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The Most Important Jazz Album of 1964/65
 
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The Most Important Jazz Album of 1964/65 [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

Chet Baker
3.0 out of 5 stars  See all reviews (1 customer review) More about this product


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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Samples
Song Title Time Price
listen  1. Soultrane 4:42$0.99 Buy Track
listen  2. Walkin' 2:58$0.99 Buy Track
listen  3. Tadd's Delight 3:55$0.99 Buy Track
listen  4. Whatever Possess'd Me 4:03$0.99 Buy Track
listen  5. Retsim B 5:49$0.99 Buy Track
listen  6. Gnid 5:01$0.99 Buy Track
listen  7. Ann, Wonderful One 4:46$0.99 Buy Track
listen  8. Mating Call 3:57$0.99 Buy Track
listen  9. Margerine 4:35$0.99 Buy Track
listen10. Flight To Jordan 3:34$0.99 Buy Track


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Product Details

  • Audio CD (June 24, 2003)
  • Original Release Date: 1964
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Blue Note Records
  • ASIN: B00009AHLN
  • In-Print Editions: MP3 Download
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.com Sales Rank: #346,677 in Music (See Bestsellers in Music)

Editorial Reviews

Product Description

Full Title - The Most Important Jazz Album Of 1964-65. This was Chet Baker's first album upon his return from Europe in 1964. Recorded in New York, this album is a beautiful quintet date that reunited him with Phil Urso & features a healthy dose of Tadd Dameron tunes. 10 tracks. Roulette Jazz-EMI. 2003.

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Average Customer Review
3.0 out of 5 stars (1 customer review)
 
 
 
 
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4 of 5 people found the following review helpful:
3.0 out of 5 stars The Most Middling Jazz Album of 1964/65, September 9, 2005
By Thomas Horan (Chapel Hill, NC) - See all my reviews
(REAL NAME)   
This album showcases some enjoyable material but lacks direction. It seems like Chet couldn't decide whether he wanted to make an album of romantic standards or hard-bop workouts, so he oscillates between the two and even attempts to blend both styles on his vocal rendition of Walkin'. The focus is further diluted by the absence of his clear, golden trumpet. Chet plays the flugelhorn instead which has a muffled, lackluster tone that pales in comparison to saxophonist Phil Urso's cool tenor grooves.

I do think this record gains significant momentum after the second song, and there is nothing weak included on it. But Chet, apart from when he sings, is largely overshadowed by his buoyant sidemen. The drugs hadn't yet destroyed his voice or his chops, but in the era of modal, free, and avant-garde jazz, the self-proclaimed "Most Important Jazz Album of 1964/1965" sounds pleasantly quaint at best.

To truly appreciate Chet's extraordinary genius, check out his early collaborations with Gerry Mulligan, his astonishing 1962 album "Chet is Back!", and his complete studio recordings with Dick Twardzik.
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