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Chet Baker

post #1 of 8
12/17/10 at 5:43pm
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the soundtrack to Let's Get Lost (below) is one of my favorite albums ever. i've also loved the early vocal recordings that i've heard. besides that i've only listened to his album with piero umiliani, which was surprisingly just ok. what else should i get?
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post #2 of 8
12/17/10 at 10:10pm
That was a great movie.

Sorry, that's all I got.
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post #3 of 8
12/18/10 at 2:10am
Chet Baker Quartet plays standards recorded in Paris in 1956 its available on Gitanes Jazz Productions

its all instrumental but I think its the best thing he ever did. Love it!
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post #4 of 8
12/18/10 at 4:24am
Nobody named Chet anymore
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post #5 of 8
12/18/10 at 5:40am
His only "must own" stuff is the Pacific Jazz stuff he did with the Mulligan Quartet. He never really reached that level again, all though some of his solo stuff on Riverside makes for good background music whilst nodding off on the horse.
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post #6 of 8
12/18/10 at 11:55am
A great late period Baker album is "No Problem", recorded in Denmark with the late great Irving "Duke" Jordan on piano (from Charlie Parker's classic 1947 - 1948 quintet), Nils Hennig Oersted-Pederson on bass (a long-time Oscar Peterson sideman) and Norman Fearrington on drums.
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post #7 of 8
12/19/10 at 12:33am
One of my favorite things written about Chet Baker: "So, while most jazz albums of the period include, at best, five long instrumentals, Chet Baker Sings is made up of eighteen two-and-one-half-minute cuts—played and sung without any of the popular signifiers of "jazz expression." There is no vibrato, no "beautiful" singing, and no "strong" statement. There are no extended solos, no range dynamics, no volume dynamics, no tempo dynamics, no expressive timbre shifts, no suppression of extant melodics, no harmonic meandering, no virtuoso high-speed scales, and, in fact, very few sixteenth-notes—none of that stuff, in short, that told jazz critics of the time what the player was doing and how "good" he was at it. All you got was the song—dispassionately articulated with lots of spaces—swinging to be sure, but played mid-tempo and mid-range, shot through with melodic and rhythmic nuance that defied notation or interpretation. Baker's album, then, was a totally other form of expression for its time. Its only contemporary aesthetic analogy was in the cool economy and intellectual athletics of long-board surfing—another lost art of living in real time that may be coming back." Dave Hickey, Air Guitar
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post #8 of 8
12/19/10 at 8:47am


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