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)…

Son of the Blues, Jazz is one of the deepest expressions in music. With improvisation as its foundation, the genre includes multiple artists that are embedded in gold letters in the history of popular music. Golden Jazz Box is a celebration of that legacy, presenting the 6 best albums of each one of the genre's biggest icons: Miles Davis, John Coltrane, Chet Baker, Dave Brubeck, Bill Evans y Duke Ellington. Golden Jazz Box works as a true musical encyclopedia, the definitive collection of these wonderful singers in one six-CD box. Golden Jazz Box is a fantastic album, suitable for any moment and mood and an opportunity to get closer to these timeless artists.

Whether as a trumpeter or singer, Chet Baker was always the subject of controversy among jazz listeners, a victim of fashion who was doomed in his lifetime to be either over- or underrated. These Pacific Jazz recordings from the mid-1950s present Baker the instrumentalist at the height of his popularity. While his coolly passive treatments of ballads like "Imagination" and "Stella by Starlight" may play to the languid stereotype of West Coast jazz, there's boppish fire and invention on the medium- and up-tempo tunes, with Baker emphasizing the middle register that was his forte. Altoist Art Pepper and valve trombonist Bob Brookmeyer turn up among the supporting cast, and there's a good choice of material by boppish heads from both coasts, including Carson Smith's "Carson City Stage," Jimmy Heath's "C.T.A.," and Al Haig's "Jumping Off a Clef".

The Gerry Mulligan Quartet of 1952-53 was one of the best-loved jazz groups of the decade and it made stars out of both the leader and trumpeter Chet Baker. Mulligan and Baker had very few reunions after 1953 but this particular CD from 1957 is an exception. Although not quite possessing the magic of the earlier group, the music is quite enjoyable and the interplay between the two horns is still special. With expert backup by bassist Henry Grimes and drummer Dave Bailey, these 13 selections (plus two new alternate takes) should please fans of both Mulligan and Baker.

One of the most infamously acrimonious musical unions transpired between two of the leading purveyors of West Coast cool jazz: Chet Baker (trumpet) and Stan Getz (tenor sax). Their paths crossed only a handful of times and West Coast Live captures two of their earliest encounters in Los Angeles at the Haig on June 12, 1953, and the Tiffany Club on August 17, 1953. These recordings have been issued in Europe and Japan ad infinitum in varying degrees of quality, completeness, and often sporting erroneous data. However, enthusiasts should note that West Coast Live is the only release derived from producer/engineer Dick Bock's own master reels. For two men who purportedly would rather not be in the same room at the same time, Baker and Getz are able to create some legitimately brilliant improvisation. For the Haig set, Getz had been brought in to co-lead a quartet with Baker for an incarcerated Gerry Mulligan.

During his extended "stay" in Europe circa the late '50s and early '60s, Chet Baker produced half a dozen albums for the Riverside Records subsidiary label Jazzland. On Chet Baker in Milan – the first of his overseas sides – Baker revisits the familiar stomping grounds of West Coast cool, even though he is the only American in the band. The basic quartet includes Chet Baker (trumpet), Renato Sellani (piano), Franco Serri (bass), and Gene Victory (drums). However, on a majority of the cuts, that unit is upgraded to a sextet with sax players Glauco Masetti (alto) and Gianno Basso (tenor). According to Peter Drew's brief liner notes essay, these Italian players were found by a local record label and arrangements were essentially retrofitted to suit Baker.

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.