Like Paul Desmond, trumpet player Chet Baker led two musical lives at the start of his career. One was as a counterbalance to Gerry Muligan's cool, contrapuntal baritone saxophone, with Baker providing much-needed warmth to Mulligan's acclaimed piano-less quartet, taking his first steps towards fame in 1952. But the real Chet Baker, the far from abstract, romantic and popular musician, came to the
… ice in this 'with strings' session from 1954. Baker doesn't sing here, at least not with his voice. His polished trumpet sound from the middle registers elegantly finds its way through the autumnal arrangements of the young arrangers Marty Paich, Johnny Mandel and Shorty Rodgers. The string section, a fairly modest nonet, balances evenly with other players including saxophonists Zoot Sims, Jack Montrose and Bud Shank, and the gifted pianist Russ Freeman, whose The Wind is still haunting 40 years after its debut. Although the general mood can be called calm, even pastoral, Chet and his company get the chance to light up the fire with Love and A Little Duet For Zoot And Chet. This last piece was written by Montrose especially for the occasion and, despite its disposable title, is a significant addition to the cool jazz repertoire. Chet and his company get the chance to light up the fire with Love and A Little Duet For Zoot And Chet. This last piece was written by Montrose especially for the occasion and, despite its disposable title, is a significant addition to the cool jazz repertoire. Chet and his company get the chance to light up the fire with Love and A Little Duet For Zoot And Chet. This last piece was written by Montrose especially for the occasion and, despite its disposable title, is a significant addition to the cool jazz repertoire.more
