The Virginian-Pilot – Norfolk, VA
Robert C. Smith – 04/15/1956
Re-recordings of Imperfect Jazz Recordings are Imperative for Modernist Afficionados

The program devoted to re-mastering early and imperfect LPs on the more substantial and higher-fi 12-inch discs moves apace in key jazz companies.

None of the modern jazz companies has a more valuable library for these purposes than Prestige. Two of the company’s latest releases – Lee Konitz with Tristano, Marsh, and Bauer and Mulligan plays Mulligan – touch some of the finest chords in the contemporary tradition.

The historic Konitz session with Lenny Tristano, including Progression and Judy, cut January 11, 1949, the later date with Warne Marsh on June 28 of the same year, and the Rebecca and Palo Alto session with Billy Bauer April 7, 1950, are all included. Rudy Van Gelder’s brilliant re-mastering goes a long way toward bringing out live sound in releases which originally were recorded on noisy services. This LP is a must for anyone who values the experimental end of modern jazz. The Mulligan, also treated to the Van Gelder technique, consists of an Aug. 27, 1951, date in which Gerry blew with Allen Eager, George Wallington and others. One side is a long Mulligan-Eager duel, Mulligan’s Too, while the other includes FunhouseKaper, and others. It is interesting to hear Mulligan’s rougher, less melodically formed baritone driving solidly in this early session.

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Liner Notes by Ira Gitler

Before Gerry Mulligan went to California to found his pianoless quartet and find gold, there were many lean days in New York. Whatever his financial hardships were, Gerry always managed to keep active musically by jamming around town and rehearsing various size groups for gigs that were never even in the offing. The latter is a very difficult thing to do. Even when there is a tentative engagement in view, it’s hard to round up the boys for a rehearsal. Getting them together to read just for the love of music is really a problem. Gerry could always get them not because he was a great organizer but rather on the strength of his music. Everyone was interested in playing his compositions and arrangements. When there were no studios to be had, Gerry improvised. One afternoon he took a big band down by the lake in Central Park. It was an ideal location but the police thought otherwise. Out of these rehearsals grew his first tentette, heard here in six selections all written and arranged by Gerry.

The second side of this LP is an example of the sessions which Gerry participated in during this period. He combines swinging and thinking very effectively, and the composer in him is evident in that as he improvises, he constantly constructs lines which are food for new compositions. The general informality, and relaxed interplay between Gerry and Allen Eager reveal a climate of jazz not often caught on record.