Showing posts with label Chet Baker. Show all posts
Showing posts with label Chet Baker. Show all posts

Thursday, November 18, 2021

An old review of a fine Chet Baker album

 Trumpet player Baker has a relaxed, lyrical, muted style superficially like Miles Davis's from his Kind of Blue. Indeed, a first impression makes you think the resemblance is vital, not a little. But Baker has a voice very much his own. On You Can't Go Home Again, he applies himself more tactfully and imaginatively than a dozen other flashier players could. The benefit of Baker's technique is the hushed tone, the muted sighs and near whimers of emotion that emerge from the trumpet's bell. Where others like Freddie Hubbard attempt and often succeed in creating beauty with reams of unapologetic bravado and virtuosity--even Hubbard's wonderful treatment of ballads resemble nothing less a gauntlet being thrown down to anyone else who thinks they can do better--Baker is the romantic who has a hard time coming up the right words to profess a feeling. But when he does, the build up, the pauses between his short phrases, his whispering rasp of a tone rises eventually to full sonnets of sound, phrase after phrase coaxing unintended nuance from a composer's melody. An easy sound that's difficult to come  by.  The music is lyrical and moody with heavy orchestration by Don Sebesky (whose career as CTI house arranger has converted many a talent into a white-faced, mass-market commodity). Still, Baker's pensive, searching emotionalism transcends the limits, as well as the efforts of an excellent group of sidemen.  Drummer Tony Williams, saxist Michael Brecker, bassist Ron Carter, guitarist John Scofield, and guest musicians like Hubert laws, Paul Desmond, and Alphonso Johnson, charge ahead, relax the tempos, and pivot to new cross-rhythms and chord combinations that remain infectious throughout. Sparking moments abound particularly in the solos of Scofield, Desmond and, Brecker. The lyricism here is managed without the goo of sentimentality: Baker's power seems to come from a deeper source that can't be diminished.

Sunday, August 13, 2017

Chet Baker's return home in 1977




Image result for you can't go home again chet baker
You Can't Go Home Again-- Chet Baker
Trumpet player Baker has a cool, lyrical, muted style not similar that of Miles Davis from his Kind of Blue and Sketches of Spain period. One ought not stop with the maybe too obvious comparison , as Baker is fairly much his own man when it comes to speaking in the hushed , muted tone that Davis also preferred in his best period. Baker's riffs are his own,personalized medals and scars of good looks and good loving gone bad due to women, whiskey and heroin. Baker did eventually succumb to a drug related death, a repeating tragedy among artists as it is among the rest of us , but his particular album was made during one of his periods of getting clean and commencing to make music again. It's a good one, seductive, alluring, not perfect and a bit frayed around the edges of Baker's improvising; some notes are harsher than you know he intends, some ideas are a little clammy in this mood  inclined project. But it works, soulful, intuitive, honest.   You Can't Go Home Again (released in 1977) , applies himself more tactfully and imaginatively than a dozen other flashier players could, Freddie Hubbard (Liquid Love ) included. The music is generally lyrical and moody with heavy orchestration by Don Sebesky (whose career as CTI house arranger has converted many a talent into a white faced, mass market commodity) , but Baker's pensive, searching emotionalism transcends the limits, as well as the efforts of a superb group of sidemen, including drummer Tony Williams, saxist Michael Brecker, bassist Ron Carter, guitarist John Scofield, along with other famous names like Hubert Laws, Paul Desmond, and Alphonso Johnson. The group playing is infectious and allows for a number of sparkling moments, particularly in the solos of Scofield, Desmond and , Brecker. The lyricism here is terribly handled, without  sentimentality. Emotionally, this music is tougher stuff. Baker's power seems to come from a deeper; each note, even when he quickens his phrases as the rhythm section doubles and triples the time, seems like a hard won victory of expression. Today, pain , heart ache and the series of self inflicted wounds that constitute Baker's non-music playing life, cannot quiet this man's need and ability to create a terse and jarring poetry.

Monday, January 23, 2012

Chet Baker and Archie Shepp






This track is attractive because the famously relaxed trumpeter Chet Baker is performing with Archie Shepp, who is an outstanding example of the experimental improvisation termed “free jazz”. We have here a fascinating and exciting jam highlighting a brilliant practitioner of a what we'd call a mellow, melodic style with an Avant Gard genius of the period. Shepp, of course, is fiery and unpredictable with what his solos will contain even in a context this comparatively conservative; I find it amazing to hear him in a chart-driven, swinging context and realizing he can be more than cut the mustard. He brings his own thing to it, his solos are his alone. Baker, to be sure, appears energized by Shepp's presence. His phrasing remains hushed and frayed around the edges--there are few perfectly round notes in Baker's playing--but it is something else again when he double and triple times his riffs against the rhythm section. Baker's playing gets an unfair rap, I think. At his best he could do much more than many give him credit for and, when alert and prepared, was in perfect control of all his gifts.