The great things about re-issues like this four disc set is that, like Old Testament prophets, they remind you of w hat the standard is, and how far off the mark today’s generation is. Gerry Mulligan was not only the premier baritone saxist of the 1950s, but he was also a master of arrangements, as this collection of eight albums from his halcyon days reveal. His tone and style was the epitome of the “Cool” school of jazz, but the music itself, especially today, burns anything being done today.
During t his time of 1956-62, Mulligan had just left his famous teaming up with trumpeter/vocalist Chet Baker and the then-revolutionary pianoless quartet. The tone and attitude prevail on almost all of these sessions, which are all essential. There’s a gracious glide, effortless swing and clever arranging in Mulligan’s world that is both artistic and accessible, and his suave tone is akin to Stan Getz’s mellifluous tenor.
There are a pair of Mulligan’s meetings with similarly soft alto saxist Paul Desmond (of Dave Brubeck fame)from 1957 and 1962 with dreamy results The early pianoless quartet gives l ighter than air reeds of “Wintersong” and a clever “Battle Hymn of the Republic” with the later session have the two digging in with guitarist Jim Hall and a rhythm team on “The Way You Look Tonight”. Mulligan’s own 1955-56 sextet which included the famed valve trombonist Bob Brookmeyer and swinging tenor saxist Zoot Sims cruise like a souped up Chevy on “Broadway” and “Bernie’s Tune” with gorgeous harmonies and tricky hairpin turns. A larger ensemble with the regulars and the added beefe of Conte Condoli/tp, Gene Quill/as with Mel Lewis/dr deliver rich reads of “Manoir De Mes Reves” and “My Funny Valentine”.
Most enjoyable are the three other summit meetings. The first one with Thelonious Monk’s trio with Wilbur Ware/b and Shadow Wilson/dr is a hand in glove delight, with a harrowing “Round Midnight” and joyfully bopping “I Mean You” and “Rhythm-A-Ning” from 1957. Sweet toned trumpeter Art Farmer joins the front line with Mulligan’s 1959 quartet with Bill Crow/b and Dave Bailey/dr for a sleek “ Just In Time” and wild “Utter Chaos”. Lastly is a satisfying teaming with Ellington alto saxist J ohnny Hodges for vintage small group swing for delightful ditties like “Carrots For Rabbit” and “Back Beat”. Please, sir, may I have some more?