Jazz Today: February 15, 1954 @ Los Angeles

Feb. 15, 1954 “But Not For Me”
By Chet Baker, Russ Freeman, Carson Smith & Bob Neel At Capitol Studios, LA for Pacific Jazz/Capitol Records (Chet Baker Sings)

One of several jazz standards born from the musical "Girl Crazy," composed by the Gershwin brothers and premiered in 1930. This is one of the early works of West Coast jazz with a light sound, and it serves as the first vocal album focusing on Chet Baker's humming-like vocals. This track is the opening song of that album.

Although it has the dry sound characteristic of the West Coast, because the label is Pacific Jazz rather than the high-resolution Contemporary, it has more of a background music feel rather than being overly critical. In a good way, it lacks sharp edges or dramatic contrasts, and the trumpet is light, making it pleasant to the ear from start to finish. Nevertheless, its depth, which keeps it from getting old no matter how many times you listen, is what makes it a masterpiece.

The trajectory of starting out as a singer, making a name for himself on the trumpet, and then performing using both singing and trumpet is the same as his predecessor, Louis Armstrong, who was 28 years his senior. However, as a white man and a black man, their styles are completely different. I wonder how they were aware of each other. In contrast to Louis's gravelly, raspy voice, Chet's is whispering and refreshing; the common thread is that both fully utilized their innate individuality to achieve success. And it is amazing that both of them could handle both singing and trumpet so skillfully and effortlessly, even though either one alone is difficult. There is no tension, and a consistent melody flows endlessly in both his singing and his trumpet playing.

In the performance, the band's ensemble that breaks the tempo starting at 2:33 after the piano solo is stylish.

Honestly, I had the impression that Chet's singing was too sweet, and due to a prejudice against listening to it, I avoided it for a long time. However, as I listened more, I began to realize its merits. On the surface, it is easy-listening popular music, but as I listened more deeply, I could see that Chet was facing the music sincerely without making easy compromises, and that he never cut corners. As proof of this, I never get tired of listening to it. Music that sounds gentle is often described as gender-neutral from a gender perspective, but I think it is also an appropriate expression in the sense that it can be perceived as hard-boiled depending on how you listen to it or take it in.

I forgot to post this on February 15th, so I am posting it belatedly between other articles.