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As Time Goes By
Chet Baker
első megjelenés éve: 1990

Kosaramba teszem
1.  You And The Night And The Music
2.  As Time Goes By
3.  My Melancholy Baby
4.  I Am A Fool To Want You
5.  When She Smiles
6.  Sea Breeze
7.  You Have Been Here All Along
8.  Angel Eyes
9.  You'd Be So Nice To Come Home To
10.  Round Midnight
Jazz / Cool, West Coast Jazz, Vocal Jazz

Recorded in Studio 44, Monster, Holland on December 17 and 18, 1986.

Chet Baker : trumpetp,vocal,
Harold Danko : piano,
Jon Burr : bass,
Ben Riley : drums

ARTIST PROFILE : CHET BAKER trumpet, vocals Chet Baker - His Life

Chet Baker was undoubtedly one of the leading jazz trumpet players of the Fifties. Born Chesney Henry Baker in Yale, Oklahoma, December 23, 1929, he started to play trumpet while still in his teens as a member of the 298th Army Band. Beginning in 1950, he sat in at countless jam sessions at Bop City and the Blackhawk in San Francisco. This perios marked his first encounters with the altoplayers Paul Desmond and Charlie Parker.After his final army discharge in 1952, Baker moved to Los Angeles where he participated in some historic Pacific Jazz recording sessions at a club called the Haig and with a group led by Gerry Mulligan. This group was to evolve in to the famous pianoless Gerry Mulligan Quartet. From this point on, the popularity of Chet Baker grew quite fast, quickly garnering him the number one position in popularity polls in Down Beat and Metronome, and winning him many thousands of fans worldwide.

The Chet Baker Quartet was established when Mulligan temporarily retired from music in 1953. In 1953 Baker's Quartet made the longest European tour yet made by an American jazz group. Originally scheduled for four months, the tour eventually stretched to eight. During this tour, Chet's piano player, Dick Twardzik, 24, died in a Paris hotel of an overdose. The narcotics problem was rearing his ugly head and Baker himself soon became hopelessly strung out. He was arrested in April 1959 for having heroin in his possession.

Reentering society in the fall of 1959, Chet Baker embarked upon yet another extended tour of Europe and probably the bleakest period of his life. He was hospitalized and arrested several times, generating little except a lot of nasty rumours and quite a few unflattering portraits in popular magazines.

March 1964 found him deported back to the United States from Germany. He switched to flugelhorn to replace his stolen trumpet. The roller coaster of Baker's career continued to go up and down, only this time with less velocity and diminished public notice. The recordings he made for Pacific Jazz and Verve in the late Sixties were disappointing and often embarrassing, showcasin stifling arrangements, rock rhythms and a low flame of inspiration.

Baker lived in New York and Los Angeles until 1968, when he moved to San Francisco and was promptly mugged there by five hoodlums who knocked many of his teeth out. Chet stopped playing for two years, controlling his drug addiction through methadone. He slowly made his way back in 1974 and started to record again. Of course, his playing was a bit different now but startingly his work began to show more and more range and authority. He returned to Europe in 1975, where he started to extensively play on concerts and record with quartet, trio and duo. The renewed assurance and heart felt lyricism in both his playing and singing continued to impress both fan and critic alike. His music always projecting beauty, passion and emotion. But it all ended too soon, when on May 1988 he fell out of his hotelwindow in Amsterdam. Baker was dead, jazz lost a giant.
--- Chet Baker - His Music

When Chet Baker was still a member of the Gerry Mulligan Quartet, his playing was inspired by that of Miles Davis, characterized by restrained dynamics and an intimate, warm delivery. His tone had a certain melancholy quality, never overly sharpedged or raw, a quality often referred to as 'tristesse',Chet Baker is often wrongly associated with the so-called West Coast Jazz, but his musical roots and sense of swing derive very clearly from the classic BeBop stylists prominent in New York City in the late Forties and early Fifties. Chet's playing is moody, with natural ease and originality of conception, a model of economic inventiveness.

After Baker returned from Europe to the USA in the mid-sixties his playing underwent a very marked evolution. His musical ideas somehow showed a stronger sense of logic, his more muscular attack seemed to owe a lot less to Miles and a lot more to Fats Navarro. After his return to Europe (1975) his playing got even more emotion and his timing became unique, relaxed and warm, soft and deep.
--- Wim van Eyle

He wasn't at all the pathetic character everybody liked to see in him. He didn't think himself pathetic, absolutely not! This was his life, this was what he had chosen. The drugs too. It was a fact of life, nothing more and nothing less. And he didn't mind travelling from hotel to hotel with a couple of bags, or sleeping on the floor at a friend s or acquaintance's occasionally. He was a gypsy till his last night.

Of course you had to look after him. When he was to perform at some place, and was staying at the hotel so-and-so far away, you had to see to it that he was on the stage at such and such time. Usually it did work. Sometimes you had to pick him up and drive over to the hall. Sometimes he was not to be found and then you had to try and find out on the grapevine where exactly he was hanging out. That could be sweaty hours now and then. He himself always
He remained cool because he had accepted his own life. It was the others who sometimes panicked or called him everything under the sun for not having turned up at exactly the agreed time or agreed place. He even remained cool when he was to perform at Verona, had to drive from Brussels to Verona and somewhere near Munchen found that he had forgotten his trumpet. Big deal. He simply drove back to Brussels to pick up the thing. Then, of course, you needed to race, fly and organize. A private plane had to be chartered in Milan, to get him to Verona in time. And of course this time everything fell out well again. Or when he was going to tour Japan. He was still in Rome in some hotel while he should have been on the plane already. He hadn't even applied for a visa. Again everybody into a state. What nonsense. That visa can be arranged in a minute and we simply take the next plane. One day later he was in Japan, perfectly cool, and that same night he played fabulously.

Yes, he was having a hard time now and then. Then he was, fair's fair, not so cool. Had to do with that stuff, of course. You could already hear how matters stood through the phone. He was unpredictable on such occasions. You sometimes had to come with him to get hold of the stuff. He did have his regular addresses but still liked someone who was straight to come with him. Just to be sure. But for the rest it was: let me get on with it. In Italy he played on the streets to pay for the petrol for his expensive sportscar. He didn't mind. He had been world famous for two decades when he took on a job as a pump attendant in Oklahoma because he was rather hard up. He really didn't mind. On that particular night it was the same old sons, again. Where is Chet, guys? He will probably be there and there again. He does know, doesn't he, that he is to play with Archie Shepp in TROS Sesjun tonight? P.inLain. Phoning everywhere. Somebody seen Cher? No? When you see him, cell him we are waiting for him.

Chet Baker

Active Decades: '50s, '60s, '70s and '80s
Born: Dec 23, 1929 in Yale, OK
Died: May 13, 1988 in Amsterdam, The Netherlands
Genre: Jazz
Styles: Cool, West Coast Jazz, Vocal Jazz

Chet Baker was a primary exponent of the West Coast school of cool jazz in the early and mid-'50s. As a trumpeter, he had a generally restrained, intimate playing style and he attracted attention beyond jazz for his photogenic looks and singing. But his career was marred by drug addiction.
Baker's father, Chesney Henry Baker,Sr., was a guitarist who was forced to turn to other work during the Depression; his mother, Vera (Moser) Baker, worked in a perfumery. The family moved from Oklahoma to Glendale, CA, in 1940. As a child, Baker sang at amateur competitions and in a church choir. Before his adolescence, his father brought home a trombone for him, then replaced it with a trumpet when the larger instrument proved too much for him. He had his first formal training in music at Glendale Junior High School, but would play largely by ear for the rest of his life. In 1946, when he was only 16 years old, he dropped out of high school and his parents signed papers allowing him to enlist in the army; he was sent to Berlin, Germany, where he played in the 298th Army Band. After his discharge in 1948, he enrolled at El Camino College in Los Angeles, where he studied theory and harmony while playing in jazz clubs, but he quit college in the middle of his second year. He re-enlisted in the army in 1950 and became a member of the Sixth Army Band at the Presidio in San Francisco. But he also began sitting in at clubs in the city and he finally obtained a second discharge to become a professional jazz musician.
Baker initially played in Vido Musso's band, then with Stan Getz. (The first recording featuring Baker is a performance of "Out of Nowhere" that comes from a tape of a jam session made on March 24, 1952, and was released on the Fresh Sound Records LP Live at the Trade Winds.) His break came quickly, when, in the spring of 1952, he was chosen at an audition to play a series of West Coast dates with Charlie Parker, making his debut with the famed saxophonist at the Tiffany Club in Los Angeles on May 29, 1952. That summer, he began playing in the Gerry Mulligan Quartet, a group featuring only baritone sax, trumpet, bass, and drums -- no piano -- that attracted attention during an engagement at the Haig nightclub and through recordings on the newly formed Pacific Jazz Records (later known as World Pacific Records), beginning with the 10" LP Gerry Mulligan Quartet, which featured Baker's famous rendition of "My Funny Valentine."
The Gerry Mulligan Quartet lasted for less than a year, folding when its leader went to jail on a drug charge in June 1953. Baker went solo, forming his own quartet, which initially featured Russ Freeman on piano, Red Mitchell on bass, and Bobby White on drums, and making his first recording as leader for Pacific Jazz on July 24, 1953. Baker was hailed by fans and critics and he won a number of polls in the next few years. In 1954, Pacific Jazz released Chet Baker Sings, an album that increased his popularity but alienated traditional jazz fans; he would continue to sing for the rest of his career. Acknowledging his chiseled good looks, nearby Hollywood came calling and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. But he declined an offer of a studio contract and toured Europe from September 1955 to April 1956. When he returned to the U.S., he formed a quintet that featured saxophonist Phil Urso and pianist Bobby Timmons. Contrary to his reputation for relaxed, laid-back playing, Baker turned to more of a bop style with this group, which recorded the album Chet Baker & Crew for Pacific Jazz in July 1956.
Baker toured the U.S. in February 1957 with the Birdland All-Stars and took a group to Europe later that year. He returned to Europe to stay in 1959, settling in Italy, where he acted in the film Urlatori Alla Sbarra. Hollywood, meanwhile, had not entirely given up on him, at least as a source of inspiration, and in 1960, a fictionalized film biography of his life, All the Fine Young Cannibals, appeared with Robert Wagner in the starring role of Chad Bixby.
Baker had become addicted to heroin in the 1950s and had been incarcerated briefly on several occasions, but his drug habit only began to interfere with his career significantly in the 1960s. He was arrested in Italy in the summer of 1960 and spent almost a year and a half in jail. He celebrated his release by recording Chet Is Back! for RCA in February 1962. (It has since been reissued as The Italian Sessions and as Somewhere Over the Rainbow.) Later in the year, he was arrested in West Germany and expelled to Switzerland, then France, later moving to England in August 1962 to appear as himself in the film The Stolen Hours, which was released in 1963. He was deported from England to France because of a drug offense in March 1963. He lived in Paris and performed there and in Spain over the next year, but after being arrested again in West Germany, he was deported back to the U.S. He returned to America after five years in Europe on March 3, 1964, and played primarily in New York and Los Angeles during the mid-'60s, having switched temporarily from trumpet to flügelhorn. In the summer of 1966, he suffered a severe beating in San Francisco that was related to his drug addiction. The incident is usually misdated and frequently exaggerated in accounts of his life, often due to his own unreliable testimony. It is said, for example, that all his teeth were knocked out, which is not the case, though one tooth was broken and the general deterioration of his teeth led to his being fitted with dentures in the late '60s, forcing him to retrain his embouchure. The beating was not the cause of the decline in his career during this period, but it is emblematic of that decline. By the end of the '60s, he was recording and performing only infrequently and he stopped playing completely in the early '70s.
Regaining some control over his life by taking methadone to control his heroin addiction (though he remained an addict), Baker eventually mounted a comeback that culminated in a prominent New York club engagement in November 1973 and a reunion concert with Gerry Mulligan at Carnegie Hall in November 1974 that was recorded and released by Epic Records. By the mid-'70s, Baker was able to return to Europe and he spent the rest of his life performing there primarily, with occasional trips to Japan and periods back in the U.S., though he had no permanent residence. He attracted the attention of rock musicians, with whom he occasionally performed, for example adding trumpet to Elvis Costello's recording of his anti-Falklands War song "Shipbuilding" in 1983. In 1987, photographer and filmmaker Bruce Weber undertook a documentary film about Baker. The following year, Baker died in a fall from a hotel window in Amsterdam after taking heroin and cocaine. Weber's film, Let's Get Lost, premiered in September 1988 to critical acclaim and earned an Academy Award nomination. In 1997, Baker's unfinished autobiography was published under the title -As Though I Had Wings: The Lost Memoir and the book was optioned by Miramax for a film adaptation.
Baker's drug addiction caused him to lead a disorganized and peripatetic life, his constant need for cash requiring him to accept many ill-advised recording offers, while his undependability prevented him from making long-term commitments to record labels. As a result, his discography is extensive and wildly uneven.
--- William Ruhlmann, All Music Guide

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