1. Birdhouse
2. How High The Moon
3. Disc Jockey Jump
4. Poor Little Rich Girl
5. Sometimes I'm Happy
6. Elevation
7. Jeru
8. Godchild
9. Bop City
10. Wallington's Godchild
11. Crossing The Channel
12. Sleepy Bop
13. Elevation
14. Venus De Milo
15. Broadway
16. Waterworks
17. Between The Devil And The Deep Blue Sea
18. They Didn't Believe Me
19. Rocker
20. Darn That Dream
21. Leavin' Town
22. So What

February 26, 1946

May 21, 1946

January 22, 1947

April, 1948

May 1948

October 1948

January 21, 1949

April 10, 1949

October 10, 1949

April 22, 1949

August 23, 1949

October 10, 1949

1949

March 9, 1950

March 15, 1950

1. Roundhouse
2. Ide's Side
3. Bweebida Bobbida
4. Kaper
5. Funhouse
6. Mullenium
7. Mulligan Too
8. Bernie's Tune
9. Lullaby Of The Leaves
10. Line For Lyons
11. Carioca
12. My Funny Valentine
13. Bark For Barksdale
14. Nights At The Turntable
15. Frenesi
16. Aren't You Glad You're You
17. Walkin' Shoes
18. Soft Shoe
19. Freeway

August 17, 1951

August 16, 1952

September 2, 1952

October 15-16, 1952

 LINER NOTES

Gerry Mulligan was born in New York on April 27, 1927. Hisfather George was of Irish descent, his mother was half Irish half German, Gerry was the youngest of four sons George, Phil, Ron and Gerry. All three brothers like their father became engineers, Gerry's lifelong fascination with trains and railways was probably a trait that ran in the mechanically minded Mulligan family.

At the age of one, Gerry and his family moved to Marion, Ohio. The nature of Mulligan senior's job caused the family to move frequently. By the age of ten Gerry lived with his grandmother in South Jersey for a while, before moving to Chicago a year later. After one year in Chicago, the Mulligans moved to Kalamazoo, where they lived for three years. It was in Kalamazoo, that Gerry got some training on an instrument when he took up the clarinet, he had been given some piano lessons at a younger age. Mulligan also wrote his first arrangement in Kalamazoo, a chart of "Lover" that he wrote for the school band. Mulligan stated in an interview with Gene Lees, "So I sat down and wrote an arrangement of "Lover", because I was fascinated by the chromatic progressions. I brought it in to play, and like a damn fool I put the title "Lover" on top of it. The nun took one look at it and said, "We can't play that". So I never heard my first chart".

From Kalamazoo, the Mulligans moved to Detroit. By this time a fourteen-year-old Gerry Mulligan came under the spell of boogie-pianists like Meade Lux Lewis, Pete Johnson and Pinetop Smith. The next town the Mulligan family moved to was Reading, Pennsylvania. Here, Gerry furthered his clarinet studies with Sammy Correnti as his teacher. Correnti also gave Mulligan further tuition in the art of arranging. While attending High School in Reading he began to work professionally. Initially he worked with a quartet, which he formed in high school, but soon Mulligan began to play in the larger dance bands, for whom there was plenty of work on the extensive club circuit in Pennsylvania. The Mulligans next move was to Philadelphia where Gerry attended the West Philadelphia Catholic High School for Boys. In Philadelphia, Gerry visited Johnny Warrington, who led the house band at radio station WCAU. Warrington bought some of Mulligan's earliest arrangements and gave him further tuition and encouragement. Meanwhile Gerry organized a big band at the West Philadelphia Catholic High School for Boys, for which he wrote arrangements, During his senior year, Mulligan dropped out of high school determined to hit the road with a band. Mulligan encountered bandleader Tommy Tucker when he came through Philadelphia to play The Earle Theatre. Gerry was playing alto and tenor saxophone at the time, but Tucker did not need a saxophonist, but he was looking for an arranger and offered Mulligan a contract, 100 dollars a week for two jump or three ballad arrangements. Mulligan had to do all the copying. A seventeen year old Gerry Mulligan was thoroughly enjoying his first experience on the road as an arranger with a name band. After three months, Mulligan's contract with Tommy Tucker expired. Tommy thanked him for his services and told Mulligan that he thought that Gerry was ready to move onto another band that was a little less tame.

Mulligan returned to Philadelphia to find that Johnny Warrington was no longer at WCAU, his band had been taken over by Elliott Lawrence, the pianist, composer and bandleader who led a series of first-rate dance bands throughout the 1940's and early 1950's. The Elliott Lawrence band always numbered some good jazz soloists in its ranks and played forward-looking arrangements by Lawrence himself and young modern arrangers like Gerry Mulligan and AI Cohn. During the 1960's Lawrence began to compose, arrange and conduct orchestras for television, radio and Broadway shows. He gained a reputation as one of the best Broadway conductors. Mulligan began to write for Elliott Lawrence.

In January 1946, Mulligan moved to New York. Together with Red Rodney, a young Philadelphia trumpeter from the ranks of the Elliott Lawrence band, who had become a disciple of Charlie Parker and Dizzy Gillespie, Mulligan joined the Gene Krupa band, Rodney as a replacement for Don Fagerquist and Mulligan as a member of Krupa's arrangers staff. Krupa was leading a hard swinging, bop tinged band at this time, a band that was probably the best in Gene's career as a bandleader, a band that was riding high in the popularity stakes as well. "Birdhouse" a transcription recording by the Krupa band from February 26, 1946 was one of the earliest arrangements and tunes Mulligan wrote for the Krupa band.

The tune as well as the arrangement show a striking familiarity with "The good earth" the famous chart Neal Hefti contributed to Woody Herman's First Herd. The solos are by altoist Charlie Kennedy, trombonist Dick Taylor and trumpeter Red Rodney. Mulligan began to attract attention with his arrangement of "How high the moon", the bebop anthem recorded by the Krupa band for Columbia on May 27, 1946. Mulligan cleverly inserted a counter melody of Charlie Parker's "Ornithology" into the familiar "How high the moon" theme. The solos on this track are once more by Charlie Kennedy, Dick Taylor and Red Rodney. "Disc Jockey Jump" a Mulligan tune and arrangement recorded by the Krupa band on January 22. 1947 was even better. This swinging, modern chart caused a stir in musician's circles and enjoyed a good public response as well. The solos are by Charlie Kennedy, Dick Taylor, tenorist Buddy Wise, who was now Krupa's tenor sax soloist after Charlie Ventura's departure, and trumpeter Don Fagerquist who had returned to the Krupa band replacing Red Rodney who had joined the band of Claude Thornhill.

That very same Claude Thornhill band also became Gerry Mulligan's next destination. After playing with the bands of Hal Kemp, Don Voorhees, Paul Whiteman, Benny Goodman, Ray Noble and Andre Kostelanetz and arranging for singers like Maxine Sullivan, Claude Thornhill formed his own dance band in 1940. Thornhill sought perfect intonation from his musicians and balance between the sections. He urged his sidemen to eliminate vibrato, aiding this effect by adding French horns to his band. The Claude Thornhill band thus created wonderful pastel-shaded musical patterns and sustained chords, against which Thornhill played delicate solo piano statements. It resulted in a unique sound unlike any other big band from the period. Thornhill established the sound of his band with his first arrangements. Thornhill soon hired two other talented arrangers, Bill Borden and Gil Evans. "It was Gil Evans who contributed the most gorgeous ballads and most exciting jazz arrangements to the Thornhill book. In clarinettist Danny Polo, alto saxophonist Lee Konitz, tenor saxophonist Mickey Folus, trumpeter Red Rodney and trombonist Allan Langstaff, the Claude Thornhill band boasted a strong line-up of soloists This was the set-up Mulligan found when he joined the Claude Thornhill band as arranger and sometime member of its reed section. Noel Coward's "Poor little rich girl" was one of the arrangements Gerry Mulligan contributed to the Claude Thornhill book. This happily, swinging chart was often used to open the broadcasts of the Thornhill band instead of its classic signature tune "Snowfall". Thornhill's twinkling piano opens the solo sequences here followed by a hard swinging tenor solo by the sadly underrated Mickey Folus and a trumpet solo by Ed Zandy. Claude Thornhill's piano opus "Sometimes I'm happy" a Mulligan arrangement on an old swing warhorse,that is somewhat transformed under his pen, A young Lee Konitz briefly shines here, assisted by the trombone of Allan Langstaff. In October 1948, the Thornhill band recorded the first version of a Gerry Mulligan arrangement of his own "Elevation". An arrangement and tune that would achieve wider popularity after Elliott Lawrence recorded it six months later for Columbia.

Claude Thornhill opens with some obvious bop licks, followed by a fine Lee Konitz alto solo, trombonist Leon Cox and trumpeter Gene Roland continue the solo sequence which is ended by a short Gerry Mulligan baritone sax solo, one of his very first on record. Mulligan's association with the Claude Thornhill band might have been short, but became very meaningful shortly after this association ended. Gerry later praised Claude Thornhill highly when he stated, "He taught me the greatest lesson in dynamics, the art of underblowing, or controlled violence, while still getting a full, rich sound".

The beginning of Mulligan's association with Gil Evans was explained by him in conversation with Gene Lees as told in Lee's recent book. "Arranging the score - Portraits of the great arrangers". Mulligan said "I met Gil probably when I was arranging for the Krupa band. I knew about his writing before that. I used to visit Gil with Claude's band when I was working for other bands. One time I came back to New York after leaving one of the bands, it might have been when I left Tommy Tucker. And I stayed at the Edison Hotel. My room was on an airshaft on the West Side of the building, and every morning about 10 o'clock, the band started to rehearse, because Claude was just back from the service and they were reorganizing. I would sit hanging out of the window, listening to the rehearsals. A friend of mine, a guitar player from Texas, would come by, and we'd listen to the rehearsals. I went back to Philadelphia, to write for Elliott Lawrence's band. And I lived there for a while. I got a postcard from Gil saying, "What are you doing living in Philadelphia Everything's happening in New York. Come back". So I did. I stayed in a succession of rooms. Finally Gil said, "Stay here".

Gil Evans lived in an apartment on West 55th Street, situated behind a Chinese laundry. Evans' apartment became a regular meeting place for modern minded musicians like Miles Davis, Mulligan, George Russell, Johnny Carisi, John Lewis, Lee Konitz, Max Roach, Blossom Dearie and Joe Shulman, These musicians formed a temporary community of musical interests aiming to combine certain features of Charlie Parker's idiom with other elements which had been somewhat neglected during the bebop era, but which were written large in Claude Thornhill's musical vocabulary, such as light tone without vibrato and a relaxed beat.

Miles Davis took the initiative to put these theories into practice, when he became the leader of a nonet consisting of six horns and three rhythm, piano, bass and drums were to support a horn section consisting of trumpet, trombone, French horn, tuba, alto sax and baritone sax, the minimal number of instruments capable of expressing all the harmonies and tonal colours they wanted.

On September 1948 the Miles Davis Band consisting of Miles, trombonist Mike Zwerin, and Thornhill graduates Lee Konitz, Gerry Mulligan, French horn player Junior Collins and tuba player Bill Barber backed by pianist John Lewis, bassist AI McKibbon and drummer Max Roach, played a two week booking at New York's Royal Roost as a relief unit during a Count Basic engagement at the club. The nonet was billed as : "Miles Davis Band, arrangements by Gerry Mulligan, Gil Evans and John Lewis" a rare acknowledgement of the arrangers' role in those days. The two weeks at The Royal Roost and a couple of nights at The Clique Club in 1949 were the only live gigs the Miles Davis Nonet ever played, the audiences were simply not ready for this music.

Fortunately Miles Davis secured a contract with Capitol Records to record twelve sides with this band, legendary recordings which became collectively known as The Birth of the Cool. The complete Birth of the Cool sessions and the complete broadcasts by this band from the Royal Roost can be heard on Properbox 17 - Miles Davis - Young Miles. In viewpoint of their historical importance we once more feature the five Capitol recordings of the nonet for which Gerry Mulligan wrote the arrangements. On January 21, 1949, Miles Davis and his Orchestra recorded the first of their three sessions for the Capitol label. Mulligan arranged two of the four sides recorded on this occasion.

"Jeru" composed and arranged by Mulligan, demonstrates some of the formal experiments the group engaged in, like its passages in 3/4 time. Mulligan opens the solo sequences followed by Miles Davis and a longer fluent second statement by Mulligan, before Miles puts in the last word.

"Godchild" is a composition by pianist George Wallington, elaborately arranged by Mulligan. Miles opens with an outstanding leisurely solo followed by Gerry's baritone sax, before trombonist Kai Winding ends the solo sequence on this richly voiced piece. During 1949 Gerry regularly worked with the group of trombonist Kai Winding in clubs like the Royal Roost. Danish born Winding moved with his family to the USA when he was twelve years old. He played in the bands of Sonny Dunham, Alvino Rey and Benny Goodman before finding recognition with the Stan Kenton band during 1946-47. He subsequently found work with Charlie Ventura and Tadd Damenon and took part in the Miles Davis Birth of the Cool recordings. Winding was one of the most important of the early bebop trombonists with a distinctive sound and style that retained some influences from the swing era.

The Kai Winding Sextet recorded four sides for Teddy Reig's Roost label in February 1949. Winding's band on this date included tenor saxophonist Brew Moore, who also worked with Claude Thornhill at this time, pianist George Wallington a fleet fingered, single-note bebop stylist and talented composer who had worked with Joe Marsala, Dizzy Gillespie, Charlie Parker, Serge Chaloff, Allen Eager, Terry Gibbs and Brew Moore. After leading a variety of groups in New York during the 1950's, Wallington left music to work in his family's air conditioning business, he resumed playing professionally in the early 1980's.

Bassist Curley Russell and drummer Max Roach, the engine room of Charlie Parker's quintet during the 1940's, rounded off the rhythm section. "Bop City" is a Kai Winding composition arranged by Gerry Mulligan, Kai displays that typical though, biting tone of his on this up-tempo riff tune. Brew Moore is in hard swinging mood here, as are Mulligan and Wallington, who crams as many meaningful notes in his solo as humanly possible. Max Roach exchanges a sequence of fours with each of the horns to finish the tune. "Wallington's godchild" is of course the original title of George Wallington's composition, that the Miles Davis Nonet recorded earlier, this version of "Godchild" was arranged by Mulligan as well.

Wallington's piano introduces the tune, followed by a pungent statement by Winding, after which Mulligan expresses himself with grand authority, Brew More is warm and Wallington's second chorus eminently shows off his tripping note style and a Max Roach drum break announces the final theme statement. "Sleepy bop" is a handsome line written by Winding and arranged by Mulligan, whose distinguished hand is very apparent here. Kai Winding's solo is particularly fine, while Wallington contributes a telling chorus at a somewhat slower tempo impressively pushed by Curley Russell. "Crossing the Channel" is an up-tempo romp written and arranged by Mulligan, Wallington and Mulligan are especially impressive here, expressing themselves eloquently at very high speed.

On April 13, 1949, The Elliott Lawrence Orchestra recorded Gerry Mulligan's arrangement of his original composition "Elevation". This version of "Elevation." brought Mulligan some more, limited early recognition. Tenorist Phil Urso, trombonist By Bergen, bassist Tommy O'Neil and trumpeter Joe Techner are the soloists here. Six months later the Elliott Lawrence band recorded Gerry's muscular arrangement of "Between the devil and the deep blue sea". This time Mulligan also played baritone in the band. The solo sequence here is By Berger, pianist Elliott Lawrence, Joe Techner, baritone saxophonist Mulligan and Phil Urso.

The second Capitol session of the Miles Davis Nonet took place on April 22, 1949. Gerry Mulligan contributed "Venus De Milo" to this date. This was unquestionably one of the best pieces Mulligan contributed to the Birth of the Cool sessions, rich in harmonic substance, Mulligan's highly imaginative use of instrumental techniques the framework of a remarkably flowing performance.

On August 23,1949, Mulligan was a member of the Kai Winding Sextet that recorded a session for Bob Weinstock's Prestige and New Jazz labels. The Winding combo on this date was the same as on the February 1949 date for Roost, except that drummer Roy Haynes, freshly out of the Lester Young Sextet and about to join Charlie Parker's Quintet, replaced Max Roach. Both "Broadway" and Waterworks" a Mulligan original contain bright, swinging moments including solos by Brew Moore, Gerry Mulligan and George Wallington in addition to the leader's fine contributions. Georgia Auld came to prominence playing fine swing tenor sax with the bands of Bunny Berigan, Artie Shaw and Benny Goodman, He led his own band from 1943 until 1946, employing young modernists like Dizzy Gillespie, Erroll Garner, Serge Chaloff, Harry Biss, Joe Albany and AI Cohn. By 1949 Auld had firmly established himself in the bebop movement, as his band's version of "They didn't believe me" clearly confirms, Gerry Mulligan is the baritone sax soloist on this track and probably the arranger of the piece as well. This was recorded during a broadcast from the Auld's band residency at Hollywood's Empire in 1949.

During the spring of 1950, Mulligan worked and recorded with Chubby Jackson's All Star Band. Jackson became best known as the dynamic bass player and cheer leader of Woody Herman's First and Second Herd. On March 15, 1950 Chubby Jackson and his All Star Band recorded a session for the New Jazz label, later reissued an Prestige. Jackson led a real all star formation on this occasion, with an awesome trumpet section that boasted the talents of Howard McGhee, Don Ferrara and AI Porcino, J.J. Johnson and Kai Winding on trombone and a sax section consisting of Charlie Kennedy, Georgia Auld, Zoot Sims and Gerry Mulligan. The rhythm section consisted of pianist Tony Aless, bassist Jackson and drummer Don Lamond, all of them ex-members of Woody Herman bands. The arrangements for this date were written by that great drummer and arranger Tiny Kahn and Gerry Mulligan. "Leavin' Town" is a pretty ballad that Mulligan contributed to this date. Tenor saxophonist Zoot Sims, who so often worked with Mulligan and whose style is so similar to Mulligan's, is the only soloist on this track. "So what" was another Mulligan original, that features the saxophone section minus Georgia Auld. Charlie Kennedy's alto opens the solo sequence followed by Mulligan and Zoot Sims who play an interesting series of solo exchanges stimulated by a repeated trombone riff.

On March 8, 1950 the Miles Davis Nonet recorded its third and final session for Capitol, Gerry Mulligan, together with Miles Davis and Lee Konitz was one of the ever presents on this session on baritone sax. He also wrote the composition and arrangement for "Rocker", a nimble performance with solos by Miles, Konitz and Mulligan. Mulligan also arranged "Darn that dream" a feature for vocalist Kenny Hagood, and the only vocal of the 12 sides that make up The Birth of the Cool. In spite of Mulligan's credit as arranger for this track, this orchestration has the atmosphere of a Gil Evans arrangement.

The first session under Gerry Mulligan's leadership took place in September 1951. When he recorded an album for Prestige that consisted of seven Mulligan compositions and arrangements that was suitably released under the name Mulligan plays Mulligan . For this date Mulligan brought a tentet into the studio, that had been playing together as a rehearsal band at the time. By this time Mulligan was absorbing the lessons of Lester Young, gearing his writing and playing in a melodic and linear direction, a style that had clearly manifested itself in his writing for the Miles Davis Nonet and which revealed itself further on these Prestige sides. The main soloists on these tentet sides are tenorists Allen Eager, a Lester Young disciple and fluent soloist who gained early big band experience in the bands of Bobby Sherwood, Sonny Sherock, Tommy Dorsey and Johnny Bothwell, before making his mark on 52nd Street and as a member of Tadd Cameron's band at New York's Royal Roost. Pianist George Wallington, one of the most technically adroit bebop pianists is also allocated a fair amount of solo space on these sides.

We also hear a few contributions from trumpeter Nick Travis, a fine and versatile trumpeter who was mainly associated with big bands during his career. Travis made his mark as principal soloist in the Sauter-Finegan orchestra during 1953-1956. From 1960 until 1962 he toured and recorded with Gerry Mulligan's Concert Jazz Band. The main soloist here is Gerry Mulligan himself who excels in a genial swinging style, which he had truly mastered by now and from which he would not stray for the remainder of his long career. In early 1952 Gerry Mulligan hitch-hiked to California, where he initially survived by selling arrangements to Stan Kenton, like his outstanding chart of "young Blood" his own composition from September 1952. Mulligan also played odd jobs and sat in with bassist Howard Rumsey's group at The Lighthouse on Hermosa Beach.

In the spring of 1952, Mulligan secured a Monday night gig at The Haig, a small 85-section club on Wiltshire Boulevard at Kenmore Street that was run by John Bennett. During the first weeks of Mulligan's Monday night residency at The Haig -Mulligan had worked with a variety of small combos that had featured musicians like tenor saxophonist Dave Pell, pianists Paul Smith and Jimmy Rowles, bassists Joe Mondragon and Red Mitchell and drummer Chico Hamilton. During the Monday night jams, a young trumpeter named Chet Baker had been sitting in with Mulligan's group. After playing in Army bands in Berlin, and San Francisco, Baker had played dates with Charlie Parker in Los Angeles, San Francisco, Oregon and Canada earlier in 1952 and had inspired the fans as well as Parker himself.

At The Haig, Mulligan had been preparing for a session for Dick Bock's small, new Pacific Jazz label. On June 10, 1952 he had recorded three sides in a trio setting featuring bassist Red Mitchell and drummer Chico Hamilton. He was not satisfied with these recordings and felt that the instrumentation was too sparse. On July 5, 1952 Mulligan recorded two more sides for Pacific, this time with Chet Baker, pianist Jimmy Rowles and bassist Joe Mondragon. Mulligan was still not satisfied with the results of this session, feeling that the presence of a pianist, in spite of Rowles' undoubted qualities, prevented the music from taking off.

During the next five successive Monday nights at The Haig, Mulligan played with Chet Baker, bassist Bob Whitlock and drummer Chico Hamilton as a pianoless quartet. By the time of Mulligan's third Pacific Jazz session on August 16, 1952 he had decided on the format of his combo, a format that was to launch his quartet into fame. Mulligan brought Chet Baker, Bob Whitlock and Chico Hamilton with him into the Laurel Canyon bungalow of recording engineer Phil Turetsky, where they recorded three sides on his primitive Ampex tape recorder. Bernie Millers "Bernie's Tune", a minor key 32 bar AABA tune receives a tightly arranged theme statement by Baker, Mulligan and Whitlock, with a carefully arranged drum part underpinning the proceedings. Mulligan and Baker follow the theme statement with short solos, with Mulligan's improvised backdrop behind Bakes solo before a baroque styled counterpoint chorus between Baker and Mulligan leads to Chico Hamilton's eight bar drum solo before the final chorus, "Lullaby of the leaves" with its sparse background figures and subtle dynamics provides an early pointer to the empathy Mulligan and Baker would develop during that amazing year of their collaboration.

On September 21, 1952, the Gerry Mulligan quartet recorded four sides for the Berkeley based Fantasy label, ran by Max and Sol Weiss. Bassist Bob Whitlock was replaced by Carson Smith, who was to make a name for himself in West Coast jazz circles after his association with Mulligan and Baker before he buried himself in the show bands of Las Vegas. These Fantasy sides contain some of Mulligan and Baker's finest work. "My Funny Valentine" with its much praised and imitated, sensitive trumpet work by Chet Baker became a substantial jazz hit, but "Line for Lyons" Mulligan's dedication to disc jockey Jimmy Lyons, was even better, displaying three of Mulligan's main trademarks: subtle dynamics, tight polyphony and impressive group interplay.

On October 15, 1952, the Gerry Mulligan quartet returned to the Pacific Jazz label to record six tracks, this time in the better equipped Gold Star studio in Los Angeles. By now the Mulligan Quartet was hitting its stride, both commercially and artistically. Their regular gigs at The Haig became sell-outs and Gerry and Chet now really began to take advantage of the lack of chordal piano backing by exploiting the greater clarity of expression that their format allowed. Bassist Bob Whitlock returned for this October 15 session. Mulligan wrote three of the tunes recorded on this session and was responsible for the arrangements of the two standards and the Chet Baker original "Freeway". "Nights at The Turntable" a 36 bar AABA composition is a great example of Mulligan's sharp writing for his quartet, After Mulligan and Baker state the theme, a brief period of open and closed harmony follows, after which a middle eight introduces exact contrapuntal lines. This is music that is in line with the technique of the great composers baroque era. "Walking shoes" an infectious 32 bar AABA Mulligan original with its very memorable melody line and lovely orderly solos by Baker and Mulligan became the greatest jazz hit of the early 1950's, putting Pacific Records seriously on the map and bringing fame to both Gerry Mulligan and Chet Baker. Mulligan and Baker worked together for one year, in which they both became icons to young jazz fans all over the world. Both Gerry Mulligan and Chet Baker were heroin addicts. Mulligan's arrest on narcotics charges in 1953 led to six months at Sheriff's Honor Farm and the break-up of the quartet. Mulligan kicked his habit soon after his release from prison, Chet Baker would remain hooked all his life. Both became icons of modern jazz and remained so for the rest of their careers, the featured Mulligan Quartet tracks in this collection wrote jazz history.

Joop Visser