It is Mulligan, from California Concerts. It's a good record. Jon Eardley's on board and is plenty nimble! For example,; The IG LP was PJLP 1201, so I assume that it was the first Pacific Jazz 12".  

DeJohnette was a giant. I saw him live only once - in a transcendent trio with Ravi Coltrane and Matthew Garrison - and I marveled at his ability to make a large hall sound small. He had an uncanny time feel, but more than anything else, I appreciated his talents as a texturalist. Considering the fact that he came out of that Miles/Jackie McLean continuum of shredding post-bop drummers, it's amazing what he could do with space and timbre. That final Special Edition record with the AACM guys is pretty extraordinary in that way. (I also like Wadada's The Great Lakes Suites, with Threadgill and John Lindberg, as a recent example of DeJohnette's work in freer contexts.) I second what Steve says about appreciating our giants while they're still here. Cyrille is my hero and a friend, but I sincerely believe that people still don't understand how remarkable he is. There are a host of elder statespeople, like Hamid, Michael Zerang, Gerald Cleaver, Donald Robinson, Chad Taylor, Suzie Ibarra, Marc Edwards, and so on who are still issuing relevant and powerful work.  More of an implicit part of the conversation, but the calculus of the music has just changed a lot. Things that seem "new" or woefully contemporary, like the drumming of a Chris Dave or Thomas Pridgen, have been well and truly digested at this point. In the age of new media, music moves incredibly fast. IMO the biggest issue is that art moves too fast, and kids now are tasked with internalizing innovation without accumulating the lived experience that gives that innovation meaning. 

Saw them both, but unfortunately not together ...