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- Date Released: September 1, 1958
- Genre: Jazz
- Label: Fantasy Records
Lyrical playing meets rich imagination
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We Say...
When star-crossed trumpeter Chet Baker cut In New York in 1958, his style had evolved somewhat from what it was a few years ago: His tone got fuller and brighter and he played more economically Whether one likes his work as much as with Gerry Mulligan in 1953 or not, he still plays lyrically, displaying his rich imagination. He's picked a group of nice tunes to play, including Benny Golson's "Fair Weather" and "Blue Thoughts" and Owen Marshall's "Hotel 49." He works with an impressive band, too: Tenorman Johnny Griffin displays the chops and presence that made him so popular in the late '50s. But veteran pianist Al Haig, who did so much great work with Charlie Parker and Dizzy Gillespie, cops the solo honors here with some complex, cleanly executed and melodically attractive spots. Bassist Paul Chambers and drummer Philly Joe Jones accompany Baker with much sensitivity, and Chambers contributes laudable solo work.
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They Say...
Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first -- in a four album deal -- with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums). The results are uniformly brilliant as Baker's cool-toned solos fly and bop with authority around the equally impressive supporting soloists. Conversely, the same cohesive unity continues on the introspective numbers that are more akin to Baker's California cool. Undoubtedly one of the charms of this collection is the distinct choice of material. Running the gamut from the relaxed and soothing "Polka Dots and Moonbeams" and equally serene "Blue Thoughts" at one end of the spectrum to the percolating and driving intensity of "Hotel 49" on the other. This track features each quintet member taking extended solos corralling together at the head and again at the coda for some intense bop interaction. Especially ferocious is Philly Joe Jones, who could easily be mistaken for Keith Moon, Ginger Baker, or even Gene Krupa with his cacophonous solo that never strays from the beat or loses its sense of swing. Perhaps the best meshing of styles can be heard on the Miles Davis composition "Solar." This "best-of" candidate refers to both Chambers' and Jones' concurrent involvement with Davis. The churning backbeat likewise propels the melody and ultimately the performers into reaching beyond their individual expertise and into an area of mutual brilliance. Chet Baker in New York is a highly recommended entry into Baker's catalog. It should also be noted that these same sides were issued in 1967 as Polka Dots and Moonbeams on the Jazzland label.
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| 01. |  |
Fair Weather
|
6:59 |
|
| 02. | |
Polka Dots And Moonbeams
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7:57 |
|
| 03. | |
Hotel 49
|
9:52 |
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| 04. | |
Solar
|
5:53 |
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| 05. | |
Blue thoughts
|
7:35 |
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| 06. | |
When Lights Are Low
|
6:54 |
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| 07. | |
Soft Winds
|
6:29 |
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07 Total Tracks, 51:39 Total Length
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Credits
- Chet Baker - Trumpet // Chet Baker - Trumpet // Chet Baker - Trumpet // Chet Baker - Trumpet // Johnny Griffin - Sax (Tenor) // Johnny Griffin - Sax (Tenor) // Johnny Griffin - Sax (Tenor) // Johnny Griffin - Sax (Tenor) // Johnny Griffin - Sax (Tenor) // Al Haig - Piano // Al Haig - Piano // Philly Joe Jones - Drums // Philly Joe Jones - Drums // Paul Chambers - Bass // Jack Higgins - Engineer // Orrin Keepnews - Producer // Orrin Keepnews - Liner Notes // Joe Tarantino - Mastering // Paul Bacon - Cover Design // Paul Bacon - Original Cover Artwork // Marcia McGovern - Pre-Production // Roberta Ballard - Production Coordination // Roberta Ballard - Production Manager // Paul Weller - Photography // Paul Weller - Cover Photo // Steve Hoffman - Mastering // Tamaki Beck - Mastering // Paul John Weller - Cover Photo
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Other Details
- Instrument:
- Trumpet
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