Customer Reviews

Carnegie Hall

5 star:		(3)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The original famous Mulligan-Baker quartet consisting of the two horns plus bass and drums, but without piano, lasted for only a year (from late 1952 to late 1953). It was a huge sensation in its day, and still sounds completely fresh and engaging now. This 1974 recording is certainly interesting given that for over twenty years Mulligan and Baker had gone their separate ways. Both solo to great effect here, especially Mulligan, who had become more versatile and exuberant in the interim, though not necessarily "better" than in his early days. Baker also makes a strong emotional and articulate impact, and at its best this record is a "ball" - vibrantly alive, and played at a consistently high level by all involved. However, in terms of sheer musical taste the performance is somewhat uneven, with the electric piano, for example, too often providing a somewhat "filmish", slick sentimentalism which one would have liked to do without. Those who are not bothered by such an element will undoubtedly think the record worth five stars, for there is plenty of great music to enjoy. - Joost Daalder

My dad was a big fan of Mulligan and Baker, but had turned his back on jazz for Mantovani by the early 70's. Having found jazz myself during high school, I would search through record bins for releases that I thought would revive my father. This was the one. Not perfect, but about as good a CTI release as you will find. The group on the session includes Ron Carter (b), John Scofield (g), Bob James (keys), Harvey Mason (d), Dave Samuels (vibes) and Ed Byrne (trb).

The electric piano is definitely an artifact of the early 70's ( and without ring modulation, it just doesn't do it for me...), but the laid back west coast cool comes breezing over you oh so smoothly. Baker and Mulligan weave their lines beautifully throughout. You are immediately grabbed from the first notes of "Line for Lyons." As an aside, this was one of John Scofield's earliest recordings (some fine leads!).

This live recording is based on the live partnership of both Baker and Mulligan. The men themselves have not performed together on stage for over a decade. "My funny valentine" an old classic has such embeded emtional outburst as a result. I have not heard anything like it. If you are a fan to the number, this is a must buy. Definitely one of the best efforts from both musicians. Just hear it.

This is one of my favorite all-time "live" recordings. It swings in the coolest way. I just love it!

Hi guys! My opinion is that this is a splendid album, with Jeru and Chet in fantastic shape! This 1974 concert was a special event, at least for Baker. Infact Chet was back from a couple of years rest he took due to his drug addiction, but he proved here that he didn't lose a bit of his incredible talent and played fantastic! Mulligan was at the top of his game, impeccable and incredibly focused in his playing. A Jazz King!! I prefer this concert to many things the two giants recorded together, I'm talking about all the piano less music they recorded. Here they had a piano player instead (the talented Bob James) and to my ears the music is more gratifying. From no harmonic instruments to a THREE harmonic instruments recording!! To be unpredictable is the rule! =) Ron Carter was the bass player and here they had even a vibe player and a guitar player, John Scofield here at his first recording. A surprise. Sco here was very close to be a bop musician! He played great in those years, I don't know how went that he became so boring in the following years. Now to me he's one of the most boring jazz guitarists around, here he played great instead. Probably Miles in his eighties (awful) period ruined his taste! ;) Bob James played some Fender Rhodes here and there that night (but some piano too), but don't be scared. Even if there's the electric piano and even if it's a CTI recording (generally speaking the label produced a lot of uninspired music in the seventies, but even some pearls like this one) it's not elevator music, it's perfect jazz. A very very beautiful concert, with a special melodic quality all around. A must have.

This 1974 reunion of two popular jazz collaborators demonstrates that the traditional advice on how to get to Carnegie Hall - practice, man, practice - actually can get you there. Well, in this case, anyway. Mulligan and Baker hadn't worked together in two decades, but they still knew how to please their audience with old favorites like "Line for Lyons," "My Funny Valentine," "Bernie's Tune," and "There Will Never Be Another You." I can't help but wonder how many people in the audience reacted to Mulligan's appearance by asking, "Where did he get all that hair?" In the 1950s, he was clean-shaven and had a crew cut, but by the early 1970s he sported a beard and a huge mane of hair.
At this point in their careers, Baker's productivity had been severely curtailed by his long-time addiction to heroin, but Mulligan was still at his creative peak. In fact, the best tracks on this album are four compositions by Mulligan: the beautiful ballads "For an Unfinished Woman" and "Song for Strayhorn," and the up-tempo "K-4 Pacific" and "It's Sandy at the Beach" (the last being the only one of the four where Baker joins in and, in my opinion, does his best solo of the night). Both artists were reliving past memories here, but Mulligan also clearly demonstrated that he was in the midst of one of his most fruitful periods.
When this concert was originally released on LP, it came out on two records sold separately. Thankfully, this CD release puts it all together on one disc without cutting anything. Mulligan fans will definitely want to have it in their collection; Baker fans will have mixed reactions to his playing (and singing), especially those who know his work from the 1950s.