Old Chet Baker review

[Larry Kart]

Reading the revised/expanded edition of Jeroen De Valk's excellent Chet Baker biography (James Gavin, author of the tawdry, inaccurate Baker bio "Deep in a Dream"  should be embarrassed)  reminded me that once upon a time  (mid-'80s I think)  I reviewed a Chicago engagement by Baker. I looked it up, and here it is:

Larry Kart, Entertainment writerCHICAGO TRIBUNE

 

If the jazz musician`s job is to make up melodies better than the ones he started with, trumpeter Chet Baker often goes further than that, beginning at a level of paraphrase that is so tenuously but gracefully linked to his tune of choice that it can be difficult to recognize his source material.

A fine example--no, make that a magnificent one--of what Baker can do was his performance Tuesday night of ''My Funny Valentine,'' which has been his signature song ever since he recorded it some 30 years ago with Gerry Mulligan.

From the first, Baker was improvising all out, but not in the sense that his lines violated the character of Rodgers and Hart`s romantically bittersweet composition. Instead, by removing all but the most essential notes and coloring those that remained with his uniquely plaintive tone, Baker recast the song`s wistful tenderness in near-tragic terms.

Then, as if that weren`t enough, Baker followed his trumpet odyssey with a vocal chorus that was no less of a magical mystery tour. And that may have been an even more difficult feat, because the presence of words called upon Baker to reshape not just the notes but the verbal sense as well.

 

That performance was the highlight of a set that began rather ominously, with Baker`s bassist and drummer delayed at the airport and his regular pianist still in transit from Belgium.

But Baker and substitute pianist Dennis Luxian decided to carry on by themselves, managing quite handsomely until bassist Dennis Irwin and drummer Leo Mitchell arrived.

''How Deep Is the Ocean'' was a particular gem, with Baker`s dulcet solo recalling his statement that ''my dream horn would be the kind I didn`t have to blow in--just press the valves and the music comes out.''

That`s almost the way it sounds, and there are definite advantages to Baker`s approach. For one thing it allows him to put so much breath into his tone that the line between singing and playing is almost erased, and each note can be colored individually.

 

There is, in other words, a constant sense of touch to Baker`s music. And, unfailingly, it reaches out to touch the soul.

[Quasimado]

Beautiful listening and writing, Larry. I think most people who listen to jazz seriously these days recognize Chet as one of the great trumpet players - but his vocal abilities are still underrated. While it does not always happen, the best of his improvisations in this form (scat or with the added difficulty of phrasing with words) are astonishing in their inventiveness and musicality - “magical mystery tour” indeed!

[Gheorghe]

Wonderful ! 

I tried to catch Chet Baker as often as possible and naturally he was very much in demand when I was Young.

I see, he also had a drummer. As much as I remember I never saw him with a drummer. 

The first time I saw him live I think he had Phil Markowitz on piano, later he had that Belgian pianist , what was his name? 

His bassist very often was the Italian Ricardo Del Fra, and he had a flute Player (and occasional guitar also) Nicola Stilo. 

The last time I saw him late in 1987, he look terrible but played as a young God. It was pure magic. But we all knew or feared that it might be for the last time...….

[Larry Kart]

I also caught Chet in Chicago about that time with Phil Markowitz, who was in excellent form. Pretty sure I reviewed that performance, but I can find it via the Internet.

[AllenLowe]

I saw Baker regularly in the '70s when he appeared in NYC at Strykers on 79th Street. He was sublime.