It is 1992 and in Mulligan’s life the crew cut is a thing of the distant past. Over the years his hair has grown a lot, up to his ears, and a thick beard has grown as well, all uniformly white. Now his face could belong to an emeritus professor or an elderly lumberjack. And yet his gaze, his sense of humor, his style – and anyone who attended one of his concerts can confirm this – everything has remained lively: as if the crew cut was no longer in his head but somewhere in his soul. Furthermore, while maintaining his sense of logic unchanged, this mature Mulligan knows how to get to the heart of things on stage. If he has to swing, he does it with all the warmth possible. Of the compositions from his golden years he gives us versions that bring memory back to life. But it is in the more intimate pieces that we find the art of the latest Mulligan at its best.