A pleasant set, distinguished for decent versions of Harold Danko's "Swift Shifting," Jon Burr's "Caravelle," and the Rodgers and Hart tune "Blue Moon," the trumpeter plays with a competent quartet that spurs him on. Although clearly weary, Baker's trumpet has some fire left, while his vocal articulation is below par. Still, the "feel" is always there, and even Baker on a less-than-perfect day is filled with joys. He solos on trumpet at length, at least as minimalist in style as ever. At this stage in his career, he remained capable of spine-tingling versions of "Round Midnight," with the trumpeter's laid-back breathy approach laying down perfectly placed notes…
Artists House, a classy if short-lived label, released this attractive Chet Baker LP, a quintet date with tenor saxophonist Gregory Herbert, pianist Harold Danko, bassist Ron Carter, and drummer Mel Lewis. The challenging material ("The Song Is You" is the only one of the five songs that is a standard) inspires the musicians to play creative solos. It is particularly interesting to hear Baker interpret the Wayne Shorter tune "ESP."
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 .
Chet Baker (trumpet) was arguably at the peak of his prowess when captured in a quartet setting at the Masonic Temple in Ann Arbor, MI, May 9, 1954. He's joined by Russ Freeman (piano), Carson Smith (bass) and Bob Neel (drums), all of whom provide ample assistance without ever obscuring their leader's laid-back and refined style. Baker's sublime sounds also garnered notice from critics, who had placed him atop polls in both Metronome and Down Beat magazines the previous year.
In the summer of 1955, Chet Baker decided to go on a concert tour of Europe for a few weeks. He ended up staying there for more than six months, and his work and experiences during that time, which was mostly spent in Paris, should be crucial for his career and his life.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Beautiful solo work from pianist Mike Nock – a set that's got some of the dark edges and dynamic energy of Nock's previous 70s recordings – but an album that also shows some newly lyrical elements as well! Some passages have Mike hitting the keys with the sort of frenzied creation he reached on fusion recordings – but with wonderful results on the acoustic piano – and other moments have this enhanced sense of melody that makes for very beautiful, expressive passages – maybe a touch more sentiment than the younger Nock would have allowed himself, but never in a way that's soppy or overdone. The balance in these modes is great – and reminds us that Nock can be equally compelling a solo performer as he is in a group – on titles that include "Enchanted Garden", "Polyhedron", "Fallen Angel", "California Country Song", "Soliloquy", and "Jacanori".
Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums)…