baritone make for an intoxicating mix, nowhere more so than on Billy Strayhorn's "Chelsea Bridge", where Mulligan's horn shimmers behind Webster's introduction. The final number is a joint collaboration, and stretches out into an extended essay. The final album is also the earliest, taped in concert with a respectful audience in attendance. Here Gerry plays in tandem with Bob Brookmeyer's valve trombone, underpinned by the reliable Crow/Bailey rhythm section, and their contrasting tones are a constant delight.
As is Avid's usual practice, the original sleeve notes, by Nat Hentoff, Alun Morgan, and (I guess) Gerry himself, are reproduced in the liner, and their articulateness is to be commended. Remastering is excellent, and this reissue should be snapped up.
11 of 11 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This is a truly sumptuous collection of four outstanding Mulligan albums. if you're looking for jazz infused with the sheer joy of music-making, jazz with rich melody lines and beguiling improvisation, outstanding professional performances by musicians at their peak performances, this is surely it. This is music to make you smile, relax, and give yourself up to it. Superbly re-mastered, with original liner notes included, this is an unmissable selection of some of the best Mulligan around (with the highlight, arguably, the magnificent duets with Webster, with the deep, blended tones of both saxes a thing of real beauty).
Don't just take my word on this. If you have a look at either the 'Gramophone' or 'Penguin' guides to jazz, you'll discover that these albums are listed as true 'classics', often with **** star reviews. Yet you get all this for less than a fiver? Sometimes life is very, very good...
Don't just take my word on this. If you have a look at either the 'Gramophone' or 'Penguin' guides to jazz, you'll discover that these albums are listed as true 'classics', often with **** star reviews. Yet you get all this for less than a fiver? Sometimes life is very, very good...
11 of 13 people found the following review helpful
Format:Audio CD
Gerry Mulligan could play piano, soprano sax, alto as well as finding his chosen niche on baritone. The contrasts in the tones and registers of the instruments no doubt enabled him to add bite, lead and support to his fellow saxmen. This AVID compilation presents the collective talents of the contributors. The players seem to have an affiliation with one another, despite apparent stylistic differences The emotions and backgrounds work well. With Johnny Hodges plaintive tones and Ben Webster is with the best, this is a listener's dream. Being up there is another matter, and performing, yet the stylistic combinations lend an irresistable interest. The overall sessions are standout. The solos are instantly identifiable. The contrasting tones add to the overall appeal awaiting the next interpretation. The contributions of Art Farmer and Jimmy Rowles should not be overshadowed by the leading hornmen, nor valve trombonist Bob Brookmeyer. 'My Funny Valentine', 'Chelsea Bridge','Blueport' are all examples of these magnificent players. The sound quality is excellent. Sleeve notes original. Superb.
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Most Recent Customer Reviews
Gerry Mulligan and friends
Fans of Gerry Mulligan will not be disappointed with this
superb collection of four classic albums. The master of the
baritone sax at his most versatile and playful. Read more
superb collection of four classic albums. The master of the
baritone sax at his most versatile and playful. Read more
Published 1 month ago by bob stuart
Gerry Mulligan
This is just my kind of jazz. All four albums are classics and to get them on a 2cd set is just great and great value too. Will play this over and over.
Published 6 months ago by magnus
Brought the old times back!
Reminded me of my youth (not always misspent)playng 45 RPM records, this set certainly brought back memories of the 1960s.
Published 7 months ago by John B. Gale
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