Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. There may never be another Chet Baker, but on this particular night in Zagreb, poor Baker was not playing his best: His chops are weak, and his voice is strained and shallow. Still, these four duos, with longtime collaborator, guitarist Philip Catherine, have their rewards, such as the lengthy, substantial, and melodic solos by the guitarist.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. ‘Live in Rosenheim’ was issued posthumously, and is billed as ‘Chet Baker’s last recording as a quartet’. It has been suggested that Chet’s performance is tired and lackluster, but he sounds on fairly good form. ncludes "Funk In Deep Freeze", "Portrait In Black And White" and "In A Sentimental Mood".
A day after he finished The Heart of the Ballad, Chet teams again with Pieranunzi and his trio. This was to be Chet's last studio recording, and it is a nice way to remember Chet. When he was in good shape, and he surrounded himself with excellent sidemen (both the case here), he was as capable of creating magic. A good example of this is the title cut. Chet's never really played it much after his famous 1957 vocal and instrumental recording of the tune. He revives it one last time and gives one of the best vocal performances of his last years.
This was the perfect setting during his later years. The trumpeter (who also sings on two of the six songs) sounds very relaxed and comfortable while accompanied by the duo of guitarist Doug Raney and bassist Niels Pedersen, taking some consistently lyrical solos on the six standards.
At this 1974 concert baritonist Gerry Mulligan and trumpeter Chet Baker had one of their very rare reunions; it would be only the second and final time that they recorded together after Mulligan's original quartet broke up in 1953. Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine."
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.