Chet Baker is shockingly a recent acquisition in my growing jazz library. I've never been impressed very much by his trumpet playing or some of his associates, although there is an understated charm that is perfect for ballads. For me, Chet Baker's approach to vocal jazz is what I appreciate. Baker has this unique voice and phrasing, often a little behind the beat (Billie Holiday, much?), which I find entertaining and perfect for slow evenings. Baker's full of emotion and unafraid of being sentimental or passionate. The longing in his voice is always there, even in his later years when his singing lost some of its range. Like Sathima Bea Benjamin, another jazz vocalist I adore, Baker never forgets to emote and play with words. Furthermore, he could translate trite material like "My Buddy" into a delightful work of art, a pattern established by Billie Holiday and other vocal jazz greats.
1. It's Always You is a highlight from Chet Baker Sings, one of my favorite recordings where Baker's rookie yet irresistible vocals possess a youthful exuberance that is somehow restrained, much like his trumpet solo on the record.
2. My Ideal features a Russ Freeman on celeste. Freeman was a perfect accompanist to Chet Baker's singing. This is the kind of ballad that found its way in Cowboy Bebop of all things, and my favorite use of celeste in jazz besides Monk's "Pannonica". Baker is full of emotion and longing, but not cheesy, which is often hard to pull off.
3. Time After Time is another example of Baker at his zenith, in the 1950s and 1960s. The way Baker sings the chorus gives me goosebumps. Even when hitting the high notes Baker is subtle and relaxed.
4. But Not For Me may be my favorite of Baker's vocals. His delivery of the chorus is so upbeat and playful it's a contradictory fit for the song's depressing title.
5. There Will Never Be Another You begins excellently with Baker's trumpet introduction and is an example of his instrumental side of the equation balancing quite well with his singing. When he did not try to transcend his limitations, Baker's shortcomings as a trumpeter don't bother me.
6. I Fall In Love Too Easily brings to mind Billie Holiday's best work in the vein of Songs for Distingué Lovers, sometimes even sounding like a young Holiday singing "Gloomy Sunday". Another lament from Baker's trumpet and Freeman's brief and graceful solo is enough for three minutes of bliss despite the song's somber theme. Russ Freeman is no Mal Waldron or Teddy Wilson, but he gets the job done.
7. Let's Get Lost in each other's arms. Let's defrost in a romantic mist. The silly lyrics are a standout here.
8. Long Ago and Far Away is simple, swinging fun.
9. I Wish I Knew is the only song I can stomach by Chet Baker singing with strings. Like Billie Holiday or Dinah Washington, I usually despise vocal jazz with strings, but the lush soundscape Baker's vocals are accompanied by do not overwhelm.
10. You're Driving Me Crazy alternates between annoying and endearing but somehow works in spite of Baker's wailing-like tone.
11. It Could Happen To You is the only vocal version of this standard I enjoy. I prefer Ryo Fukui's piano trio recording or Bud Powell's recording from the early 1950s, but Baker slows things down to emote in his utterly unique way. Miraculously, even Baker's scatting is delightful.
12. My Heart Stood Still features an excellent piano solo from Kenny Drew that begins with a quote of a famous blues by Charlie Parker.
13. How Long Has This Been Going On is drenched in the blues. Kenny Drew's accompaniment makes this, while Baker's attempt to sing in a blues-like style works when he doesn't try too hard. Young Dannie Richmond's quiet drumming is the glue holding this together quite well.
14. Old Devil Moon features Baker singing over a Latin beat. What more do you need? It's not the same as Dinah Washington singing over a Latin-ish rendition of "Love For Sale" but still interesting. I believe this is the standard quoted in Butch Warren's bass solo on "Lost" from A Fickle Sonance.
15. Maid in Mexico for more Baker fun with Latin rhythms. Russ Freeman's composition sounds more like a trip to Cuba or New Orleans than Mexico, but actually holds up to some of the Latin-inspired songs of the bebop era. Musicians like Denzil Best come to mind.
16. The Thrill Is Gone should be required listening for night owls. This is the end, indeed!
17. I Get Along Without You Very Well is late Baker, but still gold. Like Billie Holiday in her later years, the pain of Baker's lifestyle caught up with his music. It's not that Baker or Holiday worsened over time but it's quite different from his younger days. For contrast, listen to Baker singing this tune in the 1950s.
18. Easy To Love is an instrumental, but one of my favorite standards. Cole Porter was a genius.
19. Chet Baker successfully made My Funny Valentine entirely his song. I am ashamed to admit it was Kanye West's sampling of a Etta James take on this standard that eventually brought me to Chet Baker, after initially falling in love with Miles.
20. Daybreak for those early mornings and a happy start.
21. Just Friends is another number about heartbreak that will make you smile. Baker later sang this in a concert not long before he passed.
22. All Of You is a standard I will forever associate with Miles Davis, but Baker does it justice.
23. Alone Together is a bit too derivative of Miles Davis (thinking of his score for Ascenseur pour l'échafaud) and even features many of the sidemen who famously collaborated with Miles.
24. Autumn In New York receives better treatment from Kenny Dorham or Billie Holiday, but one of my favorite standards.
25. For adapting Love For Sale into funk Baker deserves accolades. Cole Porter's standard was already flawless, but this innovative step does not tamper with the song and a funky beat actually matches a song about a prostitute.
26. Chet Baker sings in Italian for Chetty's Lullaby. Maybe just because Italian is a Romance language and the orchestra backing Baker, but he almost sounds like he's singing a bossa nova here.
2. My Ideal features a Russ Freeman on celeste. Freeman was a perfect accompanist to Chet Baker's singing. This is the kind of ballad that found its way in Cowboy Bebop of all things, and my favorite use of celeste in jazz besides Monk's "Pannonica". Baker is full of emotion and longing, but not cheesy, which is often hard to pull off.
3. Time After Time is another example of Baker at his zenith, in the 1950s and 1960s. The way Baker sings the chorus gives me goosebumps. Even when hitting the high notes Baker is subtle and relaxed.
4. But Not For Me may be my favorite of Baker's vocals. His delivery of the chorus is so upbeat and playful it's a contradictory fit for the song's depressing title.
5. There Will Never Be Another You begins excellently with Baker's trumpet introduction and is an example of his instrumental side of the equation balancing quite well with his singing. When he did not try to transcend his limitations, Baker's shortcomings as a trumpeter don't bother me.
6. I Fall In Love Too Easily brings to mind Billie Holiday's best work in the vein of Songs for Distingué Lovers, sometimes even sounding like a young Holiday singing "Gloomy Sunday". Another lament from Baker's trumpet and Freeman's brief and graceful solo is enough for three minutes of bliss despite the song's somber theme. Russ Freeman is no Mal Waldron or Teddy Wilson, but he gets the job done.
7. Let's Get Lost in each other's arms. Let's defrost in a romantic mist. The silly lyrics are a standout here.
8. Long Ago and Far Away is simple, swinging fun.
9. I Wish I Knew is the only song I can stomach by Chet Baker singing with strings. Like Billie Holiday or Dinah Washington, I usually despise vocal jazz with strings, but the lush soundscape Baker's vocals are accompanied by do not overwhelm.
10. You're Driving Me Crazy alternates between annoying and endearing but somehow works in spite of Baker's wailing-like tone.
11. It Could Happen To You is the only vocal version of this standard I enjoy. I prefer Ryo Fukui's piano trio recording or Bud Powell's recording from the early 1950s, but Baker slows things down to emote in his utterly unique way. Miraculously, even Baker's scatting is delightful.
12. My Heart Stood Still features an excellent piano solo from Kenny Drew that begins with a quote of a famous blues by Charlie Parker.
13. How Long Has This Been Going On is drenched in the blues. Kenny Drew's accompaniment makes this, while Baker's attempt to sing in a blues-like style works when he doesn't try too hard. Young Dannie Richmond's quiet drumming is the glue holding this together quite well.
14. Old Devil Moon features Baker singing over a Latin beat. What more do you need? It's not the same as Dinah Washington singing over a Latin-ish rendition of "Love For Sale" but still interesting. I believe this is the standard quoted in Butch Warren's bass solo on "Lost" from A Fickle Sonance.
15. Maid in Mexico for more Baker fun with Latin rhythms. Russ Freeman's composition sounds more like a trip to Cuba or New Orleans than Mexico, but actually holds up to some of the Latin-inspired songs of the bebop era. Musicians like Denzil Best come to mind.
16. The Thrill Is Gone should be required listening for night owls. This is the end, indeed!
17. I Get Along Without You Very Well is late Baker, but still gold. Like Billie Holiday in her later years, the pain of Baker's lifestyle caught up with his music. It's not that Baker or Holiday worsened over time but it's quite different from his younger days. For contrast, listen to Baker singing this tune in the 1950s.
18. Easy To Love is an instrumental, but one of my favorite standards. Cole Porter was a genius.
19. Chet Baker successfully made My Funny Valentine entirely his song. I am ashamed to admit it was Kanye West's sampling of a Etta James take on this standard that eventually brought me to Chet Baker, after initially falling in love with Miles.
20. Daybreak for those early mornings and a happy start.
21. Just Friends is another number about heartbreak that will make you smile. Baker later sang this in a concert not long before he passed.
22. All Of You is a standard I will forever associate with Miles Davis, but Baker does it justice.
23. Alone Together is a bit too derivative of Miles Davis (thinking of his score for Ascenseur pour l'échafaud) and even features many of the sidemen who famously collaborated with Miles.
24. Autumn In New York receives better treatment from Kenny Dorham or Billie Holiday, but one of my favorite standards.
25. For adapting Love For Sale into funk Baker deserves accolades. Cole Porter's standard was already flawless, but this innovative step does not tamper with the song and a funky beat actually matches a song about a prostitute.
26. Chet Baker sings in Italian for Chetty's Lullaby. Maybe just because Italian is a Romance language and the orchestra backing Baker, but he almost sounds like he's singing a bossa nova here.
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