Gerry Mulligan, who was primarily known as a baritone saxophonist, but was an expert exponent of other saxophones, clarinet and piano as well as being a highly-respected arranger, was one of the giants of post-war modern jazz and was one of the leading lights in the “cool jazz” movement focused on the USA’s West Coast. In 1952 he began a legendary collaboration with the young lyrical trumpeter Chet Baker, newly-arrived on the jazz scene after an Army career, with the primary era of their professional relationship ending in 1953 when Mulligan was jailed on narcotics charges.

This selection of tracks covers most of the recordings they made together during this time as part of Gerry Mulligan’s quartet (Baker also featured in Mulligan’s Tentette line-up and a quintet that included Lee Konitz), initially comprising informal ‘live’ recordings at The Haig jazz club in Los Angeles and at the house of recording engineer Phil Turetsky, and later at the Black Hawk club in San Francisco as well as more formal studio environments. After the first session, which involved pianist Jimmy Rowles and bassist Joe Mondragon, Mulligan developed an innovative piano-less line-up, using bass and drums to make up the quartets, with the pairings being Bobby Whitlock (bass) and and Chico Hamilton (drums), and Carson Smith (bass) and Larry Bunker (drums). It offers fascinating insights into the the way Mulligan and Baker developed an intuitive rapport, and an absorbing collection of landmark modern jazz performances.

REVIEWS

"This double CD set brings together most of the recordings by the quartet that was the epitome of the West Coast Cool Jazz movement. As the dates show, it was only a brief period in the long careers of both Mulligan and Baker, but like Mulligan's brief involvement with Miles Davis on the 'Birth of the Cool' sessions, it has become one of those defining moments in the development of modern jazz. These recordings have of course been issued many times over by various labels over the years and there is plenty of choice available but this present set is pretty definitive in its scope, has first rate sound and full discographical details and the usual scholarly essay by Paul Watts making it a very attractive proposition. The music contained therein is an essential part of the post war jazz canon so no serious collection should be without it."  –  Gerry Stonestreet (In Tune Issue 342)

"The material on this CD is constantly reissued although Chet Baker is not usually given equal billing. Baker quickly became an integral voice in the rich tapestry of contrapuntal interplay created by the leader, who was a master in the art of constructing spontaneous arrangements that had form and structure." ***** –  Gordon Jack (Jazz Journal Autumn 2020)

"If the merit of Acrobat's new celebration of the classic Mulligan-Baker association is that it is offered at a knock-down price then so be it, but the truth is that this much-admired and often reissued music is a kind of exercise in small-scale modern jazz perfection. Their interplay can seem like a kind of cool polyphony, the instrumental lines interweaving, the sparsity of the rhythm support grounding the ensemble perfectly. It also earned the quartet a degree of popularity well beyond the narrow confines of jazz hipsterdom. Timeless, a tribute to the exceptional musicianship of the co-leaders but above all, this is music that's a delight to hear. Overly familiar to some maybe, but a joy for newcomers to discover."  –  Peter Vacher (Jazz Rag Issue 162)

"These Mulligan Quartet recordings have become central to the definition and (to coin a phrase) the 'birth of the cool'. There has always been a danger when playing cool jazz that it could become its diminutive 'cold'. However, nobody could call this music cold. Yes, it is cerebral and controlled, but there are always surprises to hold the listener. This was music of its time and holds a deserved place in the jazz journey. These CDs are a fine example by two influential jazzmen, trying new ideas and starting a whole new era." –  Barry Clare (Just Jazz Issue 270)