Recorded on December 29, 1978 at the Château d'Hérouville with Jean-Louis Rassinfosse on bass, Jeff Brillinger on drums and Phil Markowitz on piano, then mixed at Studios Davout on December 8, 1979, Two A Day has not been reissued on vinyl since 1980. This little-known but remarkable album from Chet Baker brings together instrumental and vocal tracks, all infused with the swing and emotional depth that define his finest recordings. To fully highlight the qualities of this masterful session, a high-quality remastering has been carried out, restoring the warmth and intimacy of the legendary Château d'Hérouville studios, which also hosted artists such as David Bowie and Pink Floyd. The LP edition features hot gold foil numbering.
This is a miraculous live album capturing Chet Baker's moving performance in Japan on June 14, 1987.
Originally released in 1988.
From 1986-1987, Chet traveled and worked with the photographer and filmmaker Bruce Weber on a project that would become their Oscar- nominated documentary "Let's Get Lost"1988. During this period, Chet performed at the Cannes Film Festival and recorded sessions at Studio Davout in Paris and Sage and Sound Studio in Hollywood. All remained unreleased until now. Inspired by the film - which celebrated its 35th anniversary last year - SWIMMING BY MOONLIGHT is a two-record soundtrack album curated by Bruce Weber and produced by John Leftwich that compiles music, dialogue and live concert recordings.
The collaborations between Chet Baker and Art Pepper were originally issued in such a disparity of ways that it might seem difficult at first to think about them as a coherent body of work. Their first session, for instance, was originally segmented in a variety of compilation albums, one tune each, and many times the selections were even abridged, suppressing a solo here or there.
Along with another equally splendid session, it was included in Baker and Pepper's most famous album together, Playboys, which was also released under the title picture of heath. At the time, both Baker and Pepper were at their peaks, which is to say that each was playing as much or more on his instrument than anyone in jazz.
Two years before the legendary trumpeter mysteriously fell from the window of a Dutch hotel, he delivered this high-level live performance on a stage in Bologna, Italy, in 1985.
Accompanied by Philippe Catherine on guitar and Jean-Louis Rassinfosse on double bass, Baker drew on his natural charm, that utterly disarming magnetism which made him deeply moving, even when decline was looming. Baker carried within him that inner fracture, that haunting depth that rendered every note fragile. Released for the first time as a double 180 gram vinyl LP with HD vinyl mastering
LP-Box mit fünf Original-Studioalben von 1965.
(AAA) Remastered und direkt von den originalen analogen Mono-Bändern von Kevin Gray geschnitten.
Fünf Original-Studioalben, aufgenommen in einer Woche im August 1965 in New York City: Boppin', Smokin', Groovin', Comin' On, Cool Burnin' sind zum ersten Mal seit über 50 Jahren wieder auf Vinyl erhältlich. Für diese Aufnahmen, die einen Wendepunkt in seiner Karriere markieren, hat Chet Baker eine Band der Superlative um sich geschart: George Coleman, Kirk Lightsey, Herman Wright und Roy Brooks spielen alle auf diesen aufregenden Sets, die ursprünglich bei Prestige Recordings erschienen sind.
New Land hatte vollen Zugang zu den originalen analogen Monobändern, und Kevin Gray hat sie neu gemastert und geschnitten (AAA), um ihnen eine frische Klangfarbe zu verleihen. Das Herzstück dieser Box ist ein Buch mit einem unglaublich detaillierten Essay von GRAMMY® Nominee James Gavin, der die wahre Geschichte hinter diesen Aufnahmen mit Interviews der Beteiligten verbindet. Illustriert mit seltenen Fotos und Ephemera ist dies der bisher tiefste Einblick in diese Aufnahmen.
Chet Bakers Prestige-Aufnahmen aus dem Jahr 1965 markieren eine Übergangsphase - seine Rückkehr in die USA nach einer Zeit in Europa und einer Auseinandersetzung mit dem Rechtssystem. Diese Sessions zeigen ihn in einem raueren, expressiveren Ton, der aber immer noch von seiner charakteristischen lyrischen Schönheit durchdrungen ist. Die Aufnahmen entstanden auf dem Höhepunkt der Hard-Bop-Renaissance von Prestige Records und zeigen Baker zusammen mit dem Saxophon-Titanen George Coleman, der gerade mit Miles Davis auf Tournee war. Das Ergebnis ist ein rauer, swingender Quintett-Sound, direkt, gefühlvoll und ungeschminkt.
Nach Jahren des Umherziehens in Europa und scheinbar endlosen persönlichen Turbulenzen kehrte Chet in die USA zurück, um diese Sessions aufzunehmen. Ohne die jugendliche Unschuld seiner frühen Tage an der Westküste spielt Baker mit einer dunkleren, introspektiven Note - sein Horn singt immer noch, aber jetzt seufzt es auch.
Zusammen mit einer starken Rhythmusgruppe aus New York verbinden diese Aufnahmen die Eleganz des Cool Jazz mit der rauen Direktheit des Hard Bop der Ostküste. Baker zeigt sich hier von seiner menschlichsten Seite - zerbrechlich, lyrisch, ungefiltert.
Dies sind nicht einfach nur Aufnahmen aus Chets Spätzeit - sie sind ein Dokument seiner Neuerfindung. Für Sammler schließen sie eine wichtige Lücke zwischen seiner ikonischen Cool Jazz Ära der 1950er Jahre und seinen düsteren europäischen Sessions der 1970er Jahre.
This album released in 1957 showcases Chet Baker's trumpet skills alongside Bobby Jaspar on tenorsaxophone. The recordings for the album took place between October 25, 1955, and February 10, 1956, at Studio Pathe-Magellan in Paris and features a mix of cool jazz and bop styles with tracks like "How About You," "Once in a While," and "Alone Together." The ensemble of musicians on this album includes notable names such as Jean-Louis Viale on drums, and Benoit Quersin on bass; the album highlighting Baker's distinctive trumpet tone and his collaboration with talented European musicians: "I Get Chet" is a significant work in his discography and reflect his mastery in the cool jazz and bop genres. The tracks are characterized by its relaxed tempos and lighter tone, and bop, known for its complex rhythms and harmonies, it is praised for its lyrical and cool jazz elements. For this and other reasons and considered a gem from Chet Baker's Paris sessions, showcasing his talent during a pivotal time in his career.
Royal Blue[12,82 €]
Black 180g[13,07 €]
Cool, sentimental und voller Sehnsucht - dass die Musik von Chet Baker zeitlos ist, beweist ihre ungebrochene, immer wieder neue Popularität. Seine instrumentalen Aufnahmen zählen zu den Klassikern des Jazz,
aber spätestens als Sänger wurde der Trompeter auch zur Pop-Ikone.
Vor 70 Jahren erschien sein berühmtes Album “Chet Baker Sings”, das heute noch Bestseller ist und
dessen Einfluss auch in der Pop-Musik zu spüren ist. Die Macher der erfolgreichen Albumprojekte “Blue
Note Re:imagined” hat das auf eine Idee gebracht.
„Chet Baker Re:Imagined“ ist jetzt das erste Tributealbum, das Chet Bakers musikalisches Erbe feiert.
Junge Künstler der aktuellen akustischen und elektronischen Musikszene kommen auf dem Album zusammen, um ihre Versionen von Baker-Klassikern zu präsentieren.
Viele der auf „Chet Baker Re:Imagined“ vertretenen Musiker und Musikerinnen haben sich auf digitalen
Plattformen bereits ein großes Publikum erarbeitet (20 Million combined audience). Mit diesem Projekt
beweisen sie sich mit mal lässigen, mal melancholischen Tracks als Chet-Baker-Fans. Die internationale
Bandbreite geht von UK (dodie, Matt Maltese Matilda Mann, Joel Culpepper, Ife Ogunjobi vom Ezra Collective, Hohnen Ford, Eloise, Puma Blue), über USA (Delaney Bailey, mxmtoon), Kanada (Stacey Ryan),
die Niederlande (Benny Sings) und Australien (grentperez) bis hin zu Südkorea (Sara Kang)
The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl
Although Chet Baker and Bill Evans were both highly lyrical and introspective players who could have made a fabulous partnership, they only ever recorded together on a couple or so occasions. By the time the recordings here were made, Chet Baker had been a star for less than a decade and this wholly instrumental album presents him accompanied by other great jazz stars with whom he would also rarely play and record with again.
"Chet Baker's penultimate session for Riverside produced an all-star lineup to support him, including jazz heavyweights Pepper Adams, Bill Evans, and Kenny Burrell. Each of them makes important contributions to the session. A good place to hear Baker's special way with the horn is made even more attractive with the presence and contributions of top jazz artists." - ***** Dave Nathan, AllMusic
Recorded in 1958, this album showcases Chet Baker’s undeniable charm as both a singer and trumpeter, embodying the essence of cool jazz. Accompanied by an elegant trio featuring Kenny Drew on piano, George Morrow on bass, and Philly Joe Jones on drums, Baker revisits standards with disarming grace. His soft, melancholic voice shines on tracks like “Do It the Hard Way” and “Everything Happens to Me,” where each note feels suspended in time. His airy trumpet subtly converses with Drew’s piano, creating moments of pure musical poetry. A must-listen for fans of intimate and refined jazz.
VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Erstmals in audiophilem Glanz: ”Baker’s Holiday”, Chet Bakers swingende Hommage an Billie Holiday
von 1965. Das Album enthält eine Reihe von Songs, die Baker noch nie zuvor eingespielt hatte und präsentiert seine unverkennbare Trompete und auf vier Titeln auch seinen charakteristischen Gesang. Unterstützt
wird er von einer Saxofon-Sektion und einer vierköpfigen Rhythmusgruppe, zu der auch Pianist Hank Jones
gehört. Die farbenfrohen Arrangements stammen von Jimmy Mundy.
Somewhat of an oddity in Chet Baker’s catalogue, Blood, Chet & Tears is a record of Chet’s efforts to adapt to the changing musical landscape around him in 1970. Baker leans into light and easy-listening territory. His renditions of the Beatles’ “Something” and The Archies’ “Sugar, Sugar” gives some indication as to who he was intending to appeal to. On a different note, Baker’s rendition of “Come Saturday Morning”, a song that received an Oscar nomination for Best Original Song, is moving and highlights his unique vocal approach.
Chet Baker spielt und singt Rock-Songs der späten 60er Jahre! Als Verve dieses Album 1970 veröffentlichte,
waren die Jazz-Kritiker „not amused“: „Evil Ways“ von Santana, „Spinning Wheel“ von Blood, Sweat &
Tears, „Something“ von den Beatles wollte man damals von Chet Baker nicht hören. Heute kann man
diese Aufnahmen mit einer groovenden Bigband aus exquisiten LA-Musikern nicht nur als Kuriosität im
Katalog der Jazzlegende hören, sondern auch als hippes Kleinod aus einer Zeit des musikalischen Umbruchs.
Sorgfältig remasterte Reissue von Chet Bakers LP-Klassiker 'Round' Midnight' (1979). Das Original, heute ein unbezahlbares Sammlerstück, wurde im September 1979 in London mit Jean Paul Florens (git), Henri Florens (piano), Jim Richardson (bass) und Tony Mann (drums) aufgenommen und enthält Bakers einzige 'Round' Midnight' Studioversion, zwei alternative 'My Funny Valentine' Takes, komplett instrumental und sehr intim, sowie das Miles Davis-Cover 'All Blues' mit Rachel Gould on vocals.
American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, partic- ularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier.
Mr. B is the album recorded in 1983 by Chet Baker and is considered one of the best from that period. Baker plays compositions from “Dolphin Dance” (Herbie Hancock), “Strollin” (Horace Silver) and “In Your Own Sweet Way” (Dave Brubeck). The sadness of the songs is felt throughout, in a lazy sometimes slow and sluggish tempo. The album includes two bonus tracks “White Blues” and “Father X-mas” and band members include Michel Graillier (piano) and Ricardo Del Fra (bass).
Mr. B is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl. The album sleeve contains liner notes by Wim van Eyle.
• 180 GRAM AUDIOPHILE VINYL
• SLEEVE PRINTED ON HEAVY CARDBOARD WITH LINEN LAMINATE FINISH, CONTAINING LINER NOTES BY WIM VAN EYLE
• CHET BAKER PLAYS COMPOSITIONS FROM HERBIE HANCOCK “DOLPHIN DANCE”, HORACE SILVER
“STROLLIN”, DAVE BRUBECK “IN YOUR OWN SWEET WAY” PLUS 2 BONUS TRACKS “WHITE BLUES” AND “FATHER X-MAS”
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSLUCENT RED COLOURED VINYL
American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, particularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier. Chet Baker's Sings Again is available as a limited edition of 500 copies on yellow coloured vinyl.
Mr. B recorded by Chet Baker with his trio, is considered one of the best from that period. Baker plays compositions from “Dolphin Dance” (Herbie Hancock), “Strollin” (Horace Silver) and “In Your Own Sweet Way” (Dave Brubeck). The sadness of the songs is felt throughout, in a lazy sometimes slow and sluggish tempo. The album includes two bonus tracks “White Blues” and “Father X-mas” and band members include Michel Graillier (piano) and Ricardo Del Fra (bass). Mr. B celebrates its 40th anniversary and is available as a limited edition on translucent blue coloured vinyl. The album sleeve contains liner notes by Wim van Eyle.
