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"Let's Get Lost" is perhaps the definitive Chet Baker tune. It's a perfect examples of the cool and breezy West Coast sound. A romantic tune that highlights both Chet's horn and his singing.

If someone asks you "What does Chet Baker sound like?" Play them this one.

"Let's Get Lost" - 1956

Some Jazz artists recorded with orchestras in the 1950's to appeal to the "mainstream" audience. Billie Holiday and Charlie Parker tried it, and Nat "King" Cole made a career of it, leaving his jazz roots behind for commercial success. Jazz purists may dismiss these recordings, but these gigs gave us a departure from Chet's usual combo setting. His famous 1954 Chet Baker & Strings is saved by some good arrangements and great sidemen. In 1959 Chet did an Italian gig with the Len Mercer which would become his most widely-issued recording ever. In the mid-sixties, Baker found him self in need of money, and he churned out some commercial fluff with the Carmel Strings for Worlds Pacific. Even with those heavy-handed arrangements and poor song choices, Chet shines with a few great solos. Chet rarely recorded with strings in later years. Of note is a 1985 date with Mike Melillo and Baker's final recording with the Radio Orchestra Hannover in 1988.


"I'm Thru With Love" - 1954	"Angel Eyes" - 1959

"Ballad of the Sad Young Men" - 1966	"Dancing in the Dark" - 1985

It was well-known that Chet did not like Rock 'n Roll music, so for him to collaborate with a rock legend like Elvis Costello was unusual. Here is Chet performing a guest solo on Costello's 1983 album Punch The Clock. Costello originally wanted Miles Davis for the tune, but he was not available. Chet happened to be in London at the time, so he signed on for the gig. Elvis was not disappointed in the least. It was during this session that he gave Baker a copy of "Almost Blue".

"Shipbuilding" - 1983

There is a jazz term called "swings pretty", meaning you can play a ballad and still swing. Considering Chet's impeccable timing and his lyrical tone, he was a natural at swinging pretty. No more is that apparent than on this 1978 date with Phil Markowitz.

"Blue Room" - 1978

Because of his fondness for ballads, Chet Baker is not usually known as a technically proficient trumpet player. Listen to these clips and decide for yourself. In the 1950's, Chet play as fast as anyone on the scene. And one of his greatest gifts was his impeccable timing. The clips from 1954/56 are from Chet's days with Russ Freeman, where he played the liveliest bop. In later years, Chet's sound evolved (due in part to physical limitations), and his sound become even more lyrical. However, he could still tear into a good solo in the 1980's, too. "Blue 'n' Boogie" is from Chet's hot performance in New Haven, CT in 1980. "Arborway" is from the great Chet Baker in Tokyo CD. On the complete recording, this solo is almost 7 minutes long.


"Bea's Flat" - 1953	"Zing Went The Strings Of My Heart" - 1954

"Blue 'n' Boogie" - 1980	"Arborway" 1987

Chet did a lot of vocal work, and he occasionally had guest vocalists on his recordings. Rarely, however, did he sing duets. On "Autumn Leaves" he sings with Ruth Young for 1977's The Incredible Chet Baker Plays and Sings. Her voice complements Chet's music so well, it is a shame they did not record together more. "Far Away" is from Astrud Gilberto's The Girl From Ipenema. This is an interesting paring because Astrud's gentle singing style was similar to Chet's.


"Autumn Leaves" - 1977	"Far Away" - 1977

From the Round Midnight soundtrack. Producer Herbie Hancock was amazed at how Chet memorized the song, and recorded it in only one take. This one is special to me because it was the first Chet Baker tune I ever heard.

"Fair Weather" - 1985

Chet Baker was by no means a prolific songwriter. He penned only a few tunes during his lifetime. It wasn't because of his lack of musical training, his natural abilities far surpassed anything taught in a music class. His amazing improvisation proves that it was not for lack of ideas. Perhaps Chet didn't have the discipline to sit down and transpose the notes in his head to paper. I think he just didn't have the time or opportunity. Living from gig to gig, traveling, moving, maybe it was just something he always put off until tomorrow. The clips above are just a few samples of those rare times Chet recorded his original tunes. Like Chet's lifetime catalog, full of different sounds and moods.


"Freeway" - 1952	"Il Mio Domani" - 1962

"Theme For Freddy" - 1964	"I Love My Wife" - 1985

This is probably my favorite Chet Baker recording, because it features some of his best singing and playing on one tune. The 1954 version of this tune is heard most often, but this 1964 (or 63?) version is even better. The song is over 6 minutes long, and Chet takes his time with one of his best vocal performances, followed by a wonderful trumpet solo. His paying is languid and soft, sometimes so soft, his horn could be mistaken for a flute late in the song. This song highlights that Chet was at his vocal best in the 1960's. By then he had benefited from years of experience, before years of neglect had not yet caught up with his vocal chords.

"Time After Time" - 1964

This tune "bookends" Chet's recording career. The 1953 recording is his first recorded vocal work. The 1988 version is from his last recorded concert in April 1988. As you listen to the two clips, with their 35 years between them, don't pay attention to how much they differ, but rather how much they sound the same.


"I Fall In Love Too Easily" - 1953	"I Fall In Love Too Easily" - 1988

check the discography section for even more audio clips.