Tempo di Chet

Paolo, Marco and Dino celebrate the myth of Chet Baker with original tunes and some of his favorite standards. "Tempo Di Chet" is also and especially the intimate and delicate soundtrack of a play dedicated to the legendary Chet Baker.

Refined and elegant arrangements, interplay and melody at his best for the new album of an emotional and shy artist that put in his music all his care.
Sicilian pianist and trumpet player, made his entrance into the top floors of Italian jazz by winning the 1998 “Premio Internazionale Massimo Urbani” for Best New Talent. He also played in the band of Francesco Cafiso. In 2000 Rubino, at the request of Furio Di Castri, participated in the Young Artists of Europe project which, for a couple of years, saw him give concerts in Turin, Sarajevo, Israel, Stockholm. In 2011 Paolo Fresu called him to record for his label, Tŭk Music, for which he has made most of his albums…

Chet Baker - Chet Is Back! (1962) {Bluebird First Editions Series rel 2003}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 296 Mb | MP3 @320 -> 153 Mb
Full Artwork @ 300 dpi (jpg) -> 20 Mb | 5% repair rar
© 1962, 2003 RCA / Bluebird | 09026-64020-2
Jazz / Cool / West Coast Jazz / Trumpet

Having been reissued numerous times over the years under various titles, this Bluebird version of Chet Is Back! stands out as the definitive packaging of one of Chet Baker's best early-'60s recordings. Besides featuring the original artwork and liner notes – as well as detailed new liner notes from James Gavin, author of Deep in a Dream: The Long Night of Chet Baker – the real impetus to pick this up is the inclusion of four orchestral pop singles Baker recorded with Ennio Morricone around the same time as the album. Never before released in the U.S., these tracks were purportedly composed by the trumpeter/vocalist while serving jail time in Lucca, Italy after obtaining fake drug prescriptions.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.

On October 6, 1953, RCA held experimental stereophonic sessions in New York's Manhattan Center with Leopold Stokowski conducting a group of New York musicians in performances of Enesco's Roumanian Rhapsody No. 1 and the waltz from Tchaikovsky's opera Eugene Onegin. There were additional stereo tests in December, again in the Manhattan Center, this time with Pierre Monteux conducting members of the Boston Symphony Orchestra. In February 1954, RCA made its first commercial stereophonic recordings, taping the Boston Symphony Orchestra, conducted by Charles Münch, in a performance of The Damnation of Faust by Hector Berlioz.