Customer Reviews

Konitz Meets Mulligan

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

 

 

O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the bari, Konitz on alto, and--yes--Chet baker on trumpet. How can you pass this up?

But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other,support and--in a gentle way--challenge each other.

And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides--along with Larry Bunker on drums--a solid stage for Baker, Mulligan, and Konitz to swing on.

Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.

Mono--so what? This is a treasure from the vaults of Pacific Jazz. It's bargain priced, but at any price, it's a bargain.

At the time these tracks were recorded, both Konitz and Mulligan were among the very best saxophone players alive, as indeed they remained for many years after. And the two intermingle and inspire each other wonderfully here. Mulligan's music, as usual, is characterised by great clarity and "logic", forceful and emotionally satisfying, impeccably performed and always highly musical. Much the same can be said for Konitz, who however is "harder on the ear" in bringing to bear a greater complexity, but of a rewarding kind, as it results from a richly inventive musical mind. Hs music, though demanding, is never difficult just for the sake of it, and certainly not just "cerebral". These tracks, together with his work with Wayne Marsh, feature some of his best and most sensational work. A great CD to own, which will bring permanent pleasure! - Joost Daalder

From the opening tune "Too Marvelous For Words," to the last one (I wish there were more) these guys swing. Mulligan, with his great background harmony, through the subtle counterpoint between Baker and Mulligan in "Sextet" and "Broadway", to the dynamic, sweet swinging melodies from Konitz' sax, it's an album that reflects the best of the these greatest of jazzmen. Don't miss this one; you won't be disappointed!

I'm quite partial to a Lee Konitz cd now that I have discovered his amazing talent. I came across him quite by chance at the annual Hull Jazz festival and was totally wowed by his talent. Mr Konitz has produced a vast array of albums that can be quite daunting but dont be put off - this man has immense talent. I had the great pleasure of conversing with him during the interval when I asked him to autograph what became my first Lee Konitz cd - this one! I have to say I am biased as this cd brings happy memories of such a gentle and unassuming man but if you like sax you cant help but love this album. I love the feeling it gives you of being right there in the room while he is playing - the sort of music you can almost touch - truely magical.

During the time of this recording, Lee Konitz had been playing in the relatively regimented setting of Stan Kenton's big band. It is evident in some of his improvisational work here that he had been unable to "stretch out" for awhile. So while enjoyable, I would hate for this to be your only exposure to the marvelous alto of Lee Konitz. Gerry Mulligan and group are relaxed and proficient, while Lee seems rushed at times to show you all his ideas. If you are a Mulligan or Konitz fan, you'll probably want to have this anyway - it is a 3 star effort. But if you want just a sample of either artist, sample Lee's later work and check out Mulligan where he is not confined by playing host to Konitz.

I own several CDs from Gerry Mulligan including another recording from the Mulligan/Baker quartet, two from the Mulligan/Desmond quartet, and one from a big band Mulligan lead in 1960. I find all of these albums by Mulligan very relaxing; they help me forget my troubles or those of the crazy world we live in every time I put one on. Mulligan is one of the best baritone sax men of all time and is also a talented composer and arranger.

On this album, the Mulligan/Baker quartet of 1952-3 is joined by alto saxophonist, Lee Konitz, who had played with Mulligan on the famous Miles Davis "Birth of the Cool" album from 1950. Konitz, Mulligan, Desmond, and Stan Getz were all leading saxophonists of the West Coast "cool jazz" scene. However, while I'm strongly drawn to the music of the other 3, I have never become a big fan of Konitz. Perhaps I just need to listen to more of his albums. In any case, I enjoy his playing on this album very much. Mulligan and Baker play with the same charm they demonstrated in their other recordings without Konitz. The tunes are mostly standards with just one composition, "Sextet", by Mulligan. (Odd title given that it's played by a quintet.) All the tracks are outstanding.

While this album is currently unavailable, you can get all the tunes on a Jazz Factory CD called "Complete 1953 the Haig Performances" by Konitz, Baker, and Mulligan.