Search - Chet Baker :: Chet Is Back

The start of Baker's European sojourn

Joe Sixpack -- Slipcue.com | ...in Middle America | 04/29/2003

(4 out of 5 stars)

"In 1959, following a string of drug busts in the United States, troubled trumpeter Chet Baker split for Italy... where he promptly got arrested for some pill-related scam, and started up his same self-destructive patterns. But while Baker was having a hard time finding collaborators to work with back in the States, in Italy he was still lauded as a groundbreaking, idealized romantic player, and landed a sweet contract with the Italian branch of RCA Records. These sessions, cut in early 1962 with various European sidemen (after his release from prison), are mainly competent, bop-flavored instrumentals, a notable change of pace from his usual penchant for ballads and softer material. The real draw on this CD reissue are a quartet of bonus tracks cut with a young Italian named Ennio Morricone as the house arranger. As Baker croons softly in Italian, there's a hint of Morricone's future lavish, expansive style, and the two meld quite nicely. Worth checking out, even if it's not the most sublime material Baker ever recorded."

It's just good bop, peppy and mostly happy sounds...

William E. Adams | Midland, Texas USA | 09/21/2003

(5 out of 5 stars)

"This is my fourth Chet Baker CD, and I'll probably play this one more than any of the others, mainly because it is so uptempo and fun. Chet tended to be sweet and mellow and slow, and could do ballads almost to a fault. The first eight instrumentals on here comprise the original 1962 LP, recorded in Rome with a handful of European sidemen who all sound like fine musicians to my admittedly unknowledgeable ears. Chet had been having a bad time, jailed for drugs in late 1961, and he needed the dough this RCA one-day studio assignment dangled. I think he earned it. I have no idea how many sales this release racked up in Europe, or later in the states, but hearing it for the first time 40 years later, I just love it. Chet and his friends do a Monk tune, a Charlie Parker song, a Sonny Rollins composition, a blues written by Oscar Pettiford, and a pair of classic American standards. All well. The surprise of this part of the recording is the great ten minutes of "Ballata in Forma di Blues" by Amadeo Tommasi, the piano player of the studio bunch. Mighty nice piece. Less interesting are the bonus tracks: four tunes Chet sketched out while in jail. Italian lyrics were put to them by Alessandro Maffei, whose day job was court stenographer. He had done the transcript of Chet's trial the previous year, but his heart was in jazz, and he founded a magazine to indulge his passion. The songs are pretty, and Chet is in good voice, but us non-Italian speakers are a little left out during these 17 minutes. Ennio Morricone, soon after to become a famous composer of film scores, led a big band for the one day vocal recordings, laid down a little later in the year. For Chet fans, I think this Bluebird reissue is a must-have. For those wanting an introduction to his playing, it is a good first choice. Anyone new to jazz who would rather hear him sing (a lot) in English should buy the "Chet Baker Sings" CD, originally on Pacific Jazz in the '50's and issued in today's format by Blue Note, which in turn is owned by Capitol Records. The other great trumpet player of Chet's era is of course, Miles Davis. They seem to me to have little in common except drug problems and greatness. The drugs finally beat Chet down, while Miles survived and thrived. Chet Baker, however, had a talent that is worth preserving, owning and hearing. This reissue shows his gifts off to great advantage."

Chet at his best

Collin Sherman | New York, NY United States | 01/18/2004

(5 out of 5 stars)

"This is one of the best Chet Baker albums I've ever heard, though it may be a bit of a disappointment for casual Baker fans. Chet made a name for himself in the 50s recording west coast jazz with a very particular sound - mellow, intimate, melodic, and pretty. Most of his 50s music was not, however, reminiscent of his hard-driving, bluesy east coast counterparts. Many jazz writers pegged Chet as a mediocre Miles Davis impersonator, with a pretty tone, but no real chops. In the 60s, perhaps to dispel such notions, Chet expanded his repertoire into a more bop-oriented catalogue; generally with mixed results. However, with "Chet is Back!", any perception of Chet as being an unemotional Miles imitator with no chops must be thrown out the window. Chet absolutely shines on this album - he shows that he can play quite well outside the middle register, and proves that he is a creative, and (most importantly) confident player. The fact that his Italian sidemen prove to be utterly outstanding doesn't hurt the album either. Guitarist Rene Thomas is particularly worth the listener's attention. This is not the Chet Baker of the 1950s, recreating the sound he had with the Gerry Mulligan Quartet. This is fast, exciting music. Even on the ballads, "These Foolish Things," "Star Eyes," and "Over the Rainbow," the group's energy never drops for a moment. For those who want to see how versatile Chet can really be, this album should be first on your list."