Sometimes it helps to go back. I wrote this review years ago I relistened to my dusty copy and I was dead wrong. I must revise it.

Stan Getz and Chet Baker hated each other, according to "Stan Getz, A Life in Jazz". At least Stan thought Baker was unprofessional and often "smacked up" falling over, off-key, out-of-tune. Stan was probably just as high, but could seemingly play perfectly no matter how high he was. Future Stan often got annoyed with Chet's sloppy play. On the album "Quintessence 1" and many others, this is certainly true. Yet they were constantly being pushed together by record companies, to make that magic album by the Kings of Cool that always eluded the producers.

But not here, particularly. Both sound amazingly sober. It's 1953, Gerry Mulligan is in slam for indulging in his bad habits. Baker with Mulligan's old band looking for work and trolling around for a sax man.

No Baker croning here (at this point in his life Chet sang his best or most in-tune, stuff). There is the kind of complex, yet Cool, aloof bepop duets that one finds with Getz and Brookmeyer. Getz and Baker carefully dance around each other creating instant chords without a piano. "Bernies Tune", the Mulligan classic, is an excellent example, not the sax solo's, then trumpet but true interaction. All here is Cool, witty, dry and buttoned-down. Which I guess means "West Coast". A dry martini. Almost like Paul Desmond!

What I'd have liked more of, except for "Yesterdays" "What's New" and a pinch of "Funny Valentine", is heartfelt ballads where the primaries dig deep within themselves. Most is fast, light, intricate bepop. Never raucous. There are two versions of the annoying "Winter Wonderland"

If I could change my rating this really deserves a solid 3 1/2 to four stars. No it's not profound or deeply moving but enjoyable.

Stan Getz and Chet Baker hated each other, according to "Stan Getz, A Life in Jazz".

Chet was "smacked up" falling over, off-key, out-of-tune. Stan was probably just as high, but could seemingly play perfectly no matter how high he was. Stan got annoyed with Chet's sloppy play.

It is quite apparent in this CD. Full of Bebop, Stan kept trying to drive over top of Chet. He cuts him off muscially. Stan recorded a lot of cutting sessions and virtuoso shootouts with other musicians where each player tried to outplay the other. Stan ignores Chet and plays overtop of him. He seems to bully Chet away from the mike. It's a shame, it would have been nice to hear them play WITH each other.

Not recommended.

True, Getz' jealousy of Baker's musical talent and popularity has always been a factor in their musical relationship. Nowhere is this seen more flagrantly than on the 3CD Getz/Baker "The Stockholm Concerts" 2/18/83 performances (Verve 537 555-2). This should not be a factor to discourage a fan of either musician from purchasing this release. Frequently, the competition between musicians creates some fantastic creative improvisation, and that's exactly what "West Coast Live" documents. Both Getz and Baker are youthful and fluid in their ideas. Baker's chops are solid, as he has teeth at this period of his career. The selection of Bop classics couldn't be more pleasing. I have listened to these disks close to 100 times, and still hear new content. True, Getz' ego has always run away with itself when in the presence of Baker, but that's what keeps both musicians on their toes. Personally, I do feel Baker was overly passive and unfairly abused by Getz, but feeling sorry for him is unnecessary. Baker stands on his own quite well, and in my opinion, steals the show on these classic live performances. No wonder Getz' was jealous!