About

45 RPM, 2LP reissued on 180g black vinyl
Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering
Housed in stoughton printing old style tip-on gatefold jacket with scuff-resistant matte finish

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On Chet Baker — In New York, Chet plays like an angel with a muted trumpet. In New York captures the moody prince of cool stepping into the East Coast hard bop ring — and holding his own with charm, tone, and those impossibly lyrical lines that seem to float above the beat like cigarette smoke in a club basement.

Chet Baker didn't play the trumpet. He seduced it. His tone? So velvety, you might try spreading it on toast. His solos? Like a conversation with someone who never raises their voice — but always gets the last word. On In New York, Chet proves that his famously fragile persona belied a rock-solid sense of melody, timing, and understated swagger.

Chet may be the name on the cover, but he came to town with some serious firepower. Johnny Griffin (tenor sax), known as the "Little Giant" brings a big sound and a bebop bite, pushing Chet into edgier territory — and yes, it works. Al Haig (piano), is bebop royalty. Cool, crisp, and a perfect harmonic foil for Baker's phrasing. Paul Chambers (bass), is from Miles' first-call list. He doesn't just walk the bass — he struts. Lastly, Philly Joe Jones (drums) swings so hard, it's a wonder the studio walls didn't cave in. This lineup turns In New York from a moody trumpet feature into a full-on jazz heavyweight bout, where elegance and energy shake hands for 42 glorious minutes.

Among the tracks, "Fair Weather" opens like a sigh and builds to a gorgeous melodic statement. Chet's tone is so pure, you'll swear it's whispering secrets. "Solar" is the Miles Davis tune. Chet steps into the master's world and makes it his own. Confident, cool, and swinging. "Polka Dots and Moonbeams" is a ballad done Baker-style: Romantic, vulnerable, and smoother than a vintage Cadillac. These are just a taste of the treasures that await on In New York.

This is an album that deserves space in every jazz fan's collection. It captures a unique moment in Chet's career — between the breezy West Coast cool and the rawer later years. It's a must-have for any jazz collector who values tone, taste, and a little touch of trumpet romance. Add to cart. Drop the needle. Cue the cool. — (via Label)

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Unlike the disappointing album he recorded with Stan Getz earlier in 1958, this date with a formidable group of New Yorkers finds Chet Baker in compelling form. His playing is far removed from his earlier Californian-based Downbeat-winning days.

Half the titles benefit from the presence of Johnny Griffin, who had been enjoying an extended run at the Five Spot with Thelonious Monk. His highly charged almost vocalised tenor was quite different to the Pres-inspired horns Baker had performed with on the West Coast. Baker stretches out confidently on Fair Weather and Griffin, who makes his entrance with an arresting arpeggio, muscles his way through two soulful choruses.

Chuck Wayne’s intriguing Solar remained in Baker’s repertoire throughout his career. A minor blues with some harmonic variations it’s dressed up here with a four-bar vamp at the beginning of each chorus creating an air of tension and release throughout.

Chet uses the patented Miles Davis middle-eight on When Lights Are Low. Just like Miles’ 1953 recording he ignores composer Benny Carter’s sublime construction by simply moving the A section up a fourth to create a new bridge. This LP reissue includes Soft Winds which was not on the original album. — (via Jazz Journal)

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Label: Analogue Productions / Riverside
Format: 2 x Vinyl, 12", 45 RPM, Album, Limited Edition, Reissue, Remastered, Repress, Stereo, 180g
Reissued: 2026 / Originally Released: 1958
Genre: Jazz
Style: Swing, Cool Jazz

File under: Audiophile Jazz
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