Gerry Mulligan - Gerry Mulligan Meets Ben Webster

This 1959 recording brings together two fine musicians from worlds that one might not usually connect. Gerry Mulligan's light and airy baritone saxophone represents the "cool," and Ben Webster's burred and blustery tenor is the epitome of a very "warm" swing. When this was recorded, however, the quintet was actually a working band. Mulligan had a profound appreciation of Webster's talent, and the two shared an affection for the music of Duke Ellington and his composing partner, Billy Strayhorn, both of whom are represented here. With pianist Jimmy Rowles, an accompanist of legendary subtlety, and the sparkling rhythm team of bassist Leroy Vinnegar and drummer Mel Lewis, this is wonderful small-group jazz, literally beyond classification. There's something unique in the ensemble sound of the two horns, with all the gravity concentrated in the higher tenor, but this is very much a blowing session, with Webster at his lyrical, passionate best. --Stuart Broomer Amazon.com

Gerry Mulligan Meets Ben Webster

Excellent interplay between the smooth and unique sound of Mulligans Baritone and the syrupy slurs of Webster's Tenor. Webster's note bending harkens back to his days with Blanton in the Ellington Band. In Chelsea Bridge song Mulligan starts out playng obligato to Webster and gradually switches to the lead as the two intertwine in a unique fashion reminiscent of the GM Quartet with Chet Baker. The piano and bass fill in the emptiness that otherwise would result. The engineer purposely keeps the saxes out front. Excellent liner notes by Phil Schapp and tracks 7-11 were previosly unissued. Look for the photo inside of Ben putting his hat on Gerry. It's as though he's earned Ben's approval. This stuff is better than Ben and Jerry's ice cream. Crank it up and enjoy! February 6, 2008

Two of the Best

This is a magnificent album, but first things first: Webster's reading of "Chelsea Bridge" is simply the most exquisite ballad recorded in jazz, better (by far) than his original with the Ellington orchestra of the '40's. This song, one of Billy Strayhorn's most beautiful and complex, has challenged solists for over half a century; it virtually is without a key, and its harmonies could confound a cryptologist. Yet Mulligan crafts a seamless solo that relies on melodic simplicity, and it almost matches Webster's sensual interpetation of the melody, which may bring tears to your eyes.

It is somewhat unfair to compare the rest of the album --which would certainly be rated superior-- to this opening track. But the collaborations on "What Is This Called Love" and "In a Mellotone" would be worth the price of the disk by themselves. Webster's contributions, "Fajista" and "Blues in B Flat" are a discovery of a less-known side of the saxophonist, a sly, subtle minor composer in his own right. I fail to understand how anyone could offer a discouraging word about two marvelous solists working together as one, and, it should be noted, backed by a first-class rhythm section.
November 25, 2007

Enjoyable Sax Conference - But Not Their Best

All the cuts here are satisfying, a couple are quite infectious. But I enjoy Gerry Mulligan's work more when he was not having to play second fiddle or host to another jazz star. The "Konitz Meets Mulligan" album had the same limitations, for me. Ben Webster was good on these sessions, but not at his best. I urge you to not make this your only exposure to these great sax men.
(The more I listen to this album, the better I like it. Still think the casual listener would do better elsewhere - certainly for Gerry Mulligan. But I wish I could change the rating to 4 stars. 3/2008) October 17, 2007

Welcome to the West

After aquiring a couple hundred "jazz" cd's ranging from the most avant garde to the most mainstream playing from the Blue Note 50's, I noticed I had nothing from Gerry Mullian or the "West Coast" White Cats. I have always thought Ben Webster was quite awesome, especially the fact that he played with Ellington and was influneced by Johnny Hodges. So this album really suprised me. I could tell that this was a making of the west coast, you can feel the cloudy Jack Kerouac San Fransico streats in this record. Mellow and Upbeat at the same time, these guys trade lines as if they have been playing together for years. The fact that these guys did indeed play with each many times before the sessions and were friends explains why this one is loved more than most of the large amount of all star jam sessions Norman Granz put together. Mel Lewis and Rythm section play beautifully. This exceeded my expectations February 19, 2007

4 1/2 The Parts Better Than the Whole

Yes, it is an excellent CD, but it's not the best work done by either man, and I don't quite buy the symbiotic quality ascribed to this work by some others. The quartet does excellent work together, and I love the song choice, but there's a little too much respect going on here, as if the two leads were very careful--perhaps too much so--about giving each other their due. As a result, there's a little hesitancy in their work, and some of the songs just don't let loose enough, don't swing to the fullest.

Having said that, it's still a very enjoyable CD, especially on "In A Mellowtone," "Sunday," the loose, jokey 'Shoes' number, and their MJQ chamber music-like take on "Chelsea Bridge." The latter song may indeed be worth the price of the CD, but this composition probably makes any CD worth its price. That's more a testament to the song, one of the greatest in the jazz library, and only those with minimal competence could ruin it. There's a little too much blues on the CD as well. I love blues, but when played on a jazz CD it can get tedious after awhile.

All the musicians are in great form, and it's exciting to listen to this meeting of two of very best jazz musicians, but I think their solo work tops this collaboration. Ben Webster is always wonderful; you might want to start with "Big Ben." I've just discovered Mulligan (I have no idea why it took me so long), but I feel his two live concerts in Paris are more exciting and creative. After listening to Webster and Mulligan separately, you'll have heard each at his best, then give this CD a try
as a generally very satisfying experiment. December 10, 2006

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