Chet Baker at the Canteen
The Canteen was a jazz club at 4 Great Queen Street, on the eastern fringe of Covent Garden: a narrow single-fronted space on the ground floor, backing on to Parker Street. It functioned for probably not much more than a year in the early 1980s, after which it became Blitz, the headquarters of the New Romantics, then Browns, a sort of celebrity discothèque. Now it’s a “gentlemen’s club” called the Red Rooms. Among the musicians I saw there during its jazz incarnation were Ahmad Jamal, Slim Gaillard, Lee Konitz, Howard McGhee, Bill Perkins and Esther Phillips, who was backed by a tidy little band including Tim Hinkley on keyboards and Mel Collins on tenor saxophone. The club’s energetic publicist was a man called K.C. Sulkin, whose father had been a society bandleader in Boston between the wars.
Chet Baker’s week at the club in March 1983 was among the highlights of its short life. If you needed proof that he was always more than just a Great White Hope, here it was. “The former golden boy of the cool school has come through the fire,” I wrote in a review for The Times, “but you would not know it from his playing at the Canteen.” Accompanied by an excellent local rhythm section — John Horler (piano), Jim Richardson (bass) and Tony Mann (drums) — and sitting sidelong to the audience, his improvising was serious and creative and full of substance.
Luckily, and with Baker’s permission, Richardson recorded the engagement on a Sony cassette machine. Now, more than three decades later, the tapes have been disinterred, professionally restored and released as a two-CD set. The sound is excellent and the quality of the playing compares favourably, I would say, with the recordings from Paris, Tokyo and Hannover (1981, 1987 and 1988 respectively) on which I wrote in a post about Chet a while ago.
The trumpeter’s tone on tunes like Sam Rivers’ “Beatrice”, Hal Galper’s “Margarine”, Richie Beirach’s “Leaving” and the standards — including “I’ll Remember April”, “Have You Met Miss Jones?” and “With a Song in My Heart” — is firm and confident, the lines long, the phrasing fluent. By this point in his life, 30 years after first recording it with the Gerry Mulligan Quartet, he had played “My Funny Valentine” so many times that you would have expected his interpretation to be threadbare; here, in the course of a long solo, he investigates its familiar contours as if exploring them for the first time, shaping his double- and triple-time runs with such elegance that it’s easy to forgive him for running out of steam in the closing bars, before handing over to Horler.
The rhythm section is alert and resilient throughout the recording, exemplary in its collective command of the appropriate post-bop approach. So it was a treat to see the trio reassembled for the first time in 33 years at Ronnie Scott’s last week to celebrate the album’s imminent release, and playing just as well. They were joined by the trumpeter Quentin Collins, the tenorist Leo Richardson and the singer Norma Winstone to pay tribute to Baker by reprising the repertoire from the Canteen sessions. Wisely, Collins did not attempt an imitation, evoking the spirit rather than the manner (his personal stylistic compass points him closer to Lee Morgan territory). On “Beatrice”, Richardson’s middleweight sound and mobility reminded me a little of Hank Mobley, which can’t be bad. Winstone delivered “The Touch of Your Lips” and “My Ideal” with characteristic grace.
A few days earlier I’d been to see Ethan Hawke portraying Baker in Robert Budreau’s film Born to Be Blue. Like Don Cheadle impersonating Miles Davis in the recent Miles Ahead, Hawke gives an honest and sincere performance, at times genuinely touching. There are several good scenes, but the apparent need to modify the narrative to fit a Hollywood feature-film template diminishes rather than enhances the story. Your money would be better spent on Chet Baker Live in London, a valuable souvenir of an interesting week.
* Chet Baker Live in London will be released on the Ubuntu label on October 28.
Hi Richard, that was where myself and Elvis Costello went to see Chet and ask him if he,d play on Elvis,s version of Shipbuilding, which he did!! See you soon Clivr
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Wildly off topic, I know, but hearty congratulations on making Pseuds Corner in the latest Eye! Is this a first for you?
Good lord, no. I used to be practically a resident. Had to work hard to make it back in there.
Although Chet was truly an iconic albeit self destructive figure in Jazz calling Chet the Great White Hope was more than a bit of an overstatement when placed alongside the likes of Bill Evans etc . He had his place especially in the pantheon of ‘ Cool ‘ but could hardly be considered one of the genuine innovative greats . More like a talented and gifted ‘pop’ interpretation of the innovations put forth by Mile’s ” Kind of Blue ” etc
As for the current Chet Baker oil/travesty posing as a biopic Seriously Mr Williams ? In mine as well as many others opinions [ an overwhelming majority in fact ] ” Born to be Blue ” is one of the least factual overly romanticized and dare I say pathetic and pretentious attempts at portraying the life of a Jazz icon .. along with the ludicrous ” Miles Ahead ” ever to be spewed out by Hollywood . Suffice it to say calling both ‘ Mickey Mouse ‘ is an understatement and I’m surprised and disappointed that the likes of you would think otherwise .
Check out Baker’s recording of Have You Met Miss Jones (really a progenitor of Giant Steps) with George Coleman on tenor.
Hi richard. Thank you for your kind words concerning the shows at Ronnie’s and the review of the album, Chet Baker ‘Live in London’. This project has been a labour of love, in restoring these priceless recordings. Chet was at the top of his game and we are exceedingly fortunate to bring this music to those who have a love for Chet. Keep on doing what you’re doing…
Thanks for the heads up on Chet Baker LIVE IN LONDON Richard. Also the report on BORN TO BE BLUE. I plan to see both. Am still trying to run down a live, late Chet Baker set from somewhere in Scandanavia. Lost track of it from days dj-ing days for a college station in Durango, Colorado. Supposedly years past his prime. He broke the mold on that one, as I recall, with an electric band which I can’t recall. Any help running such an album would be appreciated.
Thanks for bringing the Canteen to mind, Richard. Remember seeing Allen Eager there, as well as Esther Phillips…