Before delving into the music on this collection, it's important to offer a note of caution to Chet Baker fans: Italian Movies is not a really a compilation of the trumpeter's work, so much as a series of film scores by the great composer Piero Umiliani between 1958 and 1964 on which he is featured either as a soloist or as part of the orchestra. It might better have been marketed to Umiliani fans, but it's tough to fault label Moochin' About for a little creative license when repackaging a previous issue of this music that appeared on Liuto Records – that one was co-billed to the pair. Other than on disc three – where Baker doesn't get to solo until track nine in the score for 1962's Smog, yet is still featured for 20 minutes – there is plenty of him to go around as he works amid his Italian contemporaries.
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.
The independent jazz reissue label Mosaic Records garnered a rightful reputation as industry leaders and enthusiast favorites with deluxe and strictly limited-edition packages such as this one. The contents of this four-LP/three-CD collection are derived from two performances during the summer of 1954 and feature the Chet Baker Quartet: Baker (trumpet/"boom bam" percussion), Russ Freeman (piano), Carson Smith (bass), and Bob Neel (drums). The two performances – recorded July 21 at Santa Cruz's Civic Auditorium and August 10 at The Tiffany Club in Los Angeles, respectively – are presented chronologically.
This essential four-LP box set features trumpeter Chet Baker leading his own group during the 1953-1956 period (shortly after the breakup of the Gerry Mulligan Quartet) with pianist Russ Freeman, either Bob Whitlock, Carson Smith, Joe Mondragon, Jimmy Bond, or Leroy Vinnegar on bass, and Bobby White, Larry Bunker, Shelly Manne, Bob Neel, Peter Littman, or Lawrence Marable on drums. Baker is heard at his coolest (mostly before he became influenced by Miles Davis); some of the later selections also feature his first recorded vocals. Because the Mosaic box sets are limited editions, they should be acquired as soon as possible.
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."