Customer Reviews

What Is There to Say

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I love this cd. Mulligan sounds great. The tunes and the arrangements are super hip. The rhythm section is tight, swinging, and right on. And then to top it all off, Art Farmer is in the group. Art is one of the best, and most underrated, trumpeters in jazz. He is without a doubt my favorite trumpet player. The interplay between Mulligan and Farmer is incredible. Both play with a lot of feeling, thought, creativity, and energy. It's all around a great cd. If I were only able to have one Mulligan cd, this would be it.

Mulligan's smoother "west coast" pieces are nice, but some of the tunes on What is There to Say? really kick. Check out As Catch Can, where Mulligan and Farmer 'comp' during a walking bass solo, or the 3/4 News from Blueport.

One of Mulligans very best small group albums. Both he and Art Farmer are on top form. Crow and, particularly, Dave Bailey provide great rhythm support.

Gerry Mulligan's 1959 album "What Is There To Say" is a classic in modern Jazz music. While it hasn't gained the momentum of other Jazz classics such as Miles Davis's "Kind Of Blue" or John Coltrane's "Giant Steps", this album is just as important and pioneering as the above mentioned titles.
"What Is There To Say" features Mulligan in his trademark piano-less quartet featuring himself on his usual baritone sax, trumpeter Art Farmer, bassist Bill Crow and drummer Dave Bailey. Together, they deliver a fine set of mostly original material with three standards thrown in (the title track, My Funny Valentine and Just in Time). Standouts on the album include Art Farmer's swinging waltzing "News From Blueport" and Bill Crow's answer to that piece entitled just "Blueport". Elsewhere are fresh renditions of the Mulligan originals "Festive Minor", a fast-charged and energized "As Catch Can" and a smooth free-flowing reading of "Utter Chaos" which was used as a closer to Mulligan's live shows at the time.
Musically, Mulligan's quartet on this album is in top notch form. Art Farmer proves to be a more-than-suitable replacement for Chet Baker while Bill Crow and Dave Bailey stay locked into the rhythm without losing a beat. As for Mulligan, his cool-sounding baritone sax never falters and is at its very best here.
This is definitely some Classic Gerry Mulligan.
Along with "What Is There To Say", I also recommend the "Reunion With Chet Baker" disc as well as "Live At Storyville" and the "Quartet" disc with Paul Desmond on Verve. The "Best Of The Gerry Mulligan Quartet with Chet Baker" disc on Pacific Jazz is also highly recommended.

This is a terific album, very typical of Mulligan's work at the time. It also features great playing by Art Farmer, making his recent death even more sad. Both confirmed Mulligan fans and beginners will enjoy this.

If you had no familiarity with either Gerry Mulligan or what "modern jazz" meant in the fifties, this album would be the place to start. Here are two of the best horn players of the decade--black trumpeter Art Farmer, influenced by Miles Davis, Clifford Brown, Kenny Dorham and the whole Bebop school, while himself influencing the younger generation of modern players--and the white Gerry Mulligan, a product of the Lester Young reed-playing school, but with ideas well beyond those of his mentor, and technical mastery untouched by any other baritone sax player.

Mulligan's concept of having no instrument play full chords works well--mainly due to the brilliant bass work of Bill Crow, who almost makes the listener forget there is no chord being played. This provides ensemble and soloist alike the freedom to take what often are simple melodies far enough afield to make music that's both emotionally exciting and cerebrally challenging to listen to. The dynamic and often colorful drumming of Dave Bailey enriches a multicourse musical feast.

There are times when the ensemble sound almost resembles a full big band. The solo work of each player is superb--especially that of Farmer and Mulligan. Those who like to hum along with the music will find some of these solos about as challenging to follow as any they've ever heard. There is nothing cliched or predictable in the solo ideas. Yet there's no time when any player departs from musical logic or reverts to inane or repetitious random note clustering--much less to honking noise or some of the other bad-taste tactics used by certain big-name players (who shall remain nameless).

The picture of the group showing half the players white and half black, and the thoroughly harmonious, wonderfully integrated sound, debunks any idea of such a thing as "white vs black" jazz styles being so radically different or incompatible. It was not unusual for white and black players at the time to play and record together, and stylistic schools were not defined as much in racial terms as they now tend to be.

The musical quality and creativity of these performances may spoil the listener for any other Mulligan albums, though he has produced many other good ones. To me, this one is by far his best.

Being a Baritone Sax player myself, I understand whats going on here... maybe not what went on inside jeru's head, but the ideas musicaly. All in all, a BRILLIANT album. Recommended for anyone who likes west coast cool, or to anyone for that matter. A smart album, from a smart man. Thats why Gerry's the best, and always will be.

This album is one the best pieces of jazz history to own. Sometimes it's hard to believe so much sound is coming out of only 4 musicians. It also makes you wonder why Dave Bailey (Drums) and Bill Crow (Bass) aren't more fondly remembered for their tight-swinging drive behind this group.
The interaction between Art Farmer and Gerry Mulligan rivals and sometimes exceeds that shown between Chet Baker and Mulligan in the earlier incarnation of Gerry's cool jazz quartet.
As to the musicianship of the two horn men, Farmer is more accurate than Baker was and these sessions brought out the best in him. Gerry Mulligan, meanwhile, almost never plays an inappropriate phrase - certainly not on this album. He is in fine form here - the unequalled master of the baritone sax.
If you're a Mulligan or Farmer fan - you have to have this one. If you're curious about either artist, I can't think of a better place to start. And if you're a fan of small combo, cool jazz - this is right up your alley. This is one of the easiest, no question about it, 5 star ratings I've given. (Are 6 stars available?) You should also check out "Night Lights". Another version of the hauntingly beautiful "Festive Minor" is heard there.

When I was only 14 I saw Mulligan and this quartet at the old Blackhawk Club in San Francisco. It was my first introduction to modern jazz and from that instant onward, I have been a devotee of Mulligan's music, which is incredibly cool (in the best sense of the word). How could any quartet without a piano make such complete music? Well, you have to listen to it to appreciate it. It's all there in a trumpet, a bari sax, a drum kit and a string bass. Just amazing. I've worn out my old LP, so now I'm going with a CD.

A must-have album to fill out any jazz collection of the 50's - the most incredible flowering of jazz in American history.

As a teenager I had this LP and looked for it for years on CD and grabbed it immediately when I found it. An excellent recording in every respect.