Jazz

Gerry Mulligan & Art Farmer Quartet - Live In Rome 1959

2018-05-20T14:26:14Z

Gerry Mulligan & Art Farmer Quartet - Live In Rome 1959


01. Announcement by Gerry Mulligan/Tuning up
02. As Catch Can
03. Walking Shoes
04. Baubles, Bangles And Beads
05. Just In Time
06. I Can’t Get Started
07. News From Blueport
08. Moonlight In Vermont
09. Spring Is Sprung
10. Utter Chaos

Baritone Saxophone – Gerry Mulligan
Bass – Bill Crow
Drums – Dave Bailey
Trumpet – Art Farmer

European television did a better job at archiving live jazz than American stations during the 1950s and '60s, as evidenced by the outpouring of DVDs of European broadcasts. The music from this 1959 appearance by the Gerry Mulligan Quartet in Rome has been widely circulated on LP and CD in various forms, but seeing the black-and-white video footage to go along with the music will be incentive for Mulligan fans to seek out this edition. The video is generally well-preserved with relatively few flaws in the aged source material, and while the camera work is odd at times (such as focusing on the upper third of the leader's body instead of showing his hands, or showing the musicians' shadows on the screen instead of focusing on them), at least there isn't the MTV-like rapid-fire flitting from one angle to the next every few seconds. Mulligan does get annoyed with the audio technician when he has difficulty with the microphone announcing the first song, though the problem is quickly corrected. The baritonist's intricate counterpoint with trumpeter Art Farmer is magical, while the leader's witty solos are also a highlight. ---Ken Dryden, AllMusic Review

This phenomenal 71-minute release features one of the seminal performances of Gerry Mulligan's inimitable piano-less quartet with the oustanding trumpeter Art Farmer. Recorded at Rome's Adriano Theater on June 19, 1959, the two horn players take advantage of the freedom provided by the absence of the piano to improvise interweaving counterpoint lines with legendary skill.

The final recording of Mulligan's quartet with Farmer, this edition is as important for its historical significance as it is for the extraordinay quality of the music. Also includes the bonus track of Mulligan's composition "Utter Chaos" recorded at the Stockholm concert on May 19, 1959. ---freshsoundrecords.com

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Gerry Mulligan & Chet Baker – Carnegie Hall Concert (1974)

2015-02-25T16:03:50Z

Gerry Mulligan & Chet Baker – Carnegie Hall Concert (1974)


1. Line For Lyons
2. For An Unfinished Woman
3. My Funny Valentine
4. Song For Strayhorn
5. It’s Sandy At The Beach
6. Bernie’s Tune
7. K-4 Pacific
8. There Will Never Be Another You

Gerry Mulligan – Baritone Saxophone
Chet Backer – Trumpet
Bob James – Piano/Electric Piano
Ron Carter – Bass
Harvey Mason – Drums
John Scofield – Guitar
Dave Samuels – Vibes/Percussion
Ed Byrne – Trombone

At this 1974 concert baritonist Gerry Mulligan and trumpeter Chet Baker had one of their very rare reunions; it would be only the second and final time that they recorded together after Mulligan's original quartet broke up in 1953. Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine." --- Scott Yanow, Rovi

Mulligan was always more business-minded than Chet, and effectively hijacked the second reunion, refusing to reunite the pianoless quartet, and dominating both the track-listing and the royalties. Chet still managed to draw the biggest applause of his night for his solo on ‘My Funny Valentine’, but the highlight is ‘Line For Lyons’, which showed they were still capable of creating fireworks on-stage as well as off. --- funnyvalentine.org

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Gerry Mulligan & Jane Duboc – Paraiso (1993)

2009-10-16T20:24:07Z

Gerry Mulligan & Jane Duboc – Paraiso (1993)


1 Paraiso 
2 No Rio 
3 Sob a estrela 
4 O bom alvinho 
5 Willow tree 
6 Borbado 
7 Tarde em Itapoan 
8 Amor em paz 
9 Wave 
10 Tema pra Jobim 
11 North Atlantic run

Valtinho Anastacio - Percussion
Duduka Da Fonseca - Drums
Jane Duboc - Vocals
Charlie Ernst - Piano
Norberto Goldberg - Percussion
Peter Grant - Drums
Clifford Korman - Piano
Rogério Botter Maio - Bass
Emanuel Moreira - Guitar
Gerry Mulligan - Sax (Baritone)
Leo Traversa - Bass

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including "Tema Pra Jobim," which finds him switching to piano, and "Willow Tree") and three other numbers, with "Wave" being the only standard. Duboc sings well, although her voice never sticks in one's mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan's discography. ---Scott Yanow, Rovi

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Gerry Mulligan - What Is There To Say? (1959)

2018-04-19T15:48:06Z

Gerry Mulligan - What Is There To Say? (1959)


1 	What Is There To Say? 	4:03
2 	Just In Time 	4:11
3 	News From Blueport 	5:03
4 	Festive Minor 	6:14
5 	As Catch Can 	3:54
6 	My Funny Valentine 	4:06
7 	Blueport 	8:47
8 	Utter Chaos 	4:23

Baritone Saxophone – Gerry Mulligan
Bass – Bill Crow
Drums – Dave Bailey
Trumpet – Art Farmer 

Tracks 1-4 recorded January 15, 1959, New York City
tracks 5, 6, 8 recorded December 23, 1958, New York City
track 7 recorded December 17, 1958, New York City

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist. ---Scott Yanow, AllMusic Review

Baritone saxophonist Gerry Mulligan's 1959 major label debut features his self-penned liner notes advocating putting the fun back in jazz and not worrying about hipness. Mulligan states that the album is all about fun and he's not kidding.

The quartet of Mulligan, trumpeter Art Farmer, bassist Bill Crow and drummer Dave Bailey turn in a sophisticated set that Paul Desmond would be proud to call a very dry martini. Mulligan's brand of cool west coast jazz spotlit his light, breathy tone and "skipping stone" phrasing. Its buoyancy propels every one of the eight tunes, divided among four Mulligan originals, one from Farmer and three standards.

The highlight in the piano less group is the interplay between Mulligan and Farmer. They chase each other up and down the charts producing baroque-like harmonic counterpoint and sometimes call and response patterns that produce an abundance of the advertised fun, efficiently propelled by Bailey's drumming and Crow's light-fingered bass.

When Mulligan and Farmer choose to dig in harder, you'd swear you were hearing a big band and not two guys.

The album opens with two familiar standards no doubt chosen to enhance the album's commercial potential. The title tune written by Yip Harburg and Vernon Duke was no doubt familiar to many potential buyers of the time though no doubt some reading this aren't (Harburg also wrote the lyrics to "Over the Rainbow" [and all of the "Wizard of Oz"'s songs] as well as "It's Only a Paper Moon" and many others).

It's likely that Columbia executives wanted a familiar opener. The follow up standard "Just in Time" is well known to all. Mulligan's Cannonball Adderley/Blue Note-ish "News From Blueport" (a play on "Blues From Newport") comes next, followed by "Festive Minor," the album's deepest and coolest number. It sounds like something Henry Mancini might have dug and was influenced by later on but that' just speculation.

The post bop "As Catch Can" the album's jumpiest tune is followed by a gorgeous reading of "My Funny Valentine". Finally the quartet takes the album home with "Blueport" another uptempo number, followed by "Utter Chaos," which is anything but.

The music making is elegant and well-mannered in the cool California style (Mulligan's trumpeter had been at one point Chet Baker), yet the edges were sharply drawn and could cut when necessary.

The album is sonically superior, probably recorded at Columbia's legendary 30th Street Studios. Farmer is in one channel, Mulligan in the other, both floating on cushions of natural studio air, with Bailey center stage also bathed in sufficient air and reverb to create a coherent ensemble sound.

While the "6-Eye" original has a bit more warmth, the double 45 has a smoother more relaxing flow that better compliments the music.

The gatefold packaging is deluxe though the back jacket scan of the group huddling around microphones is pretty greyed out and miserable looking.

Altogether a wonderful reissue cut by Bernie Grundman from either the master tape or a flat transfer of the master. Either way, great sound and ideal cocktail hour or late night "end of the day" music that's easy to recommend to both jazz aficionados and casual jazz enthusiasts alike. ---Michael Fremer, analogplanet.com

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Gerry Mulligan Meets Ben Webster – Original Master Recordings (1959)

2016-05-08T16:02:14Z

Gerry Mulligan Meets Ben Webster – Original Master Recordings (1959)


1. Chelsea Bridge
2. The Cat Walk
3. Sunday
4. Who’s Got Rhythm
5. Tell Me When
6. Go Home

Mel Lewis - Drums
Gerry Mulligan - Sax (Baritone)
Jimmy Rowles - Piano
Leroy Vinnegar - Bass
Ben Webster - Sax (Tenor)

This 1959 recording brings together two fine musicians from worlds that one might not usually connect. Gerry Mulligan's light and airy baritone saxophone represents the "cool," and Ben Webster's burred and blustery tenor is the epitome of a very "warm" swing. When this was recorded, however, the quintet was actually a working band. Mulligan had a profound appreciation of Webster's talent, and the two shared an affection for the music of Duke Ellington and his composing partner, Billy Strayhorn, both of whom are represented here. With pianist Jimmy Rowles, an accompanist of legendary subtlety, and the sparkling rhythm team of bassist Leroy Vinnegar and drummer Mel Lewis, this is wonderful small-group jazz, literally beyond classification. There's something unique in the ensemble sound of the two horns, with all the gravity concentrated in the higher tenor, but this is very much a blowing session, with Webster at his lyrical, passionate best. ---Stuart Broomer, amazon.com

This version of ‘Chelsea Bridge’ is the mature masterpiece of a musician who is extending his instrument and his vehicle with a perfection which is the end product of years of experience and consideration. Under present-day recording conditions, it would be a minor miracle if a completely perfect performance should find its way out of a studio onto a disc. This is as close to that miracle as we have any right to expect to come. The rest of the pieces simmer with a seemingly nonchalant, off-hand swing that is the essence of high artistry because it is so fully under control. Both Mulligan and Webster play throughout the disc with an honesty, mutual respect, and lack of surface qualities that can come only from matured artists. This is one of the great records of jazz. --John S. Wilson, masterworks-series.com

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Gerry Mulligan with Chet Baker (1996)

2012-02-11T15:47:46Z

Gerry Mulligan with Chet Baker (1996)

CD 1

01. Get Happy
02. ‘S Wonderful
03. Godchild
04. Dinah
05. She didn’t say yes, She didn’t say no			play
06. Bernie’s Tune
07. Lullaby of the Leaves
08. Utter Chaos #1
09. Aren’t You Glad You’re You
10. Frenesi
11. Nights At The Turntable
12. Freeway
13. Soft Shoe
14. Walkin’ Shoes
15. Aren’t You Glad You’re You
16. Get Happy
17. Poinciana
18. Godchild
19. Makin’ Whoopee
20. Cherry
21. Motel
22. Carson City Stage

CD 2

01. My Old Flame
02. All The Things You Are
03. Love Me or Leave Me-alt tk
04. Love Me or Leave Me
05. Swinghouse-10′ LP tk
06. Swinghouse-12′ LP tk
07. Jeru											play
08. Utter Chaos #2
09. Darn The Dream
10. Darn The Dream-alt tk
11. I May Be Wrong-12′ LP tk
12. I May Be Wrong-10′ LP tk
13. I’m Beginning To See The Light-10′ LP tk
14. I’m Beginning To See The Light-12′ LP tk
15. The Nearness Of You
16. Tea For Two
17. Five Brothers
18. I Can’t Get Started
19. Ide’s Side
20. Funhouse
21. My Funny Valentine

CD 3

01. People Will Say We’re in Love
02. Reunion
03. When Your Lover Has Gone
04. Stardust
05. My Heart Belongs To Daddy
06. Jersey Bounce
07. The Surrey With The Fringe On Top
08. Ornithology
09. Travelin’ Light
10. Travelin’ Light-alt tk
11. The Song is You									play
12. Gee Baby Ain’t I Good To You
13. Gee Baby, Ain’t I Good To You-alt tk
14. I Got Rhythm
15. All The Things You Are
16. Festive Minor

CD4

01. Too Marvelous For Words
02. Lover Man
03. I’ll Remember April
04. These Foolish Things
05. All The Things You Are
06. Bernie’s Rune
07. Almost Like Being In Love
08. Sextet
09. Broadway
10. I can’t Believe That You’re In Love With Me
11. Lady Be Good									play
12. Lady Be Good-alt tk
13. Between The Devil And The Deep Blue Sea
14. This Time The Dream’s On Me
15. Let There Be Love
16. How About You?
17. I Guess I’ll Have To Change My Plans
18. This Is Always-alt ver
19. My Old Flame
20. It Don’t Mean A Thing If It Ain’t Got That Swing
21. The Lady’s In Love With You
22. I’ve Grown Accustomed To Your Face-alt ver
23. You Turned The Tables On Me

Musicians:
Chet Baker (tp),
Gerry Mulligan (bs), 
Bobby Whitlock (b),
Chico Hamilton (d),
Carson Smith (b), 
Larry Bunker (d), 
Lee Konitz (as), 
Pete Candoli (tp), 
Bud Shank (as),
Joe Mondragon (b)
Annie Ross (v)

Baritonist Gerry Mulligan's pianoless quartet of 1952-1953 with trumpeter Chet Baker was one of the most popular groups of the period and an influential force on West Coast Jazz. Mulligan's interplay with Baker looked back toward the collective improvisation of Dixieland but utilized up-to-date harmonies. This four-CD set overlaps with a previous (and now out-of-print) five-LP Mosaic box. In addition to all of the Pacific Jazz (as opposed to Fantasy and GNP/Crescendo) recordings of the Mulligan Quartet (including the hit version of "My Funny Valentine"), this box has a few slightly earlier titles that find Mulligan gradually forming the group (even utilizing pianist Jimmie Rowles on two songs), tunes from live sessions in which altoist Lee Konitz made the band a quintet, the 1957 Mulligan-Baker set called Reunion, and an Annie Ross date from the same period (leaving out the numbers that have Art Farmer in Baker's place). Despite both musicians remaining active for over 30 years, Mulligan and Baker only teamed up again on one occasion, for a 1970s Carnegie Hall concert released by CTI. The consistently delightful music on this box (much of which is classic) is highly recommended for all jazz collections. ---Scott Yanow, AMG

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Gerry Mulligan – Jazz Masters Deluxe Collection (2012)

2012-10-30T18:15:42Z

Gerry Mulligan – Jazz Masters Deluxe Collection (2012)


1. D.Brubeck - Take Five (Live) (15:36)
2. Chet backer - The Lady Is a Tramp (3:10)
3. Gerry Mulligan - Tea for Two (7:58)
4. Gerry Mulligan - Bernie's Tune (2:50)
5. Gerry Mulligan - As Time Goes By (3:06)
6. Gerry Mulligan - Lullaby of the Leaves (3:11)
7. B. Webster - Blues in B Flat (7:21)
8. Chet Baker - Walkin' Shoes (3:09)
9. Gerry Mulligan - Love Me or Leave Me (2:41)
10. Gerry Mulligan - You Took Advantage of Me (4:20)
11. Gerry Mulligan - The Nearness of You (2:51)
12. Gerry Mulligan - Noblesse (7:37)
13. D. Brubeck - Basin Street Blues (Live) (4:38)
14. A. Ross - Twisted (1:42)
15. Gerry Mulligan - Laura (4:07)

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist. Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948.

Gerry Mulligan's first notable recorded work on baritone was with Miles Davis' Birth of the Cool nonet (1948-50) but once again his arrangements ("Godchild," "Darn That Dream" and three of his originals "Jeru," "Rocker" and "Venus de Milo") were more significant than his short solos. Mulligan spent much of 1949 writing for Elliot Lawrence's orchestra and playing anonymously in the saxophone section. It was not until 1951 that he began to get a bit of attention for his work on baritone. Mulligan recorded with his own nonet for Prestige, displaying an already recognizable sound. After he traveled to Los Angeles, he wrote some arrangements for Stan Kenton (including "Youngblood," "Swing House" and "Walking Shoes"), worked at the Lighthouse and then gained a regular Monday night engagement at the Haig. Around this time Mulligan realized that he enjoyed the extra freedom of soloing without a pianist. He jammed with trumpeter Chet Baker and soon their magical rapport was featured in his piano-less quartet. The group caught on quickly in 1952 and made both Mulligan and Baker into stars.

A drug bust put Mulligan out of action and ended that quartet but, when he was released from jail in 1954, Mulligan began a new musical partnership with valve trombonist Bob Brookmeyer that was just as successful. Trumpeter Jon Eardley and Zoot Sims on tenor occasionally made the group a sextet and in 1958 trumpeter Art Farmer was featured in Mulligan's Quartet. Being a very flexible player with respect for other stylists, Mulligan went out of his way to record with some of the great musicians he admired. At the 1958 Newport Jazz Festival he traded off with baritonist Harry Carney on "Prima Bara Dubla" while backed by the Duke Ellington Orchestra, and during 1957-60 he recorded separate albums with Thelonious Monk, Paul Desmond, Stan Getz, Ben Webster and Johnny Hodges. Mulligan played on the classic Sound of Jazz television special in 1958 and appeared in the movies I Want to Live and The Subterraneans.

During 1960-64 Mulligan led his Concert Jazz Band which gave him an opportunity to write, play baritone and occasionally double on piano. The orchestra at times included Brookmeyer, Sims, Clark Terry and Mel Lewis. Mulligan was a little less active after the big band broke up but he toured extensively with the Dave Brubeck Quartet (1968-72), had a part-time big band in the 1970s (the Age of Steam), doubled on soprano for a period, led a mid-'70s sextet that included vibraphonist Dave Samuels, and in 1986 jammed on a record with Scott Hamilton. In the 1990s he toured the world with his excellent "no-name" quartet and led a "Rebirth of the Cool Band" that performed and recorded remakes of the Miles Davis Nonet classics. Up until the end, Gerry Mulligan was always eager to play. ---Scott Yanow, Rovi

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Gerry Mulligan – Night Lights (1965)

2009-10-16T20:21:54Z

Gerry Mulligan – Night Lights (1965)


1  Night Lights (1963 Version) (4:53) 
2  Morning Of The Carnival From "Black Orpheus" (5:27) 
3  In The Wee Small Hours Of The Morning (5:34) 
4  Prelude In E Minor (4:11) 
5  Festival Minor (6:45) 
6  Tell Me When (4:06) 
7  Night Lights (1965 Version) (2:53)

Dave Bailey - Drums
Hal Blaine – Drums (7)
Harry Bluestone - Concert Master (7)
Jimmy Bond – Bass (7)
Bob Brookmeyer - Trombone, Trumpet
Bill Crow - Bass
Art Farmer - Flugelhorn, Trumpet
Jon Gray – Guitar (7)
Jim Hall - Guitar
Pete Jolly – Piano (7)
Gerry Mulligan – Clarinet (7), Piano, Sax (Baritone)

This is a rather relaxed recording featuring baritonist Gerry Mulligan and some of his top alumni (trumpeter Art Farmer, trombonist Bob Brookmeyer, guitarist Jim Hall, bassist Bill Crow, and drummer Dave Bailey) exploring three of his own songs (including "Festive Minor"), Chopin's Prelude in E minor, "In the Wee Small Hours of the Morning," and "Morning of the Carnival" (from Black Orpheus). The emphasis is on ballads and nothing too innovative occurs, but the results are pleasing and laid-back. ---Scott Yanow, Rovi

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Judy Holliday & Gerry Mulligan – Holliday With Mulligan (1980)

2009-10-16T20:25:34Z

Judy Holliday & Gerry Mulligan – Holliday With Mulligan (1980)


1.What's the Rush 
2.Loving You 
3.Lazy 
4.It Must Be Christmas 
5.The Party's Over  
6.It's Bad For Me 
7.Supper Time 
8.Pass That Peace Pipe 
9.I've Got a Right to Sing the Blues 
10.Summer's Over 
11.Blue Prelude

Gene Allen - Clarinet (Bass), Sax (Baritone)
Don Asworth - Oboe, Saxophone
Bob Brookmeyer - Trombone, Trombone (Valve)
Earl Chapin - French Horn, Horn
Bill Crow - Bass
Al DeRisi - Trumpet
Don Ferrara - Trumpet
Judy Holliday - vocals
Fred Klein - French Horn, Horn
Al Klink - Flute, Saxophone
Bernie Leighton - Piano
Walter Levinsky - Clarinet, Saxophone
Mel Lewis - Drums
Gerry Mulligan - Sax (Baritone)
Al Ralph - Trombone (Bass)
Alan Raph - Trombone
Gunther Schuller - French Horn, Horn
Nick Travis - Trumpet

Baritone-saxophonist Gerry Mulligan and actress Judy Holliday were an "item" around the time of this recording. Their one meeting on record features Holliday doing some effective singing on eleven songs, mostly lesser-known standards plus four songs co-written by the two leaders. Unfortunately Mulligan's Concert Jazz Band is largely wasted, being restricted to anonymous accompaniment of Holliday, making this CD of greater historical value than of interest to jazz listeners. ---Scott Yanow, Rovi

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Mulligan Meets Monk (1957)

2011-06-15T11:39:09Z

Mulligan Meets Monk (1957)

01 ‘Round Midnight 02 Rythm-A-Ning play 03 Sweet And Lovely 04 Decidedly 05 Straight, No Chaser 06 I Mean You 07 Decidedly [Alt.Take] play 08 Straight, No Chaser [Alt.Take] 09 I Mean You [Alt.Take] . Personnel: Gerry Mulligan – Baritone Sax Thelonious Monk - Piano Wilbur Ware - Bass Shadow Wilson - Drums.

In the late 1950s/early '60s, baritonist Gerry Mulligan participated in several recorded "meetings" with jazz musicians whom he admired. For this set (reissued on CD in the OJC series), Mulligan teams up with pianist Thelonious Monk (who shares co-leadership), bassist Wilbur Ware, and drummer Shadow Wilson on a surprisingly successful date. Monk and Mulligan blend together quite well on what was essentially Thelonious' repertoire of the era including "'Round Midnight," "Rhythm-A-Ning," "Sweet and Lovely," and "I Mean You." ~ Scott Yanow, Rovi

Critics thought the pairing of Gerry Mulligan and Thelonious Monk a strange one when this 1957 session was originally released, Mulligan's light baritone saxophone strongly identified with the cool school and Monk's percussive piano, fractured rhythms, and dissonant tunes the last word in bop. It's an interesting combination, though, with Mulligan's melodic focus actually working fairly well with Monk and his regular band, drummer Shadow Wilson and bassist Wilbur Ware. Common roots in swing are apparent on Mulligan's "Decidedly," a variant of "Undecided," while the baritonist acquits himself well on some of Monk's best-known tunes. Monk was at his peak as a player in 1957 -- working steadily for the first time in years in a long tenure at the Five Spot -- and it shows everywhere here, including the splashing chords and asymmetrical runs of "Sweet and Lovely." Ware, one of the most significant bassists in jazz history, is a perfect accompanist and as commanding a soloist as Mulligan or Monk, using subtle rhythmic shifts and double stops in an almost minimalist way. The alternate takes of several tunes are genuinely different approaches to the material, revealing just how spontaneous the meeting was. --Stuart Broomer

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