Review Summary: For heaven's sake... Let's get lost
Chet Baker after many years of darkness, erroneous musical decisions and turbulent stories returns with an album full of what makes him so special, and despite having aged, he seems to have recovered the magic of his youth, a magic reflected in Let's Get Lost, his last moment of glory and his last breath.
If someone is reading this, it may be because of Bruce Webber's documentary, and as a result he already knows the life of a legend like Chet Baker. In that case I can say that this album is the one that best reflects the decline and darkness that Baker went through. If Chet Baker Sings is his greatest success and the reflection of his best time, of his light; then Let's Get Lost is the work closest to death and reflection, piercing like a lunge in to the public while with a soft and melancholic melody he tells little stories that reveal his life after their successes, only being surpassed by the sincerity of his trumpet.
Cool Jazz permeates the entire album, and it is very obvious from the first to the last note, merging the classic softness with a much more bleak style, remembering past songs like "Funny Valentine" at times. This aspect inherited from Baker's modus vivendi for years makes it a truly unique LP in his career, and it is not precisely the instrumentalización that feels so decayed, but Baker's voice. That so picaresque and loving tone of his youth evolves towards a more mature one, creating a vocal line almost tearful, reflecting those nuances and pains of a man who, at the bottom, was really weak. The vibratos remain constant in the songs, also remembering past times, but it is often that voice similar to a dim light that induces us in a much more introspective state, as if Chet Baker was being sincere after a life of lies and addictions, while still remembering loves that were ephemeral but in turn passionate. These very personal moments can be seen especially in themes such as "Imagination" or "Almost Blue".
Despite this, Strazzeri's piano is a perfect accompaniment for Baker, understanding it perfectly and adapting to a style far removed from others seen in After the Rain. On the other hand we have John Leftwich, who does a formidable work, making his side the most elegant of the whole album, contrasting a little with Baker's voice, which despite not losing all his grace, pales a little next to the kindness of Leftwich. In the songs where Ralph Penland is playing the drums, a light, almost sensual air is felt, and this is caused by a light way of playing, as if the drumsticks were floating. Finally, I must name Nicola Stilo, who only appears on track 8, but spotlighting for her way of complementing Baker's trumpet and sing. Despite this, his performance feels small, perhaps because of only appearing in "Zingaro", but still does a great job for his limited time.
The lyrical content is the same as always, and don't get me wrong, this is not all bad. Jazz has not always stood out for its complex lyrics, but luckily Let's Get Lost is a collection of good songs with a main theme: Love. It will sound basic, as it is, but "Imagination", as sad as seductive, it is the same as "Almost Blue", with a theme that perfectly matches the entire album, making it the best track and in turn the shortest. But for not use the same examples from the third paragraph, "Every Time We Say Goodbye" talks about the distance of love, but being in it, showing a tender side of Baker, while "The Thrill Is Gone" is much more blues, talking about the death of a feeling and its consequences. And while the album does not go beyond turning around love as the main theme, the different approaches and interpretation of Chet is what makes them shine and not fall in mediocrity.
While Chet's voice has little reminiscence of his golden age, the trumpet has not changed despite the years and his jaw. His own technique and the sincerity with which he played a few years ago is the same, without significant changes, manifesting his emotions through each note, being as sentimental as in his first recognized performances. And although Baker's darkest facet is embodied this album, his trumpet continues to maintain that joy of the young man of the fifties and sixties that captivated the west coast several times.
Let's Get Lost is for Baker what You want it Darker is for Cohen. Some will want to kill me for saying this, but the situations are similar: They release an album darker than the previous ones and soon they die. In this way the same can also be said with Blackstar by David Bowie, although they are all very different musical icons. Even their current situation is very similar: Due to what each album means to its author, a kind of cult has been created around them.
If I have to be as objective as possible, Let's Get Lost is a 4.4 / 5 album (4.5 according to the Sputnikmusic system). Almost everything said is positive, but its song-writting is weak, and the tracks "Daydream" and "I Don't Stand a Ghost of a Chance With You" are not as good as the others, even if it is for little things.
Regardless of those little mistakes, Let's Get Lost is an album full of sentimentality, sadness and introspection, becoming essential to understand the career and life of Chet Baker, but also becoming a melancholic and poetic jazz journey. This is the last gift an artist like Baker gave us, and the last one he gave himself, even looking like a bitter confession.
This is the album with which he could finally get lost in Amsterdam.
