Chet Baker, Philip Catherine & Jean-Louis Rassinfosse - 1983 - Crystal Bells

Chet Baker, Philip Catherine & Jean-Louis Rassinfosse 

1983

Crystal Bells

01. Crystal Bells 6:14

02. Strollin 7:20

03. Lament 7:27

04. Leaving 9:36

05. Cherokee 6:46

06. Estate 5:30

Double Bass – Jean-Louis Rassinfosse

Guitar – Philip Catherine

Trumpet – Chet Baker

Recorded september 83 at Igloostudio, brussels

Cutting: Dyam Music, Paris

Manufactured by Disco Press, Herk de Stad

This 1983 studio date, titled Crystal Bells here yet previously released under other titles, features trumpet Chet Baker performing within a trio setting with the Belgian duo of guitarist Philip Catherine and bassist Jean-Louis Rassinfosse. Although famously known as an intuitive musician who played by ear, by the '80s Baker's improvisation had coalesced into a beautifully logical, root harmony-based style in which one can discern the exact progressions of any given tune simply by listening to him. Here, his lines connect, turn by turn, melody upon melody like a pastel jigsaw puzzle forming before your eyes. Subsequently, Baker thrived in the company of the like-minded Belgians, whose bop-inflected technical prowess on their instruments was also matched by their deft sense for melodicism and sympathetic group interplay. As accompanists alone, they're superb cohorts for the jazz legend, hanging their ears on each of his notes, outlining the harmonies behind him, and buoying his soft, lyrical phrases. There are also subtle stylistic juxtapositions within the trio with Catherine's choice of electric, amplified guitar allowing for the occasional foray into country twang, or ambient, fusion-infused colorations. Similarly, though, Rassinfosse's velvety double-bass lines reveal the influence of the impressionistic tone of Ron Carter, and he never fails to imply a clipped rhythmic pulse; a necessary skill in the drummerless setting Baker often favored in his later years. Ultimately, Crystal Bells is an absolutely magical session with inspired performances that still ring true so many years after Baker's passing.

The amazing Chet Baker album you never heard. When jazz fans talk about gems from Chet Baker, the 50s classic albums (Chet, Chet Baker sings) come to mind. However, if somebody takes time to listen through his discography, they will admit that he played sublime on his late 70s and 80s albums. Even Chet, himself have complained about him being a far better trumpet player compared to his younger days when he exercised a jazzstar status. While listening to his albums one gets the impression that Chet Baker only competed with himself. No two versions of a piece is played the same way. Along with the two rising jazz guitarists, Chet Baker creates magic in this albums, originally released as a self-titled album on LP. The chemistry can be instantly recognized making this one of his best performanes which floats in the signature Chet Baker feel.

Since slipping into the public domain, the ‘lyrical’ tracks keep popping up in various guises almost to the point of confusion. Personally I believe I’ve reviewed them in these pages a couple of times, so I’ll turn my attention to the much later European recording which, for once, finds Chet in a sympathetic setting with two Belgian players – guitarist Philip Catherine and bassist Jean-Louis Rassinfosse – who prove themselves to be exceptionally thoughtful foils. It's a collection of six tracks which I believe I had very kind words to say/write when it first appeared under the title Estate, but now reissued using Herb Geller's composition as the title track.

Aside from the empathy that exists between the three players the listener is presented with a refreshing repertoire, which eschewed retreads of ‘My Funny Valentine’ and the like. For once, neither is it noticeably marred by Chet's continued dependency on narcotics. I regarded this meeting as a wholly triumphant event during which Chet's admiration for Miles Davis is quite evident as he gives a totally focussed account of himself on both ‘Crystal Bells’ and JJ Johnson's ‘Lament’. Unlike so many albums that Chet made around this period, there's no unnecessary rambling as each track is kept to a sensible length. Furthermore a sound quality that positively sparkles helps to make this one of Chet Baker's best ever albums. My opinion hasn't changed.