Chet Baker Strollin

Baker always sounded at his best when performing in a trio with guitar and bass. Guitarist Philip Catherine and bassist Jean Louis Rassinfosse (both of whom had recorded with the trumpeter previously) are major assets to the subtle but swinging session. Each of the performances (Bob Zieff's "Sad Walk," Horace Silver's "Strollin'," "Love for Sale," "But Not for Me," and a 15-minute version of Richard Beirach's "Leaving") are extended versions but there are no rambling or wandering moments during this set of lyrical jazz.

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.

Recorded in stereo by Radio France at La Esplanade de La Défense (July 17, 1983) and Le Petit Opportun (February 7, 1984). Both concerts are distinguished by the dazzling playing of the virtuosic pianist Michel Graillier, who performed regularly with Baker’s combos from 1977 until Baker’s death in 1988.

Chet Baker - Mr.B (1983) {2015 Japan Timeless Jazz Master Collection Complete Series CDSOL-6310}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 224 Mb | MP3 @320 -> 111 Mb
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© 1983, 2015 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6310
Jazz / Cool / West Coast Jazz / Trumpet

Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. 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.

Chet Baker - The Sesjun Radio Shows (2010) {2CD Set, Beeld En Geluid PRCD2010091 rec 1976-1985}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 769 Mb | MP3 @320 -> 355 Mb
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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.