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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... Chet Baker |
| + album ............ Grey December |
| + label ............ Pacific Jazz |
| + cat .............. PJ-97160 |
| + year ............. 1992 |
| + genre ............ Jazz |
| + source ........... CDDA |
| + quality .......... VBRkbps / 44,1Khz / Joint-Stereo |
| + release date ..... 26.02.2005 |
| + size ............. 49,3 MB |
| + link ............. n/a |
.| |
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|| tracklist |
'| |
| |
| 01.Grey December 03:43 |
| 02.I Wish I Knew 04:01 |
| 03.Someone To Watch Over Me 03:02 |
| 04.This Is Always 03:09 |
| 05.Headline 03:11 |
| 06.Ergo 03:12 |
| 07.Bockhanal 03:01 |
| 08.Bockhanal (Alternate Take) 02:36 |
| 09.A Dandy Line 02:51 |
| 10.A Dandy Line (Alternate Take) 02:51 |
| 11.Pro Defunctus 03:29 |
| 12.Little Old Lady 02:50 |
| 13.Little Old Lady (Alternate Take) 02:00 |
| 14.Moonlight Becomes You 03:27 |
| 15.Moonlight Becomes You (Alternate Take) 02:55 |
| 16.Goodbye 03:50 |
| 17.Goodbye (Alternate Take) 03:43 |
| |
| |
| (t!) total 53:51 min |
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|| release notes |
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| |
| Chet Baker - Trumpet, Vocals |
| Russ Freeman - Piano |
| Herb Geller - Alto and Tenor Saxophones (#5 - #17) |
| Bob Gordon - Baritone Saxophone (#5 - #17) |
| Shelly Manne - Drums (#5 - #17) |
| Red Mitchell - Bass (#1 - #4) |
| Bud Shank - Flute (#1 - #4) |
| Corky Hale - Harp (#1 - #4) |
| Joe Mondragon - Bass (#5 - #17) |
| Jack Montrose - Tenor Saxophone (#5 - #17) |
| Bob Neel - Drums (#1 - #4) |
| |
| Recorded on December 11 & 14, 1953 and on February 28, 1955, at |
| Capitol Studios, Los Angeles. |
| |
| Two stray Chet Baker 10" titles and a few associated alternate |
| takes are gathered on this single disc. Grey December is one of |
| the better CD reissues featuring Baker's early-'50s recordings on |
| Pacific Jazz, the purveyors of West Coast cool. The instrumental |
| sides feature two septet sessions in December of 1953 and the |
| vocal sextet session dates to February of 1955 - all three of |
| which feature Baker and pianist Russ Freeman. |
| |
| Rather than present these sides chronologically, the four vocal |
| tracks precede the decidedly lengthier 1953 instrumental sessions; |
| a programming decision that works remarkably well. Enthusiasts of |
| Baker's laid-back vocals should consider the February 1955 |
| sessions as essential. The combination of Bud Shank's ethereal |
| flute work when married to Baker's muted vocals create an intense |
| burst of melancholy. The uneven tempo and minor chord progressions |
| featured on the title track as well as "I Wish I Knew" are |
| irresistible in their appeal to fans of the genre. |
| |
| Baker's soft-toned trumpet solos match his vocals in spirit and |
| passion. Even the hapless optimism of "Someone to Watch Over Me" |
| is tinged in noir pathos. A much more traditional setting for |
| Baker can be heard on the septet sides. Although the instinctual |
| interaction between Baker and Freeman shines throughout, |
| "Headline," "Moonlight Becomes You," and the up-tempo swinger |
| "A Dandy Line" best exemplify everything positive about that |
| musical relationship. The pair intertwine their melodies so |
| closely and carefully it can be difficult to separate them. |
| |
| Alternate takes of "Bockhanal", "A Dandy Line", "Little Old Lady", |
| "Moonlight Becomes You" and "Goodbye" are also included. |
| |
.| |
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|| group notes |
'| |
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