This is the most satisfying and, in many respects, most representative Chet Baker I've come across. No vocals, nothing even approaching bebop. It's truly bicoastal and genre-resistant music. Moreover, it doesn't have the sponginess of some later Baker sessions with electronic synths and reverb assists. These are beautiful deconstructions of familiar pieces, each slowed to a tempo-less, non-insistent, seductively langorous meditation--a sigh, a whisper, a breath of spring (and autumn).

The presence of Pepper Adams' slightly abrasive baritone is just enough seasoning to keep it interesting. The tastefulness of Miles Davis' rhythm section (Bill Evans, Chambers and Philly Joe) is, on this date, merely more testimony to Miles' good instincts when it came to picking players.

We are living in a milieu that, if not apathetic, is positively hostile to the ballad. Even the paragons of the form--Sinatra's "concept albums"--are languishing in a world in which human beings fly about like like carrier pigeons with iPod buds in their ears. If that's your world, you won't want to have anything to do with Chet's--or the exquisite music on this album.

Chet Baker has become one of my favorite trumpeters. His trumpet playing is lyrical, but on many other albums he has proven himself a quite capable technician on his instrument. Anyone who doubts his technical ability should check out his quartets with saxophonist Gerry Mulligan and pianist Russ Freeman. He was a master of playing playing, which is what this 1959 recording consists of. Every single track is rendered beautifully by the space given in Chet's lines. Chet is joined by some of the best jazz musicians at that time: Bill Evans, Pepper Adams, Kenny Burrell, Herbie Mann, Paul Chambers, Connie Kay, and Philly Joe Jones. Anyone looking for some swing will have to look elsewhere. This album is nothing but ballads. I highly recommend this recording to anyone who is a potential fan of Chet's and for anyone interested in collecting Bill Evans session work, which he didn't do much of at all during his career.

Absolute perfection. Although I love Chet's vocals on other albums, the pure sound of his horn will more than suffice anytime, but especially on this disc. "It Never Entered My Mind" can bring me to tears. The one downer is a now old and sour producer Orin Keepnews's bitter bitchy updated liner notes. What a pill! I highly recommend this album, Keepnews's crankiness not withstanding.

I'm surprised more Chet fans did not pitch in with their comments. This is not some obscure album from one of the greatest American Jazz artists of the 20th century.

It was my first Chet Baker CD and I have treasured it along with few others that I don't mind taking it to Mars or similar places. This CD's effect can be extremely relaxing, contemplative and almost hypnotic. Bill Evans is another good reason to buy this product. I don't have the "remastered" version and I am curious about it's quality - how much lost and how much gained. The sound quality of the original is not too shabby, probably a conservative B+ with an easy A for content / performance.

If I may, what I like about Chet's style of playing is as follows;

Trumpet can be a very offensive instrument - it can bleed the ears. Chet had an extraordinary aptitude for lyrics & melody that he communicated through the instrument. He had 'soft power' - whenever he needed it - otherwise he was cool, reflective and always musical. I read some of the negatives written about his personal problems which keeps tabloid journalists in business and gossip junkies happy but as an audience we should be free to evaluate his work not his personality, life-style or morals. He communicated through his instrument and that's what I'm interested in.

This is a super album.I got several Baker albums at the same time and this always finds its way to the top of the pile for the next play of Chet's music.