While Gerry Mulligan was famous in the 1950s for leading pianoless quartets, he never had anything against pianists; in fact he often played piano himself. This 1962 quintet session finds Jeru utilizing the strong talents of pianist Tommy Flanagan along with bassist Ben Tucker, drummer Dave Bailey, and the congas of Alec Dorsey to play seven songs (all but "Get Out of Town" are somewhat obscure). Mulligan is in fine form and, even if the music on this LP is not all that essential, it is quite enjoyable.

California Cool stands as a breathtaking, profoundly sophisticated archive that captures the absolute zenith of the mid-century West Coast jazz movement. Released in 1993 by the legendary purveyors of definitive jazz history, Blue Note Records, this immaculate compilation serves as a premier audio document of the sun-drenched, cerebral, and swinging style that dominated the Pacific jazz landscape throughout the 1950s and 60s. Spanning over an hour and a quarter of pristine, remastered audio, the 21-track collection flows with absolute atmospheric elegance. The tracklist reads like an elite directory of standard-bearers, highlighting Chet Baker's velvet vocal phrasing on But Not For Me, Art Pepper's searing horn configurations on Mambo De La Pinta, and June Christy's iconic, smoky late-night delivery of Something Cool. Moving fluidly through the intricate counterpoint of Gerry Mulligan and Lee Konitz, the hard-driving blues swagger of Sonny Criss and Curtis Amy, and the elegant modal piano spaces of the era, this release functions as an indispensable, high-fidelity time capsule for serious collectors and jazz aficionados alike.

Although in 1957 some listeners considered swing and cool jazz to be at the extreme poles of the jazz world, this LP, recorded at that year's Newport Jazz Festival, shows just how similar the two idioms were. The Teddy Wilson Trio (with bassist Milt Hinton and drummer Specs Powell) plays lightly swinging versions of four swing era standards and welcomes baritonist Gerry Mulligan to sit in on a spirited rendition of "Sweet Georgia Brown," and then Jeru's quartet (with trombonist Bob Brookmeyer, bassist Joe Benjamin, and drummer Dave Bailey) plays cooly exciting versions of "My Funny Valentine" and "Utter Chaos"; one could easily imagine Wilson helping out on those two songs. Strangely enough, this LP reissue of the original set also contains three standards by the Don Elliott Quartet with pianist Bill Evans, but never lists the full personnel (mellophonist Elliott, bassist Ernie Furtado, and drummer Al Beldini)…

A unique all-star set recorded in various combinations between 1949 and 1951, Conception is an underappreciated masterpiece of cerebral cool jazz. Although Miles Davis gets top billing, he appears on only half the album and then most often as a sideman with only occasional solos. Saxophonists Lee Konitz, Stan Getz, and Gerry Mulligan are the true stars of the album, with Konitz particularly shining.
His two duets with guitarist Billy Bauer, a relaxed take on Victor Herbert's standard "Indian Summer" and his own "Duet for Saxophone and Guitar," are outstanding examples of cool jazz as the term was originally understood before it came to signify new age-leaning elevator music; Konitz's solos in "Indian Summer" disassemble the melody entirely while remaining accessibly tonal, and Bauer's filigree guitar lines stay clear of the uninspired comping…

The last of the pianoless quartet albums that Gerry Mulligan recorded in the 1950s is one of the best, featuring the complementary trumpet of Art Farmer, bassist Bill Crow, and drummer Dave Bailey along with the baritonist/leader. This recording is a little skimpy on playing time but makes every moment count. Virtually every selection is memorable, with "What Is There to Say," "Just in Time," "Festive Minor," "My Funny Valentine," and "Utter Chaos" being the high points. Highly recommended both to Mulligan collectors and to jazz listeners who are just discovering the great baritonist.

Under the guidance of Norman Granz, Stan Getz and Gerry Mulligan collaborate for the first time as the primary horns on "Getz Meets Mulligan in Hi-Fi". Recorded in 1957, this record offers the unique opportunity to listen to the two jazz stars trade instruments on the first three tracks ("Let's Fall in Love," "Anything Goes" and "Too Close for Comfort") with Getz on baritone sax and Mulligan on tenor. The music gels with the help of a world-class rhythm section featuring Lou Levy on piano, Ray Brown on bass, and Stan Levey on drums. While a massive musical success, the duo never recorded again in this quintet format, making this record a rarity.

Three years after Gerry Mulligan initially sat in with the Dave Brubeck Quartet, the baritone saxophonist arrived at a point where he could perform alongside Brubeck's alto saxophonist, Paul Desmond, for this much anticipated session. When legal issues, wranglings with producer Norman Granz, and the question of which record label would subsidize and release this album were resolved, the two saxophonists went ahead to produce a delightful program of standards and originals where their more playful sides could fully blossom. The wonderful interaction between Mulligan's burly but agile horn and the ultimate smooth - but in this case animated and energized - sax of Desmond is more than just magical, and makes for a fluid, jaunty, delicious combination sure to please even the most jaded or stone-eared music listener…

This is a rather relaxed recording featuring baritonist Gerry Mulligan and some of his top alumni (trumpeter Art Farmer, trombonist Bob Brookmeyer, guitarist Jim Hall, bassist Bill Crow, and drummer Dave Bailey) exploring three of his own songs (including "Festive Minor"), Chopin's Prelude in E minor, "In the Wee Small Hours of the Morning," and "Morning of the Carnival" (from Black Orpheus). The emphasis is on ballads and nothing too innovative occurs, but the results are pleasing and laid-back.

Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" and "What It's All About," another potent blues…

Mulligan Meets Monk documents the 1957 meeting of two sharp musical minds. Though the pairing may seem unlikely, baritone saxophonist Gerry Mulligan - whose cool, West Coast style blends dexterity with laid-back grace - and Thelonious Monk - whose radical, angular piano playing and thoroughly modern compositions are blueprints for the possibilities of bop - sound remarkable together. In fact, it is the contrast between the players' styles that lends this set its balance and appeal. The program, which includes four compositions by Monk and one by Mulligan, is unassailable. Mulligan acquits himself admirably on the Monk classics "'Round Midnight," "Rhythm-a-ning," and "Straight, No Chaser," unfurling his smooth tone over their zigzagging melodies and ambitious scalar architecture. Mulligan's "Decidedly," a bright bop workout, fits easily alongside Monk's tunes, especially with the help of Monk's off-kilter, accented comping…