The Most Important Jazz Album of 1964/65 was the first album trumpeter/vocalist Chet Baker recorded upon returning to the United States in 1964. Jazz had undergone a radical development post-1963 with artists such as John Coltrane and Wayne Shorter beginning to focus on complex harmonic explorations over pretty melody. Having spent the prior three years in Europe, falling deeper into heroin addiction, Baker found himself a pleasant, if somewhat forgotten, anachronism of the previous decade. Consequently, the icon of '50s cool attempted to reinvigorate his career and showcase his musical growth by enlisting the sensitive piano chops of Hal Galper and old collaborator tenor saxophonist Phil Urso. The new sideman, combined with a heavy dose of Tadd Dameron's compositions, gave Baker a more muscular edge that rubbed nicely with his trademark lyricism updating his sound for the hard bop '60s – a decade that would end, however, with Baker losing his teeth and falling into obscurity.

This 10 CD set offers an exciting overview of some of the most important recordings made by American jazz stars in Paris in the Fifties. They are milestones of Modern Jazz, Bebop and Hard Bop recorded by some of the most important players of the time, including Dizzy Gillespie, Art Blakey & The Jazz Messengers, Lionel Hampton, Chet Baker, Sarah Vaughan, Mary Lou Williams, Lester Young and Donald Byrd. Treated like second class citizens at home, many American jazz stars not only got more recognition and respect in the French capital, but found much better playing conditions as well. From concert-halls like "L'Olympia" to the clubs of the "Latin Quarter" they were appreciated and celebrated, and their music met with a glowing enthusiasm.

The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising. The interesting tune selection features a few songs played often by Baker (such as Wayne Shorter's "Dolphin Dance" and Horace Silver's "Strollin'"), but several that are not associated with him at all (Grallier's "White Blues" and his gorgeous "Father X-mas," to name a couple). There is a sadness permeating the trumpeter's sound throughout, exacerbated by the lazy, sometimes sluggish, tempos. A deep and touching beauty can be felt, marking this as one of Chet's best from the period.

One of the main players of the West Coast school of jazz, Chet Baker (1929-1988) shined both as a trumpeter and as a singer. He displayed both a forceful tone on fast tunes and a gentle and soft sound on ballads, which gained him fame even outside of jazz circles. Despite his multiple personal problems due to drug abuse, Baker was active and highly creative until the very last years of his life, which he spent living in Europe. This DVD contains performances taken from two concerts, one in Stuttgart, the other in Tokyo, where he displays his subtle magic in some of the tunes that made him famous, like "I'm Fool To Want You" and the perennial "My Funny Valentine".

18 original albums in one box with some of the greatest names in Jazz incl. Miles Davis, Chet Baker, and Oscar Peterson. The greatest Broadway musicals of all time - from "Porgy & Bess" to "West Side Story" - in fantastic Jazz arrangements. Also featuring hidden gems like "Do-Re-Mi" by June Christy and Bob Cooper or Blossom Dearie "Sings Comden & Green".

This compilation unites great artists like Ronnie Laws, Wilton Felder, Wayne Henderson and Chet Baker.

This three-album collection explores the jazz icon's broad range of interests: "Stan Meets Chet" (1958) is a wholly instrumental collaboration with Stan Getz; "Baby Breeze" (1965) features Chet's vocals and flugelhorn backed by a large ensemble; and "You Can't Go Home Again" (1977) is a fusion classic featuring Michael Brecker, John Scofield, Paul Desmond and some unforgettable performances by drummer Tony Williams.

His movie star good looks, his brilliant natural gift for the trumpet and his seductive vocals turned Chet Baker very quickly into a jazz cult icon in the '50s. The 10 tracks here featuring his vocals as well as trumpet date from that period. His soloing is clear toned and spacey, with long lyrical lines that twist the melodies. His almost conversational tenor vocals are disarmingly simple and stick closely to the bare bones of the melody with just the subtlest variation. All the tracks here are classics and include his trademark "My Funny Valentine," the lovely "I Fall in Love Too Easily," a quietly swinging "My Buddy" and a haunted "You Don't Know What Love Is."

In January 1985, Chet performed a gig in Dallas, Texas with Fred Raulston's talented band featuring Martha Burke on vocals. The band also met the next day in the studio to record Would You Believe? The live date was issued on three LP's/CD's: My Foolish Heart, Misty, and Time After Time. Misty offers some great moments as well as some forgettable ones. He mumbles through When I Fall in Love and stumbles through Mr. B. However in a swinging take on Misty (featuring a lively vocal by Burks) he starts slow, but is blowing loud and high by the end. I Love My Wife is credited as a Baker composition, and is a sweet little tune, even though Ralston and Darling get most of the solos.

A compilation of two Pacific Jazz LPs (# 9 and 15), recorded in 1953 and 1954. The earlier session features Chet with Jack Montrose (tenor sax) Herb Geller (alto sax) and Bob Gordon (baritone sax), and every tune on the session is a knockout. Especially wonderful are "Bockhanal" (in 2 takes) and "Headline"; both swing like crazy. The later session has Montrose again with Bill Holman (tenor sax) Bob Brookmeyer (trombone) and Bud Shank (baritone sax). Here the standout tracks are "The half dozens," "Stella by starlight," and "Dot's groovy."

Burnin' At Backstreet was recorded at the Backstreet Club in New haven Connecticut on February 19, 1980. Baker and Frank appear in a quartet format with bassist Michael Formanek and pianist Drew Salperto. The repertoire is wholly Baker. Baker loved the Miles Davis songbook and his performances of Davis originals were always more rounded and open than Davis.' "Tune Up," the modal "Milestones" and craggy "Four" share the stage with another Baker favorite, Dizzy Gillespie's "Blue 'n Boogie." Baker is in good solo form on these up tempo numbers. His tone is fat and confident, even when presented tartly, like the opening of "Milestones"…

Such a beautiful poignant album. Chet shows his wonderful trumpet playing and only sings on one song. Slow songs, late night or early morning peaceful jazz!

Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums)…