1. Picture Of Heath		play
2. For Miles And Miles
3. C.T.A.
4. For Minors Only
5. Minor Yours
6. Resonant Emotions		play
7. Tynan Time

Personnel: 
Chet Baker (trumpet); 
Art Pepper (alto saxophone); 
Phil Urso (tenor saxophone); 
Carl Perkins (piano); 
Curtis Counce (bass); 
Lawrence Marable (drums).

Recorded at Radio Recorders, Los Angeles, California on October 31, 1956.

As the name implies, these sides reflect the influence of the tenor saxophonist Jimmy Heath, who composed all the selections except two. Performing these works is the front line of Chet Baker, Art Pepper, and Phil Urso. They are supported by the working trio led by bassist Curtis Counce that includes the unconventional pianist Carl Perkins and the underrated drummer Larence Marable.

Baker and Pepper make a powerful team, each rising to the task of complimenting the other. For his part, Baker displays a more rhythmic side on these mostly up-tempo tunes, often prodded by the spirited rhythm section. Pepper is his usual slick self, his snaking alto lines weaving their way devilishly through the swinging rhythms. He also contributes the two non-Heath tunes of the set, the dark swinger "Minor Yours" and the closing romp "Tynan Time." Other choice cuts include Heath's famous "C.T.A.," the intricate opening title cut and the equally exciting "For Minors Only." ---cduniverse.com

That pretty much sums up this short little release. Those who have been around for a while or who are in the know somewhat may remember this session from its original Captiol records release called "PLAYBOYS." That release, if I do say so myself, possessed a far, far, far (and I cannot stress this enough, FAR) superior cover/artwork. Definitely look into getting yourself a copy, though they are very scarce and very much out of print these days (but, as always, very much worth the search).

Solid, smooth, typical west-coast vibe. It's fluid all the way around and beautiful as the day is long. As the reviewer below me indicated, it's perfect for virtually every time of day, night, season or what have you.

I don't know why this doesn't get more recognition, but with some of the other releases in Chet's arsenal, it's hardly surprising. Still, this comes off as one of his finer Pacific Jazz releases short of his Russ Freeman ventures. And it's definitely worth owning, if not for the Chet factor, for Art Pepper's contributions alone.

Get this while you can. You will definitely treasure it and I sense you will regard it as a valuable addition to your collection. ---Jack Dempsey. Amazon.com

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Chet - The Lyrical Trumpet Of Chet Baker
1 	Alone Together 	
2 	How High The Moon 	
3 	It Never Entered In My Mind 	
4 	'Tis Autumn 	
5 	If You Could See Me Now 	
6 	September Song 	
7 	You'd Be So Nice To Come Home To 	
8 	Time On My Hands 	
9 	You And The Night And The Music 	
10 	Early Morning Mood 	
Chet Baker Plays The Best Of Lerner And Loewe
11 	Show Me 	
12 	I Talk To The Trees 	
13 	Thank Heaven For Little Girls 	
14 	I Could Have Danced All Night 	
15 	Almost Like Being In Love

Alto Saxophone – Zoot Sims (tracks: 10, 13)
Baritone Saxophone – Pepper Adams (tracks: 1 to 11, 13, 14)
Bass – Earl May (tracks: 11 to 14), Paul Chambers (3) (tracks: 1 to 10)
Drums – "Philly" Joe Jones (tracks: 4, 8, 9), Clifford Jarvis (tracks: 11 to 14), Connie Kay (tracks: 1 to 3, 5 to 7, 10)
Flute – Herbie Mann (tracks: 1 to 11, 13, 14)
Guitar – Kenny Burrell (tracks: 3, 6)
Piano – Bill Evans (tracks: 1 to 14), Bob Corwin (tracks: 15)
Tenor Saxophone – Herbie Mann (tracks: 15), Zoot Sims (tracks: 11, 15)
Trumpet – Chet Baker

Never have two musicians seemed so alike in temperament yet differed so much in their approach to making music as Chet Baker and Bill Evans. While both were peerless masters of their instruments and shared a rich, evocatively lyrical playing style that bordered beguilingly on the introspective, Baker and Evans were polar opposites when it came to the discipline of performance.

Though both were heroin addicts, the musically-trained Evans never let it interfere with his meticulously precise flights of invention while the self-taught Baker became increasingly erratic and inconsistent. They ventured into a recording studio together on just three occasions, with largely disappointing results, their potentially combustible collaboration failing to ignite and all too frequently sounding workmanlike and uninspiring.

The Complete Legendary Sessions corrals the 15 tracks that resulted from those sessions – previously issued on two 1959 albums: Chet, and Chet Baker Plays the Best of Lerner and Loewe – together for the first time, with a vocals-free Baker concentrating on his horn playing.

Occupying the first 10 tracks (absent from the LP release, Early Morning Mood appears here as a welcome bookend) Chet turns in satisfyingly laidback but unexciting performances. Sparks of energy are provided by Herbie Mann’s flute, the baritone sax of Pepper Adams, Connie Kay and Philly Joe Jones on percussion, guitarist Kenny Burrell and bass man Paul Chambers, who all go about their business with a winningly insouciant confidence.

Album opener Alone Together continues to cast a shimmering, dark-hued spell half a century later, Baker breathing long, lingering, hypnotic lines that flex and flow with understated panache. The prevailing mood is melancholic and down-tempo, with the virtually somnambulant Baker and overly cautious Evans remaining curiously semi-detached from each other throughout.

The Lerner and Loewe material offers livelier fare, but Baker remains strangely subdued and understatement continues to be Evans’s default even in the love-lit delirium of I Could Have Danced All Night. A bonus cover of Almost Like Being in Love sways rather than swings, with Bob Corwin stepping in for Evans.

As a glimpse of what might have been had these two been on form, this tantalises and frustrates in equal measure. --- Michael Quinn, BBC Reviews

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A1 	That Old Feeling 	3:01
A2 	It's Always You 	3:32
A3 	Like Someone In Love 	2:23
A4 	My Ideal 	4:23
A5 	I've Never Been In Love Before 	4:26
A6 	My Buddy 	3:17
B1 	But Not For Me 	3:01
B2 	Time After Time 	2:43
B3 	I Get Along Without You Very Well 	2:56
B4 	My Funny Valentine 	2:18
B5 	There Will Never Be Another You 	2:57
B6 	The Thrill Is Gone 	2:49
B7 	I Fall In Love Too Easily 	3:18
B8 	Look For The Silver Lining 	2:38

Chet Baker - Trumpet, Vocals
James E. Bond - Bass
Russ Freeman - Celeste, Piano
Peter Littman - Drums
Larance Marable - Drums
Bob Neal - Drums
Carson Smith - Bass

As Gerald Heard's liner notes point out, it's difficult to decide whether Chet Baker was a trumpet player who sang or a singer who played trumpet. When the 24-year-old California-based trumpeter started his vocal career in 1954, his singing was revolutionary; as delicate and clear as his trumpet playing, with a similarly bright and vibrato-free tone, Baker simply didn't sound like any previous jazz singer. His first vocal session, recorded in February 1954 and covering tracks seven through 14 of this disc, is so innocent-sounding it's like cub reporter Jimmy Olsen had started a new career as a jazz singer. The album's first six tracks, recorded in July 1956, are even more milk and cookies, thanks in no small part to syrupy material like Frank Loesser's "I've Never Been in Love Before" and Donaldson/Kahn's drippy "My Buddy." Choices from the earlier session like "My Funny Valentine" -- arguably the definitive version of this oft-recorded song -- and "There Will Never Be Another You" work much, much better. The spacious musical setting, a simple trumpet and piano-bass-drums rhythm section, is perfect for Baker's low-key style. Despite the few faults of song selection, Chet Baker Sings is a classic of West Coast cool jazz. --- Stewart Mason, Rovi

Recorded with pianist Russ Freeman's ensemble in 1954 and 1956, this is the archetypal Baker release, and the first one to get if you're testing the waters. Baker sings standards (including "My Funny Valentine," of course) as if stepping out of an androgynous dream, although it would take another 20 years of hard living for his voice to take on otherworldly qualities. Relaxed West Coast swing such as this can't be duplicated today. In its sweetly melancholic post- war foreboding, this is a Mike Davis book set to music. "Sings" should be on the required listening list for any history class covering the city of L.A. ---D. Strauss, amazon.com

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1. Grey December 
2. I Wish I Knew 
3. Someone to Watch over Me 
4. This Is Always 
5. Headline 
6. Ergo 
7. Bockhanal 	
8. Bockhanal [Alternate Take] 
9. Dandy Line 
10. Dandy Line [Alternate Take]
11. Pro Defunctus 
12. Little Old Lady 
13. Little Old Lady [Alternate Take]
14. Moonlight Becomes You 
15. Moonlight Becomes You [Alternate Take] 
16. Goodbye 
17. Goodbye [Alternate Take]

Chet Baker - Trumpet, Vocals
Russ Freeman - Piano
Herb Geller - Sax (Alto), Sax (Tenor)
Bob Gordon - Sax (Baritone)
Corky Hale - Harp
Shelly Manne - Drums
Red Mitchell - Bass
Joe Mondragon - Bass
Jack Montrose - Arranger, Sax (Tenor)
Bob Neel - Drums
Bud Shank - Flute

Two stray Chet Baker 10" titles and a few associated alternate takes are gathered on this single disc. Grey December is one of the better CD reissues featuring Baker's early-'50s recordings on Pacific Jazz, the purveyors of West Coast cool. The instrumental sides feature two septet sessions in December of 1953 and the vocal sextet session dates to February of 1955 -- all three of which feature Baker and pianist Russ Freeman. Rather than present these sides chronologically, the four vocal tracks precede the decidedly lengthier 1953 instrumental sessions -- a programming decision that works remarkably well. Enthusiasts of Baker's laid-back vocals should consider the February 1955 sessions as essential. The combination of Bud Shank's ethereal flute work when married to Baker's muted vocals create an intense burst of melancholy. The uneven tempo and minor chord progressions featured on the title track as well as "I Wish I Knew" are irresistible in their appeal to fans of the genre. Baker's soft-toned trumpet solos match his vocals in spirit and passion. Even the hapless optimism of "Someone to Watch Over Me" is tinged in noir pathos. A much more traditional setting for Baker can be heard on the septet sides. Although the instinctual interaction between Baker and Freeman shines throughout, "Headline," "Moonlight Becomes You," and the up-tempo swinger "A Dandy Line" best exemplify everything positive about that musical relationship. The pair intertwine their melodies so closely and carefully it can be difficult to separate them. On the CD pressing, alternate takes of "Bockhanal," "A Dandy Line," "Little Old Lady," "Moonlight Becomes You," and "Goodbye" are also included. ---Lindsay Planer, Rovi

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1. Do It the Hard Way (3:03
2. I'm Old Fashioned (5:07)
3. You're Driving Me Crazy (2:57)
4. It Could Happen to You (2:53)
5. My Heart Stood Still (3:28)
6. The More I See You (3:06)
7. Everything Happens to Me (5:05)
8. Dancing on the Ceiling (3:09)
9. How Long Has This Been Going On? (4:11)
10. Old Devil Moon (2:58)
11. While My Lady Sleeps [take 10, mono, bonus track] (4:19)
12. You Make Me Feel So Young [take 5, mono, bonus track] (3:37)

Personnel:
Chet Baker (vocals, trumpet)
Kenny Drew (piano)
George Morrow, Sam Jones (bass)
Philly Joe Jones, Dannie Richmond (drums)

The ultra-hip and sophisticated "cool jazz" that Chet Baker (trumpet/vocals) helped define in the early '50s matured rapidly under the tutelage of producer Dick Bock. This can be traced to Baker's earliest sides on Bock's L.A.-based Pacific Jazz label. This album is the result of Baker's first sessions for the independent Riverside label. The Chet Baker Quartet featured on Chet Baker Sings: It Could Happen to You includes Kenny Drew (piano), Sam Jones (bass), and Philly Joe Jones (drums). (Performances by bassist George Morrow and drummer Dannie Richmond are featured on a few cuts.) This results in the successful combination of Baker's fluid and nonchalant West Coast delivery with the tight swinging accuracy of drummer Jones and pianist Drew. Nowhere is this balance better displayed than the opening and closing sides on the original album, "Do It the Hard Way" and "Old Devil Moon," respectively. One immediate distinction between these vocal sides and those recorded earlier in the decade for Pacific Jazz is the lissome quality of Baker's playing and, most notably, his increased capacity as a vocalist. The brilliant song selection certainly doesn't hurt either. This is an essential title in Chet Baker's 30-plus year canon. [Some reissues contain two bonus tracks, "I'm Old Fashioned" and "While My Lady Sleeps"]. ---Lindsday Planer, Rovi

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Belgium, 1964
1.Bye Bye Blackbird; 
2.Isn't It Romantic; 
3.Airegin; 
4.Time After Time; 
5.So What

Norway, 1979

6.Blue Train; 
7.Softly, 
8.As In A Morning Sunrise; 
9.Five Years Ago; 
10.Love For Sale

Chet Baker - Flugelhorn, Trumpet, Vocals
Michel Graillier 	- Piano
Wolfgang Lackerschmid - Vibraphone
Franco Manzecchi - Drums
Jacques Pelzer - Flute, Sax (Alto)
Jean-Louis Rassinfosse - Bass
Luigi Trussardi - Bass
René Urtreger - Piano

In the summer of 1963, Baker pawned his trumpet for dope money. When a French musician came to his aid by loaning him a flugelhorn, Baker found himself enamored with the mellower sound of the slightly larger instrument and ended up playing it for years. It is the wider belled flugelhorn that Baker is playing in the thirty-plus-minute program from Belgian television included on this DVD.

The quartet he chose to play with—Belgian alto saxophonist and flautist Jacques Pelzer, the French pianist Rene Urtreger and the Italian battery of Luigi Trussardi on bass and Franco Manzecchi on drums—was superb. Pelzer was a part-time musician and full-time drug store owner who became one of Baker’s closest friends, playing with him in countless shows as early as 1962 and continuing through at least the late 1970s. The classically trained Urtreger had toured with Miles Davis in 1956 and 1957 and played on Davis’ French recording Ascenceur pour L’Echafaud. He played with Baker as early as June 1963. Over the course of his career, Urtreger also accompanied such visiting jazz luminaries as Don Byas, Buck Clayton, Dizzy Gillespie, Stan Getz and Lee Konitz. Trussardi and Manzecchi were also first call accompanists for many visiting American musicians, collectively and singly gigging and/or recording with Eric Dolphy, Donald Byrd, Dexter Gordon, Hank Mobley, Teddy Wilson and France’s own Stéphane Grappelli.

While the set is short, the five songs the Chet Baker Quintet performed that night in Brussels cover a lot of ground. On the opener, “Bye Bye Blackbird,” Baker’s tone is both strong and airy at the same time. Notice the way he draws emotion out of his mostly mid-register lines by inflecting pitches slightly flat. Also note the contrapuntal long notes played by Baker under Pelzer’s solo and the counterpoint woven by Pelzer at the end while Baker restates the head.

The highlight of the set and perhaps of this whole DVD is the drummer-less quartet’s near-fifteen-minute version of Cole Porter’s “Love For Sale.” Baker had recorded the tune in 1977 in a funk version with Michael Brecker, John Scofield, and Tony Williams on the LP You Can’t Go Home Again. Here Baker unleashes all the stops, demonstrating a tremendous sense of time and mastery of breath while Rassinfosse plays a tension-inducing call and response bass ostinato. In many respects, this performance represents a rocking aesthetic that is diametrically opposed to Baker’s usual cool. It burns from beginning to end and like all great performances leaves you wanting more.

Taken together, these two shows, filmed fifteen years apart present Baker playing in very different contexts. Given his loss of teeth following his 1966 beating and his crippling drug addiction that dominated the majority of his waking hours in that fifteen year interval, it is remarkable how consistent his overall aesthetic is. This is chamber jazz at its most delicate, relying on a refined sense of dynamics, melodic invention, counterpoint and, most importantly, emotional vulnerability. As a whole, it contains all the reasons why, despite his personal problems, Chet Baker remains one of the finest soloists and vocalists in the history of jazz. ---Rob Bowman, jazzicons.com

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1. For Minors Only				play
2. Minor Yours
3. Resonant Emotions
4. Tynan Time
5. Picture of Heath
6. For Miles and Miles
7. C.T.A.

Musicians:
Chet Baker (trumpet),
Art Pepper (alto sax), 
Phil Urso (tenor sax), 
Carl Perkins (piano), 
Curtis Counce (bass), 
Lawrence Marable (drums).

These Halloween 1956 sides originally appeared as Playboys in 1961 on Pacific Jazz. Myth and rumor persist that, under legal advice from the publisher of a similarly named magazine, the collection would have to be retitled. When the CD version of the same material was issued in the early '90s, it had been accurately christened Picture of Heath -- as more than half of the tracks are Jimmy Heath compositions. Since then, a CD version sporting the original provocative '50s pinup cover and the name Playboys has also surfaced. Regardless of title, however, the music is the absolute same. These are the third sessions to feature the dynamic duo of Art Pepper (alto sax) and Chet Baker (trumpet). Their other two meetings had produced unequivocal successes. The first was during a brief July 1956 session at the Forum Theater in L.A. Baker joined forces with Pepper's sextet, ultimately netting material for the disc Route. Exactly three months to the day later, Pepper and Baker reconvened to record tracks for the Chet Baker Big Band album. The quartet supporting Baker and Pepper on Playboys includes Curtis Counce (bass), Phil Urso (tenor sax), Carl Perkins (piano), and Larance Marable (drums). Baker and Pepper have an instinctual rapport that yields outstanding interplay. The harmony constant throughout the practically inseparable lines that Baker weaves with Pepper drives the bop throughout the slinky "For Minors Only." The soloists take subtle cues directly off each other, with considerable contributions from Perkins, Counce, and Marable. With the notorious track record both Baker and Pepper had regarding other decidedly less successful duets, it is unfortunate that more recordings do not exist that captured their special bond. These thoroughly enjoyable and often high-energy sides are perfect for bop connoisseurs as well as mainstream jazz listeners. --- Lindsay Planer, allmusic.com

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1. I Thought About You 12:44
2. Come Rain or Come Shine 7:13
3. Blue in Green 9:50
4. House of Jade 4:44
5. Old Devil Moon 6:05
6. Little Girl Blue 6:58
7. Just One of Those Things 9:39

Chet Baker – Trumpet, Vocals
Enrico Pieranunzi – Piano
Enzo Pietropaoli – Bass
Fabrizio Sferra – Drums

I don't know why Enrico Pieranunzi called his band the "Space Jazz Trio". There is nothing particularly spacey about it, no electronic or even electric instruments, in fact this is as traditional an acoustic record as possible. Nothing like the fusion pop album you might take this to be, in fact it is a bona fide ... collaboration in the same spirit as their other two albums.

This is also Chet's last studio recording, made two months before his death and only a day after The Heart of the Ballad, and it is in a way comforting that Pieranunzi, a pianist who was fully compatible with Chet's style and yet had a much more individualistic approach than Baker's long-time collaborator Michel Graillier, would be his partner on these significant dates.

Little Girl Blue is a loose, almost meditative album. Baker, always a chameleon who could adapt to his sidemen, plays in a style as delicate as Pieranunzi's piano, almost whispers his phrases, plays beautiful melodies that almost, but only almost, fall apart and are held together only by the thinnest of threads, but beautifully so. Therefore, this album is quite unlike the laid-back Soft Journey, which glides along almost effortlessly -- such moments are rare, as on "Come Rain or Come Shine", and even there they're not kept up throughout the whole song. In stark contrast, Bill Evans' "Blue in Green" is not going anywhere, it just is, and it is admirable that way, almost like an ambient sound sculpture.

Occasionally, it's not quite clear to what extent the tracks turned out like this on purpose or whether Baker was simply tired; "House of Jade" for example sounds a bit disoriented.

Overall, Little Girl Blue is, however, a very rewarding album full of positive vibes. "Old Devil Moon", "Just one of Those Things" and "Little Girl Blue" are revisited here almost thirty years after Baker last recorded them, and he seems to feel totally at ease with them. Especially his singing on the latter is one of his most chilling performances on record, wonderfully accompanied by Pieranunzi.

Baker's last studio album is not a massive masterpiece, but an understated, well-made, well-balanced, delicate and emotional album, a nice document to remember him by. ---hprill, rateyourmusic.com

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Side 1:
01) Let's Get Lost
02) This Is Always
03) Long Ago And Far Away
04) Someone To Watch Over Me
05) Just Friends

Side 2:
01) I Wish I Knew
02) Daybreak
03) You Don't Know What Love Is
04) Grey December
05) I Remember You

Chet Baker - Trumpet, Vocals
Russ Freeman - Piano
Corky Hale - Harp
Ray Kramer - Cello
Edgar Lustgarten - Cello
Red Mitchell - Bass, Double Bass
Bob Neel - Drums
Kurt Reher - Cello
Bud Shank - Flute
Eleanor Slatkin - Cello
Carson Smith - Bass, Double Bass

With the growing popularity of Chet Baker's first vocal album, Chet Baker Sings, Pacific Jazz producer Richard Bock wanted to capitalize on both facets of his young star's abilities. Hence, the trumpeter turned vocalist entered the studio in 1955 with both his quartet featuring pianist Russ Freeman and an expanded sextet including bassist Red Mitchell, Bud Shank on flute, and various string players. The resulting album, Chet Baker Sings and Plays, helped set in stone the image of Baker as the jazz world's matinee idol and icon of '50s West Coast cool. His laid-back style -- a mix of '30s crooner and Miles Davis' nonet recordings -- appealed in its immediacy to a jazz public tiring of the hyper, athletic musicality of bebop. Similarly, his plaintive, warm trumpet sound was the more sensitive antidote to such brassy kings as Dizzy Gillespie and Clifford Brown. Others artists had performed many of these standards before, but as with "My Funny Valentine" on Chet Baker Sings, tracks like "Let's Get Lost," "Long Ago and Far Away," and "Just Friends" became definitively associated with Baker for the rest of his career. Chet Baker Sings and Chet Baker Sings and Plays are not only the two most important albums of Baker's career, but are classics of jazz. [The 2004 EMI reissue of Chet Baker Sings and Plays includes an EP version of "Let's Get Lost" not included on the original album.] ---Matt Collar, Rovi

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01.Alone Together 
02.Tenderly 
03.Summertime 
04.There's a Small Hotel 
05.I'll Remember April 
06.Not Too Slow 
07.Chet 
08.Just Duo
09.Sad Walk 
10.In a Little Provincial Town 
11.Exitus 
12.Tasty Pudding 
13.These Foolish Things (Remind Me of You) 
14.Everything Happens to Me

Chet Baker - Trumpet, Vocals
Jean Aldegon - Sax (Alto)
Francy Boland - Arranger, Piano
Jimmy Bond - Bass
William Boucaya - Sax (Baritone)
Jean Louis Chautemps - Sax (Tenor)
Bert Dahlander 	- Drums
Raymond Fol - Piano
Gérard Gustin - Piano
Peter Littman - Drums
Armand Migiani - Sax (Tenor)
Benoit Quersin - Bass
Richard Twardzik - Piano
Benny Vasseur 	- Trombone

In the summer of 1955, Chet Baker decided to go on a concert tour of Europe for a few weeks. He ended up staying there for more than six months, and his work and experiences during that time, which was mostly spent in Paris, should be crucial for his career and his life.

There is no doubt that his musical development experienced a major push forward. A comparison of the Pacific Jazz recordings made before and after the Paris interlude shows a much matured, more proficient trumpet player. On the personal side, his deepening heroin addiction and the death of his friend and pianist Dick Twardzik only a few weeks after their arrival in Paris also left an imprint on his playing, which lost its carefree tone. His playing was still light, but from this point onward, it started to deepen emotionally, bringing in shades of both beauty and darkness. It is also the time during which, no doubt through the exposure to the Paris jazz scene, Baker is increasingly influenced by hard bop, which ends his "cool jazz" phase and works much to his advantage.

All of them show Baker maturing, and all of them show him alert and attentive. These recordings stand well in their own right, and they would provide the foundation for his excellent collaborations with Art Pepper and Russ Freeman after his return to the USA in 1956. ---hprill, rateyourmusic.com

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