If you’re familiar with the Elvis Costello classic ‘Shipbuilding’, Costello’s own version of it, then you’ll already know of the genius in the trumpet playing of Chet Baker. Know the tune ‘My Funny Valentine’? Does it arrive in your head played on a mournful trumpet? If so that’s Chet too, probably his most famous recording in fact. It doesn’t appear on this album, I’m just trying to set the scene a little. When it comes to iconic, melodic Jazz playing trumpeters then Chet’s your man. It’s not just Costello who was the high profile admirer; turns out Cricketer Andrew ‘Freddie’ Flintoff has Chet on his iPod so I’m in good company with this one! It seems to me there are two dominant styles of Jazz trumpet; those who kick out, bop, improvise and rattle out more notes than it’s possible to keep up with and then those whose restraint and feel for the melody can make them seem so laid back you fear they’ll fall off their stall. The bulk of Chet Baker’s stuff definitely falls into the latter category, although from the start of the 60s to his 1987 death the only thing constantly knocking him off his perch was a massive drug addiction. In his 50s prime his playing had so much feel and mood, such weightlessness and space that his playing is pretty much the most soulful sound you’ll find in Jazz. It’s comes over moody and remote, darkly penetrating the smoky fog of time with his heart wrenching sound. Killing you softly with his song if you will. When Chet Baker plays ‘September Song’ on this album you know straight away what song it is, he instantly owns it effortlessly playing the most dazzling, virtuosic instrumental version I’ve ever heard.
That’s the way all through this album; minimal backing, just delicate drums, a touch of deep double bass here and a little haunting cello there. Occasionally Chet just drops out altogether as flutist Herbie Mann takes a few bars. As with all great song interpreters it’s the tune that rules, this isn’t about showmanship but purely recording beautiful, beautiful music. I can think of few other sounds as resonant as when Chet just holds a single note with sustain, hanging in the air as it starts to vibrate from side to side. That’s exactly what all the best Jazz players are trying to do anyway, find the notes within the notes, the blue note! Chet could do that in his sleep and it was incredible to hear him do it.
Apparently the Chet Baker back catalogue is erratic due to his signing numerous ill advised recording deals because a need for cash would override artistic integrity. This is my first album by him but I know there will be more; I once heard the ‘Chet Baker With Strings’ album on vinyl so I know that’s one I’ll want to own in the Essex Boy Library at some point so watch this space. After all, so what if his essential stuff was confined to the 1950s? If there are several Chet Baker albums of this quality knocking about then we should just be grateful for that. Hey, how many quality Kenny G albums are out there exactly?
Essex Boy Rating: 8/10
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