Chet Baker The Lyrical

When Chet Baker returned to the United States in 1964 after a lengthy soujourn in Europe, fans and critics alike found new strength and maturity in his playing. He had always been a sensitive musician with a warmly lyrical personality; now, the lyricism was still there, but with it there was sinew and muscle that might have been missed before. At the marathon session which produced this as well as three previous Prestige Chef Baker albums; Smokin’, Groovin’ and Comin’ On, he was in fine fettle. His front-line companion, George Coleman, is also a very melodic player, and they are well matched. And the rhythm section leaves nothing to be desired in terms of support and togetherness…

Chet Baker - The Sesjun Radio Shows (2010) {2CD Set, Beeld En Geluid PRCD2010091 rec 1976-1985}
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© 1976-85, 2010 Beeld En Geluid / T2 Entertainment | PRCD 2010091
Jazz / Cool / West Coast Jazz / Trumpet

Chet Baker was often not at his best in later years, taking nearly every live gig or recording date regardless of whether he was physically and mentally up to it (due to his longtime drug habit) or the musicians were truly compatible. Happily, Baker is in top form during these live broadcasts from the Sesjun radio shows (which aired from 1973 to 2004) in The Netherlands. The first four songs feature Baker with his regular pianist Harold Danko, bassist Cameron Brown, and flutist Jacques Pelzer. The breezy rendition of "There Will Never Be Another You" comes across effortlessly, with fine solos all around and the leader offering a strong vocal and intricate trumpet in the ensembles.

Craft Recordings is pleased to announce the release of Chet Baker’s The Legendary Riverside Albums. The deluxe album set presents the artist’s output as a leader for the renowned jazz label, recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen To You, Chet Baker In New York, Chet and Chet Baker Plays The Best Of Lerner And Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have been cut from their original analog master tapes by Kevin Gray at Cohearent Audio.

His movie star good looks, his brilliant natural gift for the trumpet and his seductive vocals turned Chet Baker very quickly into a jazz cult icon in the '50s. The 10 tracks here featuring his vocals as well as trumpet date from that period. His soloing is clear toned and spacey, with long lyrical lines that twist the melodies. His almost conversational tenor vocals are disarmingly simple and stick closely to the bare bones of the melody with just the subtlest variation. All the tracks here are classics and include his trademark "My Funny Valentine," the lovely "I Fall in Love Too Easily," a quietly swinging "My Buddy" and a haunted "You Don't Know What Love Is."

It's regrettable that Stan Getz and Chet Baker disliked one another personally, for they had so much in common musically. Both came out of jazz's Cool School, had delightful tones, favored subtlety and restraint, and both could be incredibly lyrical - no jazzman has played ballads more beautifully than Getz or Baker. Recorded live in Norway in 1983 but not released commercially until 2000, Quintessence, Vol. 2 offers a rare chance to hear them co-leading a quintet. One wishes that Getz and Baker (who are joined by pianist Jim McNeely, bassist George Mraz and drummer Victor Lewis) had been able to put their personal differences aside and play together more often, for the two are a highly appealing combination on standards that range from "It's You or No One" and "I'll Remember April" to Billy Strayhorn's "Blood Count," Gerry Mulligan's "Line for Lyons," and Sonny Rollins' "Airegin"…

Taken from Chet Is Back!, recorded in Italy in 1962, Somewhere Over the Rainbow features Baker at his finest, and is an excellent introduction to the musician's non-vocal work. As is the case with most Baker albums, Somewhere Over the Rainbow feels like a quickly put-together session recording. The material is all standard jazz repertoire, played in a no-frills format, without specific arrangements or endings. It is the musicianship here that is the main attraction. Baker has rarely sounded better; his technique is in top shape, and his solos are textbook examples of lyrical bop playing. Baker, as was not always the case throughout his career, surrounds himself on Somewhere Over the Rainbow with strong and supportive sidemen…