This is an original Hi-Fi Records Mono LP from 1959. Jimmy is joined on stage by Gerry Mulligan and Ben Webster, with support from Mel Lewis, Leroy Vinnegar and Jimmy Rowles. Now that is some group of top jazz talent.
The sound is decent, but the music is the real thing, as you can imagine from the list of players. There’s also some slight groove distortion which is almost unavoidable on vintage pressings such as this.
This is a very nice Verve T Label Mono LP with Very Little Sign of Play (VLSOP). The record has very good sound and plays Near Mint. (We did not find the stereo pressing to our liking by the way.)
[Not sure if we would still feel that way, so try the stereo press and see if it doesn’t sound fine to you.]
“One of the harder Gerry Mulligan records to find from the early 1960s is the Verve disc simply titled The Gerry Mulligan Quartet…. The interplay between Mulligan and Brookmeyer rekindles the magic of their work together a half dozen years earlier…” – AMG
With shootout-winning Triple Plus (A+++) grades on both sides, it just doesn’t get any better than this copy of Mulligan’s superb sounding and Hard To Find 1963 release on Philips
Quincy Jones directed, and Phil Ramone made sure the album would be exceptionally well-recorded, which it is!
Big, rich, and Tubey Magical, this pressing let us hear Mulligan’s quartet with the energy and clarity these classic jazz performances deserve
4 Stars: “Mulligan and Brookmeyer always seem to stimulate one another’s playing to a high level, and this album is no exception. The group gets into a swinging groove right away with its updated treatment of a Count Basie favorite, “Jive at Five,” followed by Mulligan’s brisk yet intricate jazz waltz “Four for Three.””
Clean and Clear Yet Rich and Sweet
This copy managed to find the ideal balance of these attributes. You want to find that rare copy that keeps what is good about a Tubey Magical analog recording from The Golden Age of ’60s Jazz while managing to avoid the pitfalls so common to them: compression, opacity, and blubber.(more…)
Mulligan and Getz’s 1957 collaboration arrives on the site with this superb 2-pack offering Nearly Triple Plus (A++ to A+++) sound on both sides – just shy of our Shootout Winner
Full, rich, and spacious with tons of Tubey Magic and, better yet, not the least bit dry, hard or transistory
Practically impossible to find in stereo with audiophile playing surfaces – it took two different pressings to get two good sides, and they are very good indeed
“Produced by [Norman] Granz, Getz And Mulligan In Hi-Fi captures the two saxophone giants as they showcase a world class duet which provided them with a superb rhythm section featuring Lou Levy, proud member of The Stan Getz Quartet at the piano who play with impeccable style and well-conceived ideas that swing with unique vitality, while Ray Brown’s bass solidify the combo’s edge.”
Superb nearly Triple Plus (A++ to A+++) sound from start to finish, the “big band” sound here is really jumping out of the speakers
Huge space, size and clarity, with Tubey Magical richness befitting the 1960 recording dates of these sessions
“My idea is not so much that we are a big band with a small-band feel, but that we have a big-band feel in the way that a big band ought to be.” — Gerry Mulligan.
“Mulligan stages a thrilling musical spectacle in which fierce rivalry, song-like harmony and refined counterpoint play the main roles.”
If you’ve never heard a good All Tube Recording of the baritone sax, buy this record — it will blow your mind!
Huge amounts of ambience fill out the space the extends from wall to wall (and all the way to the back wall of the studio), leaving plenty of room around each of the players.
Full-bodied sound, open and spacious, bursting with life and energy — these are the hallmarks of our Truly Hot Stampers. If your stereo is cookin’ these days, this record will surely be an unqualified Sonic Treat.
We guarantee that no heavy vinyl pressing, of this or any other album, has the kind of analog sound found here. (Or your money back.)
Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.(more…)
This 360 stereo pressing put every other copy we played to shame with Triple Plus (A+++) sound or close to it throughout
Tubier, more transparent, more dynamic, with that “jumpin’ out of the speakers’ quality that only The Real Thing (an old record) ever has
Hard to imagine any reissue, vintage or otherwise, can beat the sound of this LP – we sure couldn’t find one
“Jeru flawlessly swings with a relaxed, throbbing, positive life force… The recorded sound, achieved by an unidentified engineer at Nola Penthouse Studio in New York City, has remarkable presence and three-dimensionality.”
This outstanding copy of Mulligan’s superb collaboration with Chet Baker boasts solid Double Plus (A++) sound from start to finish
Remarkable Tubey Magical richness, as well as the kind of immediacy and transparency that few copies have – all qualities essential to reproducing both the trumpet and the baritone sax with exceptional fidelity
The sound of a vintage Pacific Jazz recording from 1957, on the rare stereo pressing no less, is really something to hear – you can be sure that no reissue can hold a candle to this LP
4 stars: “The Gerry Mulligan Quartet of 1952-53 was one of the best-loved jazz groups of the decade and it made stars out of both the leader and trumpeter Chet Baker… the music is quite enjoyable and the interplay between the two horns is still special.”
This original Verve All Tube Chain Stereo pressing boasts Shootout Winning Triple Plus (A+++) sound or close to it from first note to last
This copy is hard to fault – big, open, clear, with space and three-dimensionality that modern pressings fail miserably to reproduce
“With originals by Bob Brookmeyer, Gary McFarland and the baritonist/leader (in addition to the standards “Little Rock Getaway” and “My Kind of Love”), this is a high-quality if rather brief program. Trumpeter Clark Terry and guitarist Jim Hall co-star with Mulligan in the solo department. It is a pity that this orchestra could not prosper; all five of its recordings are worth getting.”
For us audiophiles both the sound and the music here are wonderful. If you’re looking to demonstrate just how good 1963 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
This IS the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There is of course a CD of this album, but those of us who possess a working turntable and a good collection of vintage vinyl could care less.(more…)
If you are a fan, this record will be a thrill. If you’re unfamiliar with the Duke’s music, I can’t imagine a better introduction than this.
This LP also includes Gerry Mulligan’s only performance with the Ellington band. Paul Gonsalves’s saxophone performance is superb and worth the price of the album alone. The clarinet parts on Princess Blue are out of this world — Ellington at his best!
A very different quartet appears on this record, with Mulligan’s baritone sax replacing Desmond’s alto and a whole new rhythm section behind both of these veteran leaders.
We’ve been surprised how good these mid- to late-’60s Brubeck recordings can sound. There’s still plenty of Tubey Magical richness on the best pressings of these records, a quality that is especially important when trying to reproduce the full-bodied sound of a baritone sax. (more…)