Physically, the contrast between the two Chet Bakers on view in Live in '64 and '79, another entry in the superb Jazz Icons series, is striking. The earlier concert, recorded (in black & white) in Belgium with a Belgian saxophonist, a French pianist, and an Italian rhythm section, all of them excellent players, finds the trumpeter in pretty decent shape, considering the fact that his drug addiction had already landed him in jail or rehab well over ten times. But 15 years later, when he appeared in Norway (again backed by some fine European players), his hard life had taken a visible toll; not yet 50, he appears considerably older, his matinee idol looks of the 1950s now a fading memory. And yet, amazingly, Baker's playing in both concerts is top-notch, and the Norwegian show is arguably the better of the two. His instrument for the '64 gig is the flugelhorn, and its mellower tone is ideal for Baker's cool, lyrical style. Flashy virtuosity wasn't his thing, even on an uptempo version of Sonny Rollins' "Airegin" or a take on "So What" that's faster than Miles Davis' classic original (the Belgian show also contains the only vocal number on the DVD, with Baker's voice, famously vulnerable and high-pitched, well suited to "Time After Time"). The '79 concert, filmed in color, matches Baker with a drum-less ensemble featuring piano, vibraphone, and bass; the repertoire is more adventurous, including a too-short take on John Coltrane's "Blue Train," a terrific duet with vibist Wolfgang Lackerschmid on the latter's "Five Years Ago," and an extended, beautifully arranged version of Cole Porter's "Love For Sale." As always with the Jazz Icons series, the sound and visuals are remarkably clean and clear, the liner notes are illuminating, and the accompanying photos and other material are beautifully presented. --Sam Graham