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Chet Baker In Milan ~ Chet Baker | By Eddie Carter

The year 1959 was very good for jazz, several albums recorded and released that year would become contemporary classics and a significant few, acknowledged masterpieces. It was also a good year for Chet Baker, three LP’s he recorded are considered among his best, Chet, Chet Baker Plays The Best of Lerner & Lowe, and this morning’s choice from the library, Chet Baker In Milan (Jazzland JLP-18/JLP 918S). On this date, the trumpet player made during an extended tour through Germany and France, Chet’s working with five promising Italian musicians, Glauco Masetti on alto sax, Gianno Basso on tenor sax (tracks: A1 to A4, B1, B2), Renato Sellani on piano, Franco Cerri (listed as Serri) on bass, and Gene Victory on drums. My copy used in this report is the 1989 Original Jazz Classics Mono reissue (Jazzland OJC-370).

The opener, Lady Bird was written in 1939 by Tadd Dameron, and the sextet starts with a feisty theme statement. Chet opens with a vibrantly energetic reading set to an almost danceable beat, then Gianno follows with an enthusiastic improvisation. Glauco accentuates the bluesy momentum with a very enjoyable statement. Renato shows off his startling speed on the closer before the front line gives a few final verses.

Cheryl Blues by Charlie Parker was composed in 1947 and originally titled Cheryl. The sextet introduces the relaxing melody collectively. Baker is up first and makes the lead statement extremely interesting, then Basso gives the next spot a meaty interpretation. Masetti is as cool as a fresh breeze on a hot day next, and Sellani executes a fine touch and a steady hand to the finale.

The ensemble moves back into uptempo territory on Tune-Up by Miles Davis.  It was written in 1953 and made its debut on the album, Miles Davis Quartet (1954). The sextet begins the melody with a swift-paced delivery, then Chet takes off first with astounding energy. Glauco follows with a feisty attack, and Gianno swings fiercely on the third solo. Renato provides a sparkling climax ahead of the front line’s final exchange into the ending.

Line For Lyons by Sonny Rollins begins with the unison theme at a medium tempo.  Baker makes the first move with a cool tone, and Basso gives the second reading a pleasing rhythm.  Masetti expresses himself fluently on the next interpretation. Sellani turns in a very attractive presentation next and Serri takes his first solo opportunity with a noteworthy closing statement.

Pent-Up House by Sonny Rollins starts Side Two and was first heard on the album, Sonny Rollins Plus 4 (1956). The sextet begins the opening chorus jointly. Chet sets the groove with a spirited statement, then Gianno solos confidently next. Glauco follows with a bristling interpretation. Renato provides a short, pithy presentation, then the front line shares a brief exchange leading to a soft climax.

The ensemble takes a page from The Great American Songbook for the 1919 song, Look For The Silver Lining by Jerome Kern and Buddy DeSylva. This tune was featured in two musicals, Zip, Goes A Million, that year, and Sally, a year later. The ensemble opens this oldie, but goodie with a finger-snapping mid-tempo theme. Baker, Masetti, Basso, and Sellani deliver four lively statements ahead of the reprise.

The 1919 song, Indian Summer was written by Victor Herbert who composed it originally as an instrumental piano piece. It became a jazz standard in 1939 after Al Dubin added the lyrics. For this song, Baker’s trumpet is marvelously lyrical with an amorous romantic beauty in his sound. This is particularly noticeable in the opening statement by Baker and a closing performance by Sellani that’s lavishly flavored with exceptional phrasing.

The album wraps up with the 1934 ballad, My Old Flame by Sam Coslow and Arthur Johnston.  It opens with a gorgeous introduction and tender melody by Baker who almost seems to identify with the love, loss, and heartbreak of the lyrics in his opening statement and closing chorus. Sellani also gives a memorable account that’s brief, but beautifully nuanced and matched by Serri and Victory who support both soloists in perfect harmony.

Alto saxophonist Glauco Masetti was classically trained on violin and attended the Milan and Turin conservatories. He was self-taught on reed instruments and worked often as a session musician from the forties to the sixties. He also worked with Gianni Basso, Gil Cuppini, Giorgio Gaslini, Oscar Valdambrini, and Eraldo Volonté among others. Tenor man Gianni Basso was a renowned Italian saxophonist whose influence was Stan Getz. His career began after World War II as a clarinetist, before switching to the saxophone in The Belgian Raoul Falsan’s Big Band. Pianist Renato Sellani was also a composer who began his career as a professional in 1954 as a member of The Gianni Basso-Oscar Valdambrini Quintet. In 1958, he began a lengthy collaboration with his friend, guitarist, and bassist, Franco Cerri who turned ninety-five this past January. He was also a member of The RAI National Symphony Orchestra under the direction of Gorni Kramer, Kramer was also a noted musician and songwriter. He’s also worked with Bill Coleman and Dizzy Gillespie, Billie Holiday, Lee Konitz, Gerry Mulligan, Enrico Rava, and Tony Scott.

Double bassist Franco Cerri is considered one of Europe’s most important musicians and learned to play guitar when he was seventeen years old. His influences were guitarists Barney Kessel, René Thomas, and Django Reinhardt.  In 1945, he became a member of the group led by Gorni Kramer and joined the orchestra of the television show, Buone Vacanze (Happy Holidays). He started playing the double bass in addition to guitar in the fifties and has played with Lou Bennett, Buddy Collette, Stéphane Grappelli, Johnny Griffin, Lars Gullin, Billie Holiday, Lee Konitz, Gerry Mulligan, Django Reinhardt, Tony Scott, Bud Shank, and The Modern Jazz Quintet. Giulio Libano who wrote the arrangements for the sextet was also an orchestra leader, jazz pianist, and trumpet player. He composed two songs that are featured in the 1961 Italian films, Girl With a Suitcase and Io Bacio…Tu Baci (Io Bacio…You Kiss)! Sadly, the only person I was unable to find any information on is drummer Gene Victory.

The description on the back cover giving the date of the entire recording as October 1959 is in error. Lady Bird was recorded on September 25, Cheryl Blues, Tune-Up, and Line For Lyons on September 26. Pent-Up House, Look For The Silver Lining, Indian Summer, and My Old Flame on October 6. I can’t provide the name of the engineer who originally recorded the album, but I can say with certainty it’s a superb recording that received excellent remastering by Phil De Lancie of Fantasy Studios. Baker is in excellent form throughout, the ensemble is watertight, and the level of soloing extremely high. If you’re a fan of Chet Baker and Cool Jazz, I highly recommend this album for a spot in your library. If you’ve read this far and are still uncertain, I’ll leave you with the first line of this report.  The year 1959 was very good for jazz, Chet Baker In Milan, is one of the reasons why!

~ Chet (Riverside RLP 12-299/RLP-1135), Chet Baker Plays The Best of Lerner & Lowe (Riverside RLP 12-307/RLP 1152), Miles Davis Quartet (Prestige PRLP-161), Sonny Rollins Plus 4 (Prestige PRLP-7038/PRST-7291) – Source: Discogs.com
~ Girl With a Suitcase and Io Bacio…Tu Baci (Io Bacio…You Kiss) – Source:  IMDB.com
~ Look For The Silver Lining, Indian Summer, Glauco Masetti, Gianni Basso, Renato Sellani, Franco Cerri, Giulio Libano – Source: Wikipedia.org
~ Lady Bird – https://www.youtube.com/watch?v=Vwio99V8-cw
~ Cheryl Blues – http://www.youtube.com/watch?v=AfbUraDG-mU
© 2021 by Edward Thomas Carter

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