A1 - I Can't Believe That You're In Love With Me
A2 - Broadway
A3 - Almost Like Being In Love
A4 - Sextet
A5 - Oh Lady Be Good
A6 - Bernie's Tune
B1 - Oh Lady Be Good (alternate version)
B2 - Too Marvelous For Words
B3 - Lover Man
B4 - I'll Remember April
B5 - These Foolish Things
B6 - All The Things You Are

Recorded on January 23, 1953 at the Haig, Los Angeles (A), January 30, 1953 at an unidentified studio in Los Angeles (B1-B3) and January 30, 1953 at Phil Turetsky's home studio, Los Angeles (B4-B6)

Lee Konitz Plays with the Gerry Mulligan Quartet (also released as Konitz Meets Mulligan) is a compilation album by saxophonist and bandleader Gerry Mulligan's Quartet with Lee Konitz featuring performances recorded in early 1953 which were originally released on 10 inch LPs Lee Konitz Plays with the Gerry Mulligan Quartet and Lee Konitz and the Gerry Mulligan Quartet on the Pacific Jazz label along with previously unreleased tracks.

"O.K., so it's mono. And, for much of the recording, Mulligan's quartet seems simply to be backing Konitz. But hang on, this is a marvelous little gem. Mulligan on the baritone, Konitz on alto, and... yes... Chet Baker on trumpet. How can you pass this up?

"But this is more than an artifact. This is jazz at its spontaneous and inventive best. Konitz, freed from Stan Kenton, has all sorts of new ideas about these old standards. And, for many of the cuts, as Lee explores the possibilities, you can hear Mulligan purring far in the background (mono, remember), and, every once in a while, moving to the foreground to make a few statements of his own. These two jazz minds talk to each other, tease each other, support and, in a gentle way, challenge each other.

And, of course, in a few cuts, Baker's sweet trumpet announces itself and joins the two sax players in their explorations. The now-unheralded but extremely deft Carson Smith takes on most of the bass responsibilities, and provides -- along with Larry Bunker on drums -- a solid stage for Baker, Mulligan, and Konitz to swing on.

"Mulligan, Konitz, and Baker, of course, went their separate ways, Konitz and Mulligan to long and brilliant careers, Baker to a briefer, tragic, but still shining career. This, then, was a moment in time, and is now your chance to catch these giants sharing a stage, playing for and with one another, showing admiration and affection for each other's talents and ideas.

The "golden age" of recordings was from 1955 to 1965, at the beginning of the LP and the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

This Pure Pleasure LP was remastered using pure analogue components only, from the original analogue studio tapes through to the cutting head and was pressed with virgin vinyl at Pallas.