In the summer of 1955, Chet Baker decided to go on a concert tour of Europe for a few weeks. He ended up staying there for more than six months, and his work and experiences during that time, which was mostly spent in Paris, should be crucial for his career and his life.
There is no doubt that his musical development experienced a major push forward. A comparison of the Pacific Jazz recordings made before and after the Paris interlude shows a much matured, more proficient trumpet player. On the personal side, his deepening heroin addiction and the death of his friend and pianist Dick Twardzik only a few weeks after their arrival in Paris also left an imprint on his playing, which lost its carefree tone. His playing was still light, but from this point onward, it started to deepen emotionally, bringing in shades of both beauty and darkness. It is also the time during which, no doubt through the exposure to the Paris jazz scene, Baker is increasingly influenced by hard bop, which ends his "cool jazz" phase and works much to his advantage.
All of them show Baker maturing, and all of them show him alert and attentive. These recordings stand well in their own right, and they would provide the foundation for his excellent collaborations with Art Pepper and Russ Freeman after his return to the USA in 1956. ---hprill, rateyourmusic.com
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En el verano de 1955, Chet Baker decidió realizar una gira de conciertos por Europa durante unas semanas. Acabó permaneciendo allí durante más de seis meses, y su trabajo y experiencias durante ese tiempo, que transcurrió en su mayor parte en París, deberían ser cruciales para su carrera y su vida.
No cabe duda de que su desarrollo musical experimentó un gran impulso. La comparación de las grabaciones de Pacific Jazz realizadas antes y después del interludio parisino muestra a un trompetista mucho más maduro y competente. En el plano personal, su creciente adicción a la heroína y la muerte de su amigo y pianista Dick Twardzik pocas semanas después de su llegada a París también dejaron una huella en su forma de tocar, que perdió su tono despreocupado. Su forma de tocar seguía siendo ligera, pero a partir de ese momento empezó a profundizar emocionalmente, aportando matices tanto de belleza como de oscuridad. Es también la época en la que, sin duda por la exposición a la escena del jazz de París, Baker se ve cada vez más influenciado por el hard bop, lo que pone fin a su fase de "cool jazz" y le beneficia mucho.
Todas ellas muestran a Baker madurando, y todas ellas lo muestran alerta y atento. Estas grabaciones se sostienen bien por sí mismas, y proporcionarían la base para sus excelentes colaboraciones con Art Pepper y Russ Freeman tras su regreso a los Estados Unidos en 1956. ---hprill, rateyourmusic.com
01.Alone Together
02.Tenderly
03.Summertime
04.There's a Small Hotel
05.I'll Remember April
06.Not Too Slow
07.Chet
08.Just Duo
09.Sad Walk
10.In a Little Provincial Town
11.Exitus
12.Tasty Pudding
13.These Foolish Things (Remind Me of You)
14.Everything Happens to Me
Credits:
Chet Baker - Trumpet, Vocals
Jean Aldegon - Sax (Alto)
Francy Boland - Arranger, Piano
Jimmy Bond - Bass
William Boucaya - Sax (Baritone)
Jean Louis Chautemps - Sax (Tenor)
Bert Dahlander - Drums
Raymond Fol - Piano
Gérard Gustin - Piano
Peter Littman - Drums
Armand Migiani - Sax (Tenor)
Benoit Quersin - Bass
Richard Twardzik - Piano
Benny Vasseur - Trombone
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