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 .
West coast cool purveyors Chet Baker (trumpet) and Bud Shank team up to provide the incidental soundtrack to The James Dean Story (1958). Granted, the biopic was presumably made to cash in on the actor's untimely demise, but movie buffs also recognize it as one of director Robert Altman's earliest features. The score was written by Leith Stevens, who had previously worked on Private Hell 36 (1954), The Wild One (1954), and the Oscar-winning sci-fi classic Destination Moon (1950). Those credentials may have gotten Stevens the gig, but his contributions remain somewhat of a double-edged sword.
This 2012 disc gathers all known sides cut during a July 26, 1956 confab led by West Coast cool purveyors Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week – July 23 through July 31 – of sessions held at the behest of Pacific Jazz label owner and producer Dick Bock at the Forum Theater in Los Angeles. Recordings made during this week not only inform The Route, but three other long-players as well: Let's Get Lost, Chet Baker & Crew, and At the Forum Theater. These were likewise the first sides cut by Baker since returning from his triumphant and extended stay in Europe.
Reissue of Chet Baker Quintette - Chet Baker Quintette, released in 1963 on Crown Records. Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. 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.
For much of the last two decades of his life, Chet Baker seemed to go in the studios so often that one never knew what to expect. The results were a crapshoot, depending on whether or not Baker was suffering the effects of his drug addiction at the time. Fortunately, his friendship with Chicago-based pianist Bradley Young in the early 1980s gave the younger man an opportunity to sit in with the trumpeter. As a result, Young impulsively suggested a record date during a return engagement in 1986, which Baker accepted, though everything had to come together quickly within two days, including finding a studio and assembling a band. Oddly enough, everything works, from the fine rhythm section…
Baker began his comeback after five years of musical inactivity with this excellent CTI date. Highlights include "Autumn Leaves," "Tangerine," and "With a Song in My Heart." Altoist Paul Desmond is a major asset on two songs and the occasional strings give variety to this fine session.
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…
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).
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."