This highly enjoyable 1993 CD issue compiles the original six-song Chet Baker Sextet 10" EP as well as the Chet Baker Big Band 12" album. Although these two sessions were held more than two years apart, this was due primarily to an extended European tour during the intervening months and Baker's obvious unavailability stateside. Releasing an entire album under the moniker Chet Baker Big Band is a bit of a misnomer, as only the first four sides actually incorporate an 11-person configuration. The remaining tracks from the long-player feature a slightly smaller nonet configuration. Among the luminaries joining Baker (trumpet) and participating in the big-band arrangements are Art Pepper (alto sax), Bud Shank (alto sax), Phil Urso (tenor sax), and Bobby Timmons (piano).
Pianist Duke Jordan's presence adds some punch and spark to this quartet session, which is further helped along by bassist Niels Henning-Orsted Pedersen and selections that are suited for Baker's increasingly mellow and wavering playing. … outstanding among [Chet’s] later recordings….This is a record to give a listener fresh heart…one feels there cannot be much wrong with jazz while it is producing records like this .
Whether as a trumpeter or singer, Chet Baker was always the subject of controversy among jazz listeners, a victim of fashion who was doomed in his lifetime to be either over- or underrated. These Pacific Jazz recordings from the mid-1950s present Baker the instrumentalist at the height of his popularity. While his coolly passive treatments of ballads like "Imagination" and "Stella by Starlight" may play to the languid stereotype of West Coast jazz, there's boppish fire and invention on the medium- and up-tempo tunes, with Baker emphasizing the middle register that was his forte. Altoist Art Pepper and valve trombonist Bob Brookmeyer turn up among the supporting cast, and there's a good choice of material by boppish heads from both coasts, including Carson Smith's "Carson City Stage," Jimmy Heath's "C.T.A.," and Al Haig's "Jumping Off a Clef".
Concord Music Group will release five new titles in its Original Jazz Classics Remasters series. Enhanced by 24-bit remastering by Joe Tarantino, several bonus tracks on nearly each disc (some previously unreleased) and new liner notes providing historical context to the original material, the series celebrates the 60th anniversary of Riverside Records, the prolific New York-based label that showcased some of the most influential jazz artists and recordings of the 1950s and '60s.
This is one of the last Chet Baker (trumpet) long players recorded in the States prior to the artist relocating to Europe in the early '60s. Likewise, the eight-tune collection was the final effort issued during his brief association with the Riverside Records imprint. The project was undoubtedly spurred on by the overwhelming success of the Shelly Manne-led combo that interpreted titles taken from the score to My Fair Lady (1956). In addition to becoming an instant classic, Manne's LP was also among of the best-selling jazz platters of all time.
A compilation of two Pacific Jazz LPs (# 9 and 15), recorded in 1953 and 1954. The earlier session features Chet with Jack Montrose (tenor sax) Herb Geller (alto sax) and Bob Gordon (baritone sax), and every tune on the session is a knockout. Especially wonderful are "Bockhanal" (in 2 takes) and "Headline"; both swing like crazy. The later session has Montrose again with Bill Holman (tenor sax) Bob Brookmeyer (trombone) and Bud Shank (baritone sax). Here the standout tracks are "The half dozens," "Stella by starlight," and "Dot's groovy."
Chet Baker & Crew : The Forum Theatre Recordings. Sometimes known as the Prince of Cool and the James Dean of jazz, Chet Baker was one of the most popular and controversial jazz musicians. He was the primary exponent of West Coast school of cool jazz (that was in early and mid-1950s). As a trumpeter, he had an intimate and romantic style of playing music, and attracted a lot of attention beyond jazz, mainly because of his movie star looks. Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian Dave Gelly described the promise of Baker's early career as "James Dean, Sinatra, and Bix, rolled into one." His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and '80s.