Blue Room: The 1979 VARA Studio Sessions in Holland features two previously unissued lost studio sessions of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten and Lex Lammen for KRO-NCRV, and are now being produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. Transferred from the original KRO radio tape reels.
The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising. The interesting tune selection features a few songs played often by Baker (such as Wayne Shorter's "Dolphin Dance" and Horace Silver's "Strollin'"), but several that are not associated with him at all (Grallier's "White Blues" and his gorgeous "Father X-mas," to name a couple). There is a sadness permeating the trumpeter's sound throughout, exacerbated by the lazy, sometimes sluggish, tempos. A deep and touching beauty can be felt, marking this as one of Chet's best from the period.
Previously unreleased, historic live recording! The Jazz At The Concertgebouw Series is a stunning discovery! For the first time ever, we get to listen to a series of live concert recordings of top American jazz musicians, made at the world-famous Concertgebouw in Amsterdam in the late 1950s! This incredible CD contains two concert recordings by one of Chet Baker's most interesting groups: the quartet with pianist Dick Twardzik. The concert at the Scheveningen Kurhause was partly recorded and broadcast by the Dutch public radio station AVRO.
This is a rare album Chet Baker recorded in Belgium in 1980 with Steve Houben when he came from Paris and went to Holland and died shorty after. It was only released in Belgium and France in MICRO quantities.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. The quality of Chet Baker's product was so varied during the last decade or more of his life that recording sessions varied markedly. For this "remixed version" of Mr. B Baker sounds a tad tired, though his chops are in fine form. The studio recording captures the trumpeter with highly sympathetic and self-effacing pianist Michel Grallier and bassist Ricardo Del Fra, both of whom engage in the leader's brand of sensitivity. There are no vocals by the trumpeter, but plenty of improvising.
Reissue with the latest remastering. Features original cover artwork. I have about 40 albums of Chet’s music (his last period principally) and this is one of his best. In this too short disc (45 minutes) recorded in Europe at the end of 1985, Chet is at his best, singing and playing trumpet beautifully for the Timeleless label. He is remarkably surrounded by the great French pianist Michel GRAILLER, Ricardo DEL FRA on the bass and John ENGELS on drums. Only eight songs are here on the programm, all great standards….
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the more freewheeling groups we've ever heard recording for the Timeless label – especially during the 80s stretch in which this set was recorded – a free-thinking quartet that features Urs Leimgruber on soprano, tenor, and bass saxophone – plus Don Friedman on piano, Bobby Burri on bass, and Joel Allouche on drums! Leimgruber's sound really sets the tone for the record – with moody passages some stretches, or a bolder attack at other moments – then supported strongly by Friedman's piano, really gets a lot of freedom here. All tracks are long, and very different than usual for Timeless.