Lee Konitz & Gerry Mulligan Lee Konitz Plays With The Gerry Mulligan Quartet 180g LP

Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original. The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure.

The Blue Note Tone Poet Series was born out of Blue Note President Don Was' admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley (from Music Matters), a.k.a. the "Tone Poet", on board to curate and supervise a series of reissues from the Blue Note family of labels.

Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180 gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180g audiophile vinyl reissues in deluxe packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI).

The latest in Blue Note Records' Tone Poet Series, the label's high end reissues of classic albums, couldn't be more different. The collection that brought together saxophonists Lee Konitz and Gerry Mulligan is a classic of the West Coast sound. Recorded in 1953, this group, which also boasted a young Chet Baker on trumpet, applies its easygoing charms and casual solos to a delightful selection of standards like Gershwin's 'Lady Be Good' and a particularly lovely 'I'll Remember April.' Shorter's 1966 album is far more agitated and aggressive. The swing is still there but cut through with harder edged playing that sounds like Shorter, Herbie Hancock, Joe Chambers and Freddie Hubbard are letting out some deep-seated anger on their instruments. What these reissues share is a spotless sound overseen by producer Joe Harley and mastering engineer Kevin Gray. Thanks to their sharp ears, the music is as gripping as ever.