It is 1992 and in Mulligans life the crew cut is athing of the distant past. Over the years his hairhas grown a lot, up to his ears, and a thick beardhas grown as well, all uniformly white. Now hisface could belong to an emeritus professor or anelderly lumberjack. And yet his gaze, his senseof humor, his style - and anyone who attendedone of his concerts can confirm this - everythinghas remained lively: as if the crew cut was nolonger in his head but somewhere in his soul.Furthermore, while maintaining his sense of logicunchanged, this mature Mulligan knows how toget to the heart of things on stage. If he has toswing, he does it with all the warmth possible.Of the compositions from his golden years hegives us versions that bring memory back to life.But it is in the more intimate pieces that we findthe art of the latest Mulligan at its best.