Sunday, November 25, 2018

Chet Baker - 1959 - Chet Baker Sings And Plays With Len Mercer And His Orchestra: Angel Eyes

Chet Baker 
1959
Chet Baker Sings And Plays With Len Mercer And His Orchestra: Angel Eyes



1959 Italian LP release:

01. I Should Care 2:46
02. Violets For Your Fur 3:20
03. The Song Is You 2:33
04. When I Fall In Love 3:38
05. Good-Bye 5:07
06. Autumn In New York 3:35
07. Angel Eyes 4:38
08. Street Of Dreams 2:30
09. Forgetful 2:48
10. Deep In A Dream 4:35


2002 CD release

01. I Should Care 2:46
02. Violets For Your Furs 3:20
03. The Song Is You 2:33
04. When I Fall In Love 3:38
05. Goodbye 5:07
06. Autumn In New York 3:35
07. Angel Eyes 4:38
08. Street Of Dreams 2:30
09. Forgetful 2:48
10. Deep In A Dream 4:35
11. Lady Bird 4:45
12. Cheryl Blues 4:58
13. Tune Up 5:16
14. Line For Lyons 7:42

[1-10] CHET BAKER SINGS AND PLAYS with LEN MERCER AND HIS ORCHESTRA

Chet Baker, trumpet, vocals
Mario Pezzotta, trombone
Glauco Maseti, alto sax
Fausto Papeti, baritone sax
Giulio Libano, piano
Franco Ceri, bass
Gene Victor, drums

Milano, September 28 & 29, 1959


[11-14] CHET BAKER SEXTET

Chet Baker, trumpet
Glauco Maseti, alto sax
Gianni Basso, tenor sax
Renato Selani, piano
Franco Ceri, bass
Gene Victor, drums

Milano, September 26, 1959.

Recorded on September 28 and October 5, 1959 at the Gurtler Bros. Studio, Milan.

Released in the USA in 1960 as Chet Baker With Fifty Italian Strings, Reissued in Italy in 1967 as Chet Baker Sings And Plays, in 2002 in Brasil as 1959 Milano Sessions





Chet plays and sings standards with an orchestra, similar to Chet with Italian strings album. He plays well and sings in tune (not always the case elsewhere). "Autumn in New York" is quite poignant. "Good-bye" is heartfelt, as is "Angel Eyes". Music is romantic, pop, and nonchallenging. Most songs are instrumental, a few have vocals too.
Relocating to Italy in 1959 meant that Baker got out of the reach of record producer Orrin Keepnews, with whom he still had a deal for two records. These were eventually recorded in 1959 in Milan and subsequently issued on Riverside's Jazzland imprint.

Without an American producer to watch over him, Baker simply did what he liked to do; one of these projects was an attempt to repeat the success of Chet Baker & Strings that he had recorded for Columbia five years earlier.

Unfortunately, this album turned out to be more of a foreshadowing of the awful albums he would record with the Carmel Strings about eight years later. The arrangements don't really take into account the delicate nature of Baker's singing and trumpet playing, and more often than not lie heavily on the music, suppressing the gentle nuances underneath them.

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