Certain individuals, such as bank loan officers, might speculate that Mike Baker made more money in one year of working as Whitney Houston's drummer and musical director then in his entire career in jazz. He has described himself in interviews as "the last of the dinosaurs," perhaps a reference to the diminishing ranks of pop artists who could actually play anything resembling a decent beat if armed only with a pair of drumsticks. On the other hand, dinosaurs are extinct, and Baker isn't; neither is he the last of anything. He is of a breed whose ranks seem healthy and growing, consisting of seasoned jazz veterans who bring their talents into various realms of the soul and pop galaxies. Often, behind the scenes players such as Baker deserve the credit when pop music sounds good, rather than crappy.

After graduating from the North Texas State University jazz program in the late '70s, Baker has also said his education then began; this time, the statement rings totally true despite however it might irritate academics. He joined up with the Clark Terry band, and found the mastering of swing basics at the command of this trumpet master as something akin to boot camp. From here Baker rose to the luxury lounge of his profession, working with this succession of leaders: organist Jimmy Smith, trumpeter Freddie Hubbard, saxophonist Wayne Shorter, guitarist Kenny Burrell, and keyboardist Joe Zawinul. Baker was a member of the latter artist's Zawinul Syndicate. There really couldn't have been a better corner at which to turning to pop music, since Zawinul's original tune Mercy Mercy was one of the ultimate jazz chart hits when recorded by Cannonball Adderley. Some of the earliest recorded examples of Baker vocalizing are on his material with the Zawinul Syndicate.

Baker's background in dance is also worth noting. He participated in the song-and-dance revue +Sophisticated Ladies, studied ballet himself, and has accompanied dancers Gregory Hines and Harold Nicholas. By the late '90s, he can also be said to have had Giorgia on his mind. In 1996 he became involved producing the Italian singer, herself a great fan of Houston, and the relationship has led to a handful of CD releases which happily feature his drumming. Baker has also done arrangements for Aretha Franklin, and in 2002 recorded a swing project with Bruce Hornsby. ~ Eugene Chadbourne, Rovi