Chet Baker Trio Mr. B

The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising. The interesting tune selection features a few songs played often by Baker (such as Wayne Shorter's "Dolphin Dance" and Horace Silver's "Strollin'"), but several that are not associated with him at all (Grallier's "White Blues" and his gorgeous "Father X-mas," to name a couple). There is a sadness permeating the trumpeter's sound throughout, exacerbated by the lazy, sometimes sluggish, tempos. A deep and touching beauty can be felt, marking this as one of Chet's best from the period.

The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising. The interesting tune selection features a few songs played often by Baker (such as Wayne Shorter's "Dolphin Dance" and Horace Silver's "Strollin'"), but several that are not associated with him at all (Grallier's "White Blues" and his gorgeous "Father X-mas," to name a couple). There is a sadness permeating the trumpeter's sound throughout, exacerbated by the lazy, sometimes sluggish, tempos. A deep and touching beauty can be felt, marking this as one of Chet's best from the period.

The unforgettable Chet Baker Sings put Baker on the map not just as a brilliant trumpeter, but also as a talented vocalist. This album was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. The reasons are quite clear: Chet’s voice is tender and beautiful, and at the same time his phrasing always swings and surprises.

This music, originally issued in Italy as "Angel Eyes" and in the United States as "Chet Baker with Fifty Italian Strings", was recorded by the great Chet Baker in Milan, Italy, in 1959. It was his second European tour (the first one had taken place in 1955), and would lead to Baker’s imprisonment in Italy for drug charges. Baker is backed by a big band conducted by Len Mercer (the artistic name of the Milanese conductor Ezio Leoni) in a repertoire of well-known standards, among them a new reading of the classic “My Funny Valentine”. Tracks made by Chet in Italy during the same period for film soundtracks conducted by Piero Umiliani have been added as a bonus.

The show tune "My Funny Valentine" was composed by Richard Rodgers and Lorenz Hart for their 1937 musical Babes in Arms, where it was introduced by former child star Mitzi Green. It would become a popular jazz standard, appearing on over 1300 albums performed by over 600 artists. First recorded by Chet Baker in 1952, it soon became something like his theme song, omnipresent on his club and concert sets. This CD opens and closes with two of Chet’s numerous versions of the song, and also presents a selection of some of his best interpretations of well-known standards.

One of the better-known sessions from Chet's time in Italy at the end of the 50s - a really beautiful album that has Chet working with a string orchestra in a set of lush arrangements that really bring a lot to his sound! The album really sounds great - not sleepy, but warm and beautiful, in a style that was perfect for Chet's fading romanticism. A few cuts have Chet taking a vocal chorus or two, but mostly, the focus is on trumpet solos.

This music, originally issued in Italy as Chet Sextet & Quartet and in the USA as Chet Baker in Milan, was recorded by the great trumpeter/vocalist backed by a small group of Italian players in Milan, Italy, in 1959. A complete session - also recorded in Italy - presenting Baker mostly on vocals with an orchestra conducted by Ennio Morricone (celebrated for his soundtracks to the films of Sergio Leone), and two tracks recorded in Baden Baden, Germany, have been added as a bonus.

Chet Baker’s Quartet with Russ Freeman was one of the best combos of its time. The May 9, 1954 concert at Ann Arbor took place at the city’s Masonic Temple, and was originally issued as Jazz at Ann Arbor. Presented here is the Ann Arbor concert in its entirety, along with, as a bonus, five quartet sides recorded by Chet in a Paris studio in 1955 during his first European tour, among them another version of the classic "Lover Man".

Chet Baker in New York features the trumpeter in the company of a strong New York unit including Johnny Griffin, Al Haig, Paul Chambers and Philly Joe Jones. These tracks mark the only collaborative recordings by Baker and Griffin. A reading of “Soft Winds” that completes the sessions (originally released on the various artists album New Blue Horns), and a full date that was recorded in New York the following year (on which Baker plays four songs by Alan Jay Lerner and Frederick Loewe) have been added as a bonus.

Picture of Heath (also known as Playboys was the best collaboration ever by two of the greatest jazz masters of all time: trumpeter Chet Baker and alto saxophonist Art Pepper. This set presents the complete album, along with, as a bonus, seven tracks from a previous session fronted by both stars.