Based on these three reissues by UK-based Discovery Records, you could argue that Chet Baker’s trumpet sound preceded Miles Davis, or at least was created during the same layer of evolution. For all of those jazz fans that think that Baker was a pretty boy that was caught up in the “West Coast Cool” fad, these three albums will jolt your ears.
Recorded in Paris, France, this 1955 session has Chet Baker in a muscular mood with Gerard Gustin/p, Jimmy Bond/b and Nils-Bertil Dahlander/dr. His tone is rich and confident n this vocal-less session that includes a snappy “I’ll Remember April” and lyrical “Autumn in New York” with a later session features an exciting “Exitus.” Bobby Jasper brings his smoky tenor in for a bopping “CHekeethah” and bouncy “How About You.” Miles ahead!
A 1962 recording in Rome, Italy has Baker with Bobby Jaspar/ts-fl and Rene’ Thomas/g, Amedeo Tommasi/p, Benoit Quersin/b and Daniel Humair/dr for a muscle flexing session that includes “Pent Up House” and “Well, You Needn’t.” Baker sounds confident and extroverted here, while the rhythm team gels on “Barbados” and glows on “Star Eyes.” An earlier Italian session has him bebopping with the best on “Cheryl” and “Tune Up” and if you don’t think Baker knew how to blow the blues, just check out “Ballat In Forma Di Blues.” Where’s this been hiding?
Chet Baker formed a hip little quartet with pianist Dick Twardzik on this Paris 1955 session. Baker’s horn is clear and rich, full of lyricism on “Piece Caprice” and “Pomp” while the underrated Twardzik flows on “”Sad Walk” and “Just Duo.” The team sounds rich and assertive on “The Girl From Greenland” and the extroverted “Brash.” Other sessions from France have Baker in pastel tones on “Mythe” and “ Not Too Slow.” This is a side of Baker few know or appreciate.
Discovery Records