Chet Baker - Chet

Riverside 30183

An almost Lynchian level of disconnect exists between the cover shot on this Fifties Riverside classic and the life Chet Baker was leading at the time. The chiseled jaw, pomade slicked coiffure and soft focus allure of his countenance coupled with the hired model clinging devotedly to his back promised cool urbanity and candlelight romance. Outside the studio, Chet was often hustling for his next score, his duplicitous personality garnering him all kinds of trouble and revealing a rotten core. Orrin Keepnews delivers yet another circuitous sermon on his own indispensability, but this time the prose is laced with something new, undisguised ire. He hated Chet’s guts and, despite best intentions to take the high road in his recollections, lets a few withering anecdotes drop including one involving Baker’s after hours burglarizing of the Riverside offices, an incident that ended up being the proverbial straw that broke the trumpeter’s contract with the label.

These trappings make for interesting conjecture, but it’s the music that speaks in indelible terms. A gander at the blue chip sidemen including a trio of Detroit’s finest in the form of Pepper Adams, Kenny Burrell and Paul Chambers suggests the possibility of a hardbop dust-up. Once again that come-hither cover portrait intercedes. The session is redolent with the scent of Miles at his most moody and balladic. Keepnews takes credit for the variety of configurations ranging from pianoless quartet and full sextet. Baker’s brass rings true in every setting, his dulcet and melancholy intonation gliding across calmative rhythm support. Once again it’s hard not to juxtapose such musical veracity against the content of Baker’s extra-musical character. Adams’ brawny barreling side is nowhere to be found, replaced with a Carneyesque purr. Herbie Mann’s flute fits right in on the full ensemble numbers, adding soothing melodic shades alongside the leader’s lush voicings. Connie Kay’s light traps play also works mellow magic and Philly Joe fares nearly as well on a pair of pieces, one of which is an intimate encounter between Baker and what is essentially the Bill Evans trio. Despite all the historical baggage, this date remains one of Chet’s best and a case where the demons behind that demure facial façade did not intrude.

~ Derek Taylor