Getz Meets Mulligan in Hi-Fi

Stan Getz, Gerry Mulligan

Product Details

• Audio CD (June 25, 1991)
• Original Release Date: October 10, 1957
• Number of Discs: 1
• Label: Polygram Records
• ASIN: B0000047CI
• In-Print Editions: MP3 Download
• Average Customer Review: 4.2 out of 5 stars See all reviews (13 customer reviews)
• Amazon.com Sales Rank: #63,506 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

15 of 17 people found the following review helpful:

5.0 out of 5 stars Great interplay between two saxophone giants, June 8, 2001

By A Customer

I remember owning the original LP that was titled "Mulligan meets Getz meets Mulligan". I think that was the title on a blue album cover.

The idea of trading horns for the first few numbers was very novel and fun. After careful listening you'd be able to distinguish who was playing what horn from the stylistic approach of each artist.

The kickoff number of "Let's Fall in Love" is wonderful. The beautiful "A Ballad" showcases the soft and cool improvisational skills of Mulligan and Getz.

The two cuts that weren't included on the original album -First, "Scrapple From The Apple" demonstrated just how well these two "cool school" musicians could burn on an uptempo number. Second, "I Didn't Know What Time It Was" is an easy-going foot-tapper with Mulligan starting off with very creative lines. Getz lends his smooth, airy and controlled solo with absolute coolness. And let's not forget Lou Levy and Ray Brown's equally inventive solos.

One of my all-time favorites from both Mulligan and Getz. So my review may not sound as sophisticated as the others. Hey, I'm just a simple-minded reed player who's listened and played jazz for 35 years. I just love jazz. Buy this album!

1 of 1 people found the following review helpful:

3.0 out of 5 stars Don't switch horns, December 14, 2008

By	brassmnky "brassmnky" (Hartford, CT USA) - See all my reviews

Getz and Mulligan were obvious heavyweight jazz musicians, but this recording falls way short of other efforts during this period in their careers. Although switching horns may have brought some interest to the session, the results are not positive, and in the end just a bad idea. Mulligan's tone on tenor is particularly strident and his intonation is poor, and after hearing Getz's sweat tone and precise technique on tenor, Mulligan just sounds lousy on tenor, especially in the upper range of the horn. Getz pulls the horn switch off more convincingly and plays the Bari with some authority and retains his voice, but the question in the end is why? There are some nice moments and obvious skilled improvisation and technical prowess on this recording, but the recording is not a high point.

1 of 1 people found the following review helpful:

2.0 out of 5 stars not really fireworks, July 11, 2007

By	rash67 (USA) - See all my reviews (TOP 1000 REVIEWER)

Stan the Man, the greastest sax player of all time should have made a number of albums with Jeru - the best baritone of all time (since his better playing mentor Serge Chaloff died off young). Both were Cool both West Coast Jazz. The owner of Verve put them together. But there is only this one.

In order to fool the listener, they switch instuments at one point! Getz plays baritone and Mulligan plays tenor. They should have made great music togehter but the results are adequate but don't live up to what each of the Cool Jazz greats did on other albums where they were out front. The Getz and Bill Evans albums are also pretty mediocre. Maybe too many egos?

The best series of duet albums Getz did (other than piano with Al Haig or Kenny Barrons) was with Bob Brookmeyer on valve trombone.

Why this one is adequate but not great (as is stated elsewhere), it's hard to say.