David c. Baker

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.

Chapter 8 is the debut studio album by the Detroit, Michigan-based group Chapter 8. It was released in 1979. It was their only album to include lead vocals from Anita Baker before she went on to solo stardom. The album for the company that was little noticed, except for the Baker-led minor hit single "Ready for Your Love". The single, written by David Washington, prefigured Baker's solo career in a duet with bandmate Gerald Lyles, backed by Michael Powell on guitar and Courtten Hale on sax.

When these recordings first came out, far in advance of the period instrument revolution, they were revelations. Though modern instruments were used, there was an effort to get performance practices right… And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King's College. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music… These are star-studded "great singing" recordings in which the artists will be remembered as much as the music itself.

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.

For some, the most important part about this recording will be the two tracks ("Ray's Ideas" and "Everything Happens to Me") on which Chet Baker blows trumpet and sings. While Baker is not in top form, he is a fine complement to the group sound. Lightsey's trio (with bassist David Eubanks and drummer Eddie Gladden) picks an interesting collection of pieces for the remainder of the program, with his well-known Wayne Shorter emphasis. A largely uneventful, if nonetheless relaxingly swinging set, Lightsey deftly walks through the chords with consummate skill. An underrated performer, the pianist is a skillful interpreter of American song, a performer who understands the meanings of tunes and infuses them with his own interpretations. Not terribly innovative, Lightsey is one of those few serious mainstream jazz piano soloists who pushes the edges ever so slightly but feels comfortable smack dab in the middle of traditional interplay.

Trends in African-American music changed considerably between Anita Baker's first taste of national exposure in 1979 (when she was a member of Detroit soul band Chapter 8 and sang lead on the hit ballad "I Just Wanna Be Your Girl") and her debut solo album, The Songstress, in 1983. While 1979's black music charts were full of large funk bands, standup vocal harmony groups, and disco divas, rappers and techno-funksters like the System were very much in vogue in 1983. Instead of following trends, Baker excelled by doing what she does best: gospel-influenced, '70s-type soul/pop with jazz overtones. The Songstress, released by the small Beverly Glen label and reissued by Elektra in 1991 is her best album.