Showing posts with label Chet Baker. Show all posts
Showing posts with label Chet Baker. Show all posts

Sunday, November 15, 2015

Best Of American Jazz In Paris (Studio Recordings)

Image courtesy of Vogue Records.

25 Greatest Jazz Records by Americans in Paris


The Infinity of Lists, by Umberto Eco, is among the titles on my to-read list, though even before opening the book, and judging from the cover, I can catch the point and apply it to this list of my favorite studio recording of American jazz musicians in Paris.

The relationship between Paris and musicians has been mostly a love affair, started from the early years of jazz and continued to this day, with the post war years as the peak of interest, visits and involvement in Parisian scene. The curiosity about jazz, similar to that of African artwork revival in the early 20th century Paris, was expanding in various directions in the years between early 1950s and late 1960s. Jazz appeared in or influenced French literature and cinema, while I'm sure, the connection between this American art and France goes beyond these two primary examples.

With a long history of hosting American jazz musicians and giving them the space to play and record, the Paris-recorded albums are too important to remain unlisted. This is one attempt to pay a closer listen to the Parisian jazz records.

These are recordings I have listened to and mostly loved over the years, knowing that there are still hundreds of recordings there, waiting to be rediscovered. Probably you will notice the absence of more contemporary albums on the list, but that can be explained in regard to the current international status of jazz and the blurred concepts of nationality and borders in the 21th century jazz scene. Now, appearing in a Parisian studio or a concert hall is nothing unusual or unique for any internationally recognized artist. But I reckon, back in the 1950s, it must have been a rare experience being present and recording in Paris for someone like Gerald Wiggins. This uniqueness is derived from, among many other things, the status of Afro-Americans in France and the fact that they have been cherished as artists and seen as heroes of the Existentialist and Anti-colonial movements of the post war period. Many of these notions remained a romantic and flawed reading of jazz history, but the recorded documents tell of a joy and sense of exploration which was bestowed to the musicians because of the place of recording.

This list was initiated as a part of my short-lived jazz program, targeted for Iranian listeners, which ran between 2011 and early 2012. The episodes 22 to 24 were titled Jazz In Paris, and during three sessions I played many tracks from the albums I've listed here. They are available here, here and here.

Friday, September 4, 2015

Ethan Hawke as Chet Baker


Ethan Hawke as Chet Baker in Born to Be Blue, an upcoming Canadian film directed by Robert Budreau.

Sunday, January 15, 2012

Radio Hawkins#22: Americans in Paris I

راديو هاوكينز: جاز براي ايران
اپيزود 22
آمريكايي ها در پاريس
بخش اول

اين جا بشنويد



فهرست قطعات

All recorded in Paris, with exception of the first track, recorded in New York City.

Coleman Hawkins & Manny Albam Orchestra
I Love Paris
Chauncey Welsch (tr), Romeo Penque (t), Ray Beckienstein (f, sax), Al Epstein (f, sax), Coleman Hawkins (ts), Marty Wilson (vibe), Barry Galbraith (g), Hank Jones (p), Arnold Fishkin (b), Osie Johnson (d)
July 9, 1956

Sonny Criss
Don't Get Around Much Anymore
Sonny Criss (alto sax), Georges Arvanitas (org), Rene Thomas (g), Pierre Michelot (b), Philippe Combelle (d)
April 22 or 25, 1963

Dizzy Gillespie
Serenity
Dizzy Gillespie (tp), Kenny Drew (p) Niels-Henning Orsted Pedersen (b) Kenny Clarke (d)
April 13, 1973

Ben Webster
Johnny Come Lately
Ben Webster (ts), Georges Arvanitas (p), Jacky Samson (b) , Charles Saudrais (d)
June 5, 1972

Dexter Gordon
Broadway
Dexter Gordon (t), Bud Powell (p), Pierre Michelot (b), Kenny Clarke (d)
May 23, 1963

Chet Baker
Oh You Crazy Moon
Chet Baker (t), Phil Markowitz (p), Jean-Francois Jenny Clark (b), Jeff Brillinger (d)
Dec 28, 1978

Cannonball Adderley Quintet
Walk Tall
Nat Adderley (t), Cannonball Adderley (alto sax), Joe Zawinul (p), Sam Jones (b), Louis Hayes (d)
March 27, 1969

Joe Newman Quintet
Lover Man
Joe Newman (t), Frank Wess (ts), Maurice Vander (p), Eddie Jones (b), Sonny Payne (d)
October 8, 1956

Cootie Williams
Mood Indigo
Cootie Williams (t), George Clarke (ts), Arnold Jarvis (org), Larry Dale (g), Lester Jenkins (d)
January 31, 1959

Bill Evans Trio
What are you doing the rest of your life?
Bill Evans (p), Eddie Gomez (b), Marty Morrell (d)
February 6, 1972

Ahmad Jamal
Bellows
Ahmad Jamal (p), Joe Kennedy Jr. (violin), Calvin Keys (g), Jeff Chambers (b), Yoron Israel (d), Manolo Badrena (percussion)
October 26, 1996

Saturday, December 17, 2011

Radio Hawkins#18

عكس زمينه از رضا حكيمي

اپيزود هجدهم
راديو هاوكينز: جاز براي ايران
برنامه اين هفته به پخش آلبومي كامل ار چيكو هميلتن كوينتت (با اريك دالفي) از سال 1959 اختصاص دارد و سپس آثاري از
بيگ جو ترنر، جو آلباني، نينا سيمونه، بادي تيت، تد دامرن، ال كان و باب بروك ماير، بيل اونز و چت بيكر

به برنامه در اين جا گوش كنيد
       
   


برنامه را در اين جا دانلود كنيد

فهرست قطعات و موزيسين هاي برنامه هجدهم به ترتيب پخش

Fat Mouth
Theme for a Starlet
Little Lost Bear
Champs-Elysées
Pretty Little Theme
Lost in the Night
Cawn Pawn
Lullaby for Dreamers
Opening
Lady E
Truth

Chico Hamilton Quintet
Eric Dolphy (reeds), Dennis Budimir(guitar), Nathan Gershman (cello), Wyatt Ruther or Ralph Peña (bass), Chico Hamilton (drums)
19 & 20/5/1959  Chico Hamilton Quintet feat. Eric Dolphy

Pennies From Heaven
Big Joe Turner
Bob Smith (alto sax), J.D. Nicholson (piano), Herman Bennett (guitar), Pee Wee Crayton (guitar), Winston McGregor (bass), Charles Randall (drums), Big Joe Turner (vocal)
10/3/1976 In the Evening

For the Little Guy
Joe Albany
Joe Albany (piano), Al Gafa (guitar), George Duvivier (bass), Charlie Persip (drums)
1982 Portrait of an Artist

Fontainbleau
Tadd Dameron and his orchestra
Henry Coker (trombone), Kenny Dorham (trumpet), Cecil Payne (baritone sax), Joe Alaxander (tenor sax), Sahib Shihab (alto sax), Tadd Dameron (piano), John Simmons (bass), Shadow Wilson (drums)
9/3/1956 Fontainbleau

Alone Together
Chet Baker
Chet Baker (trumpet), Herbie Mann (flute), Pepper Adams (baritone sax), Bill Evans (piano), Paul Chambers (bass), Connie Kay or Philly Joe Jones (drums)
30/12/1958 Complete Legendary Sessions

Goduka Mfundi (Going Home)
Buddy Tate
Buddy Tate (tenor sax), Cecil McBee (bass), Roy Brooks (drums)
25/8/1977 Buddy Tate Meets Abdullah Ibrahim

Don't Smoke in Bed
Nina Simone
Nina Simone (piano, vocal)
12/1957 Little Girl Blue


Winter
Al Cohn Quintet
Bob Brookmeyer (trombone), Al Cohn (tenor sax), Mose Allison (piano), Teddy Kotick (bass), Nick Stabulas (drums).
4/12/1956 Al Cohn Quintet feat. Bob Brookmeyer

Summertime
Big Joe Turner
Bob Smith (alto sax), J.D. Nicholson (piano), Herman Bennett (guitar), Pee Wee Crayton (guitar), Winston McGregor (bass), Charles Randall (drums), Big Joe Turner (vocal)
10/3/1976 In the Evening

Saturday, November 12, 2011

Radio Hawkins#13: On the Road with Kerouac

 برنامۀ سيزدهم
جك كرواك و موسيقي جاز
مجموعه قطعاتي از موزيسين هاي محبوب جك، كاري كه به اسم خود او نوشته و اجرا شده. اشعار او با صداي خودش و با صداي آلن گينزبورگ و مروري بر موسيقي بي باپ كه جك شاهد عيني تولد و اوج گرفتن آن بود
همراه با
لستر يانگ، برو مور، كانت بيسي، جرج شيرينگ، ساني استيت، فليپ فليپس، چارلي پاركر، ديزي گيلسپي، تلانيوس مانك

به برنامه سيزدهم در اين جا گوش كنيد




با كيفيت متوسط و متناسب با سرعت اينترنت ايران در اين جا

Sunday, November 6, 2011

Radio Hawkins#12

عكس از رضا حكيمي

برنامۀ دوازدهم راديو هاوكينز - جاز براي ايران
شامل آثاري از
كيد اري، ري چارلز، آليور نلسن، اريك دالفي، رد گارلند، جيمي هميلتن، يوتا هيپ، زوت سيمز، جري موليگان، چت بيكر، اليك باچيك



دانلود با كيفيت بالا، اين جا يا اين جا

Wednesday, November 3, 2010

Good Morning Blues#2: With Chet in the Mornings


I began this rather cold morning with a butter sandwich, Chet Baker Quartet, a cup of tea, and an inescapable mournful empathy for pianist Dick Twardzik. Before begining the day's task, which is writing a 1800-word piece on cities and movies for 24 Monthly, I ran into this very atmospheric Köln concert of Chet Baker Quartet. Butter and tea were finished after the first tune, and I left alone with Chet's interpretation of Imagination.

The Köln gig was a part of 1955 European tour of the newly formed Chet Baker Quartet. Chet's recording career had started just three years before and now he was a big name in jazz. Musically, he became widely known thanks to the discs he had made with baritone saxophonist Gerry Mulligan as part of a provocative and unusual pianoless quartet (trumpet, baritone sax, bass and drums). Half an hour later, I went for a second cup of tea and found this interview with Chet, from Jazz Podium magazine, 1978. Interviewer is Gudrun Endress:


When did all of these troubles start, in the '60s or in the '50s?
  • No, in 1957. I was 27 years old. And all the musicians that I thought were the greatest musicians were into that, you know. And I never messed with it for a long lime. All the time I was with Gerry Mulligan, I was clean, but people thought I was doing something.
I always thought it happened alter the death of Dick Twardzik.
  • It did. That's when it happened, in 1957, when I went back to New York after he died. That 's when I started it and I kept that pretty strong for about 13 years and then a judge in Califonia was very kind to me. He could have given me five years like poor Art Pepper, who got sent twice to San Quentin or some crazy place like that, but the judge sent me to a sort of guidance-center where they test you, psychological and every way possible, to decide what to do with you. And when I went back to court with the results of the testing, he let me go. He put me back on the street again.
Is that the only way that you can cure yourself?
  • That's the only way. And I did. I got on the methadone program. I was on it 7 years. I started out at 8 milligrams, and little by little I had to take the dosage down and down until I came to Europe with just enough for two months and I made it last for four and a half months. And I just tapered out to nothing and stopped.
That means you are thinking a lot about why you use this. Is it because you can't bear the environment around you, all the bullshit?
  • Yes, the people I had to deal with were a drag, the stuff that I got was never any good. You know, you put all of that energy into the wrong direction. So I decided almost too late to cut it loose. Just to see if I could make it again after everything. Kind of a challenge in a way, because after so much bad publicity it's hard to get people to believe you.
But the bad publicity is publicity, don't forget that.
  • Yes, I know, but everybody reads that and you'd be surprised how many people believe it - what they read. Not people like you, people with some sophistication.
But all these people who are judges or judge these persons, they are maybe drinking a lot of schnapps or beer everyday and they don' t think about that.
  • Oh, but that 's all right. Drugs are something out of the norm, that is really to be feared, I guess. And there are a lot of people, friends of mine, that didn't make it, who couldn't handle it and it killed them. So it comes to a point where you really have to say, do you want to live or do you want to die and then you make that choice and that's it.
And what's the reason why you want to live, to play music?
  • That's about the only thing I'm good for, I guess.
***
Chet looking at Dick Twardzik

But who was Dick Twardzik? Born in Danvers, Boston, on April 3D, 1931, the gifted Twardzik studied classical music before discovering jazz. He began playing clubs in 1946 and by 1954 he was clearly one of the most promising young musicians in Boston. In 1955, when pianist Russ Freeman decided not to travel to Europe with Chet's quartet, the trumpeter found in Dick Twardzik a natural choice. But just like Chet and Littman, Dick was addicted to heroin. Freeman remembered many years later: "Chet was addicted , his drummer was addicted, and there is always a division between musicians who are clean and those who are using. Addicts hang with other addicts."

Chet and Dick's musical relationship would be one of the most interesting albeit tragic experiences in the history of jazz. Beginning the tour in Holland in September 1955, the Chet Baker Quartet played many concerts in Europe and on October 9 they performed at the Köln Börsensaal , in Germany. That tour was his first and his last, because he died from a heroin overdose in his Paris hotel room on October 2 1, 1955. He was only 24 years old.

Now let's go back to another cold day, 55 years ago, in October 9, 1955, only twelve days before Dick Twardzik's death. The setting is Köln Börsensaal. I have it on a CD called The Lost 1955 Concert (RLP Records 88618). The tune is Imagination, with Chet Baker (trumpet), Dick Twardzik (piano), Jimmy Bond (bass), Peter Littman (drums).


Monday, January 25, 2010

Smokin' with the Chet Baker Quintet (1965)



یکی از پنج آلبومی که چت بیکر در دوره بازگشت (اعتیاد و زندان و بقیه دردسرها که عملاً تا لحظه آخر زندگی اش ادامه پیدا کرد) در فرمت کوئینتت – با همراهی جورج کولمن که ساکسفون تنور می زند – برای کمپانی پرستیژ ضبط کرد. آلبوم هایی اگرچه نه خیلی عالی، اما بسیار مهم و کلیدی برای درک سیر تحولات موسیقی چت. ضبط شده از 23 تا 25 ماه اوت سال 1965 و منتشر شده، حدود دو سال بعد از ضبط. پیانیست، کرک لایتسی، باس، هرمان رایت و درام یا همان طبل روی بروکز. خود آلبوم هم که این جاست.

Thursday, October 29, 2009

Remembering Chet Baker in New York


Baker’s long list of recorded music, from the time he left Mulligan’s quartet, and distinctive qualities of his style have given him an extremely effective aura of being a victim of circumstances that governed the scene in America after the war. Among the white jazz musicians who were involved with injuries inflicted upon post-war rebellious generation of young American intellectuals, Baker was not the only person who was experiencing drugs and addiction inside an obviously reactionary society. A society that was immediately consolidating boundaries of conservatism, was nothing especially designed for Baker; all his fellow musicians were in the same trap: Pepper, Mulligan, McLean, Holman and Manne .

The present recording, unlike anything else he’d done up to 1958, gave him a chance to come out of that dark cloud Zoot Sims described many years later. He joined forces with east coast junkies like Philly Jo Jones and Art Blakey, representatives of eastern “hard” style. He tried to find an outlet from the Catholicism of the west coast. Manny Albam did it also: he wrote an exemplary piece of music that reflected the feeling of these young white cats who could not cope with the dreadful reality and mediocrity of the American society, a society that would enjoy Pat Boone more than “bird”; one that would pay heed to Eisenhower rather than to Stevenson... Etc.

--by ARP

Chet Baker Quartet
Chet Baker In New York
(Riverside RLP 12-281, RLP 1119; Fantasy OJC 207, OJCCD 207-2)

Chet Baker (tp) Johnny Griffin (ts -1,3,5) Al Haig (p) Paul Chambers (b) Philly Joe Jones (d)
NYC, September, 1958

1. Fair Weather
2. Polka Dots And Moonbeams
3. Hotel 49
4. Solar
5. Blue Thoughts
6. When Lights Are Low
7. Soft Winds
----------------------
Total Time 43:02
.