At this point in Baker's career, he was truly “the tarnished golden boy of jazz”, in his biographer James Gavin's memorable words. Having already been imprisoned in Italy for drug-related offences in 1960-61 and ahead of another arrest and conviction in Germany, this sextet recording made in Rome and originally released on RCA Italiana seemed to herald a wonderful return to form. As Gavin, again, put it, “Baker sounded just the way he wanted to be perceived: bold, strong, confident” and that says it well. From the first piece, Monk's ‘Well, You Needn’t' there's a level of poise and certainty in the trumpet playing that certainly belies his impending physical deterioration. Thomas plays well, as does Jaspar, the Belgian saxophonist; both later succumbed to the same addictions as Baker. The trumpeter's ballad playing is rich and resonant too, as on ‘These Foolish Things’ and he is almost jubilant on Bird's ‘Barbados’, Humair kicking nicely, as Baker leans into his improvisations, the tone centred and positive. ‘Star Eyes’ opens with a perfect melodic statement, Thomas noodling behind. Tommasi, previously unfamiliar to me, is a crisp, fluent soloist who adds value every time. The final four tracks, each co-composed by Baker with Alessandro Maffei and sporting Italian lyrics, team Baker as vocalist with film composer Morricone's sultry strings and backing chorus. ‘Chetty’s Lullaby' is for his estranged son and is plaintive and yearning, that nasal, faraway vocal sound so distinctive, the trumpet similarly lyrical and affecting.