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Collector’s limited edition. Deluxe 6-sided Digipak presentation with comprehensive booklet. Contained here is the complete LP Charlie Parker Plays Cole Porter (Verve MGV8007).

Intended as a homage to composer Cole Porter, who penned all of the tunes featured here, the album marks one of Norman Granz’s first attempts to present a songbook, preceding the celebrated LPs he would make with Ella Fitzgerald. Bird never saw the final product, as he died on March 12, 1955, before the LP’s release date. In fact, the album’s second session would also be his very last, either live or at a recording studio. Six bonus tracks have also been included here, consisting of additional studio versions of Porter songs by Bird. All compositions by Cole Porter

All original recordings produced by Norman Granz Charlie parker, alto sax on all tracks, plus: Tracks 1-5: Walter Bishop, Jr. (p), Jerome Darr (g), Teddy Kotick (b), Roy Haynes (d). New York, March 31, 1954. Tracks 6-10: Walter Bishop, Jr. (p), Billy Bauer (g), Teddy Kotick (b), Art Taylor (d). New York, December 10, 1954.



b 2 | I Get A Kick Out Of You [alt Tk]



[f] 6 | Love For Sale / Love For Sale [alt Tk]

[h] 8 | I Love Paris [alt Tk]
[i] 9 | Love For Sale [alt Tk #2]


[b] 2 | I Get A Kick Out Of You [alt Tk]



[f] 6 | Love For Sale / Love For Sale [alt Tk]

[h] 8 | I Love Paris [alt Tk]
[i] 9 | Love For Sale [alt Tk #2]

Limited edition 6-panel digipak with comprehensive inside booklet. In late November 1950, Charlie Parker was invited to go on a short European tour, including a number of venues in Sweden, accompanied by Swedish rhythm sections. Bird arrived at Bromma airport on Sunday November 19th, where he was met by a large group of enthusiastic fans. Presented on this set are all of Parker’s known recordings from that Swedish tour, all of them musically wonderful but privately made by local fans with amateur equipment. Among the highlights are an extended improvisation on “Body and Soul” and versions of tunes rarely or never again recorded by him, such as “Fine and Dandy” and “Strike Up the Band”.

Very much in line with his ‘Jazz at the Philharmonic’ concerts, which were intended to recreate the magic of a spontaneous jam session in front of a massive audience, producer Norman Granz also brought together several first-rate jazz soloists in the studio in order create ‘Jam Session’ albums.
This 1952 date is the only one of the series featuring Charlie Parker. It was originally divided onto two LPs, the first volume bearing a yellow cover, and the second one with the same David Stone Martin illustration but with a red cover. Jam Session marks Charlie Parker’s only recorded encounter with Charlie Shavers, Ben Webster or Johnny Hodges.
He had participated with Benny Carter (and also with a third alto saxophonist, Willie Smith) on a taped 1946 AFRS radio show that constitutes their only other conjunct recording. Bird and Flip Phillips had a long history of recording together, beginning with a Sarah Vaughan session for the Continental label in 1945 and a Red Norvo date for the Comet label that same year, as well as further studio dates and JATP live performances organized by Granz. Barney Kessel had recorded with Parker in 1947 during the Dial session that produced among other titles the celebrated ‘Relaxin’ at Camarillo’. Bird and Oscar Peterson only recorded together on one other occasion, a March 25, 1952 big band session that was also made for Norman Granz.
During the time Jam Session was recorded, Parker was trying to stay away from heroin, but that accentuated his alcohol consumption, as shown in the photographs taken at the date, where he looked tired and had gained much weight.
His playing, however, was truly exceptional. For the ballad medley Bird chose ‘Dearly Beloved’. This is the only reading of the tune in the entire Parker discography, either live or in the studio.

Released by Verve in 1958 three years after Parkers untimely death at the age of 34 ‘Swedish Schnapps’ compiles two complete 1951 sessions from which the master takes had previously been released as 78rpm singles, and later put together on the 1955 Clef Records LP The Magnificent Charlie Parker (MG C-646).
While one date features Red Rodney (the regular trumpeter from Parkers quintet during that time), the other is a reunion session featuring drummer Max Roach and, more importantly, trumpeter Miles Davis (who had left Bird s group more than a year before). On that same day, Miles would record his first studio session for Prestige and would play the piano on I Know from Sonny Rollins first date as a leader.
An album consisting primarily of variations on the blues, Swedish Schnapps also includes Birds definitive reading of Lover Man, a song he insisted on recording again after the tormented 1946 Dial version was issued against his will.
Four tunes presenting Bird soloing with larger groups have been added as a bonus (the Cole Porter tunes that complete both sessions can be found on Birds Nest LP 840109).



[c] Swedish Schnapps [alt tk]

[e] Back Home Blues [alt tk]





[k] Au Privave [alt tk]

[m] She Rote [alt tk]

Fünf legendäre Charlie-Parker-Klassiker in einem luxuriösen LP-Set!

Würde man diese Alben als Original-LPs kaufen wollen, müsste man einen Kredit aufnehmen. Deshalb erscheinen die legendären Charlie-Parker-LPs jetzt als Special Collector’s Edition Box-Set! Fünf der größten (und meist-verkauften) Bebop-Alben aller Zeiten als Neuauflage im Original-10-inch-Format.

Neu gemastert von Alex Abrash bei AA Mastering, 180g- Vinylpressungen, originalgetreue Reproduktionen des Original Artworks von David Stone Martin. Im Schuber befindet sich auch ein 10x10-inch großes Buch mit neuen und exklusiven Linernotes von Ethan Iverson, einem neuen Aufsatz von Autor David Ritz und vollständigen Track-by-Track-Notizen.

Die Alben: „Charlie Parker With Strings“ (1950), “Bird & Diz” (1952), “Plays South Of The Border” (1952), “Charlie Parker With Strings Vol. 2” (1953), „Charlie Parker” (1954)

'One of the most lauded (not to mention brilliant) trumpet players in the history of jazz, Clifford Brown adds to his luster on this varied program of nine engaging tunes. The 1955 line-up of the Clifford Brown/Max Roach Quintet – one of the premiere early hard bop units – included tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow.

Charlie Parker represents the maximum authority to be
claimed one of the most popular and influencial bebop
jazz's godfathers.

This records is an academic vademecum of what must be
done to track the path in the jazz history.
Parker runned this music adventure together with the
beloved friends:

Miles Davis (Trumpet), Tommy Potter (Bass), Max Roach
(Drums), Duke Jordan (Piano), J. J. Johnson (Trombone).
In sinthesys: the record you want to listen to when back
home.

“Ornithology: The Best of Bird” is a new compilation bringing together 11 cuts from legendary jazz saxophonist Charlie Parker. Designed as an introduction to this influential artist, it covers Bird’s prime years between 1945 and 1953, with cuts including “Ko-Ko,” “Billie’s Bounce,” and “Groovin’ High”. Included on the back of the newly designed sleeve is a new essay by GRAMMY® award winning writer Ashley Kahn.

Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from 1941–1951 — most of them never having been heard before and some never even having been known to exist — chronicle Bird’s evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird’s friend Phil Baxter and at Vic Damon’s studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake.

Modern jazz has had from the start two main sources whence came most of the ideas. These two founts, as it were, of inspiration and of ideas are Charlie Parker and Dizzy Gillespie. Indisputably they have enriched the lore of jazz throughout the world. They have taken what people have built before them, refashioned it in many ways, added to it, and have sent the jazz edifice soaring for others to look up to; be inspired by, and, eventually, build upon

Although they had played together in various groups since their first meeting in 1939, the partnership between Charlie Parker and Dizzy Gillespie really took off in 1945. The Parker/Gillespie group only lasted until early 1946, but they continued to play together on different occasions, such as the amazing 1953 Massey Hall concert, and the 1951 Birdland broadcast that opens this CD, which also features the marvellous Bud Powell. This collection also contains all other Birdland broadcasts featuring Bird and Diz together, as well as two complete bonus sessions at other venues showcasing their magic combination of sounds. “This set features the quintet of altoist Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, bassist Tommy Potter and drummer Roy Haynes performing stirring versions of four bebop standards; ‘Blue ‘N Boogie’ and ‘Anthropology’ receive definitive and very exciting treatment.” **** AllMusic, Scott Yanow
Limited edition 6-panel Digipak with comprehensive inside booklet.

'Bird and Diz' is the legendary collaboration between two jazz giants: saxophonist Charlie Parker (nicknamed "Bird") and trumpeter Dizzy Gillespie (often referred to as "Diz") key figures in the development of bebop. Their partnership was pivotal in shaping the sound and direction of bebop and their recordings together are considered some of the most influential in jazz history.

This set contains the complete original LP 'Bird and Diz' (Verve MGV-8006), consisting of a quintet session which marked Parker and Gillespie's last studio date ever (although they would later be recorded together live on numerous occasions, including the celebrated 1953 Massey Hall concert). This session was also Parker's only studio encounter with the great Thelonious Monk. Side B features nine alternate takes from the session.

Overall, the partnership between Charlie Parker and Dizzy Gillespie represents a
golden era in jazz history marked by innovation, collaboration and artistic excellence
and their music continues to inspire and captivate listeners, ensuring that Bird and Diz
will always be remembered as two of the greatest figures in the pantheon of jazz
legends.

6-panel digipak with comprehensive booklet and up-to-date liner notes. Charlie Parker and Lennie Tristano had mutual admiration and understanding for each other, and were good friends. However, their recorded output together is far from extensive and this CD contains the whole of it. Both were great jazz innovaters, although Tristano was the first to admit Bird’s pre-eminence among all musicians of that period. Their collaborative recordings consist of a variety of
broadcasts, studio sessions, and even a couple of amazing duets recorded by Bird on his tape machine at Lennie’s house (presenting the only known recording that Charlie Parker ever made of “I Can’t Believe That You’re in Love with Me” and his only complete version of “All of Me”).




[d] 4 I Surrender Dear [Rhythm Section Only]

Alto saxophonist Charlie Parker (1920-1955) was among the most influential jazz artists ever, and one of the few indisputable geniuses of his time. This set presents the complete master takes from the recording sessions he made with his regular Quintet featuring the equally great Miles Davis on trumpet. Included here are some of Bird’s most admired sides, such as “Billie’s Bounce,” “Now’s the Time,” “Scrapple from the Apple,” and “Donna Lee.” One session presents
him on tenor sax, an instrument on which he only rarely recorded.

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

Pianist, composer, arranger and musical director for the likes of Phoenix and Sebastien Tellier, the charismatic and talented Christophe Chassol gave birth to an unclassifiable artistic piece. His compositions articulate voices, music, sounds, images onto new audiovisual objects. The result has a name : "ultrascore".
The second volume of Ultrascores is a selection of unreleased musics composed by Chassol : ?Lamb, his last original soundtrack, Nola Chérie, and remixes of friends : ?Yuksek, Keren Ann,

Elder statesman of Malian music Cheikh Tidiane Seck sends an Afro Jazz prayer to his friend and colleague Randy Weston over a double LP, propelling his Pan-African vision into the future over a sea of soulful piano and complex percussion. Cheikh envisaged the session as a kind of musical banquet, inviting guests including Manu Dibango and Abd Al Malik to the table to pay tribute to Randy Weston’s compositions, blending disparate musical traditions and experiences into a collective eulogy.

Chelsea Wilson is a Melbourne based vocalist, songwriter, broadcaster and producer. Her highly anticipated new album “Chasing Gold” sees Chelsea move into rare-groove territory, fusing her love of early disco, epic pop and jazz. Produced by ARIA nominated composer/ bassist Ross McHenry (The Shaolin Afronauts), the album features lush string orchestration arranged by Ross Irwin (The Bamboos) and backing vocals by Jason Heerah and Thando. The debut single “Real Love” has garnered international airplay including spins on BBC6, Delite Radio, Starpoint, Mi-Soul and Jazz FM in the UK, hitting #12 on the UK Soul Chart.

I must admit to being a sucker for two-guitar bands. Ok, Hendrix pulled off a trio. But I don’t care what anybody says: The Yardbirds were a better band than anything that came out of them (Ok, maybe not Zep. But Cream?).

Maybe the reason I go back so far in my references is that, within the two-guitar band format, original new roles are difficult and rare. There’s the classic (socially problematic and often boring) “rhythm/lead” solution. There’s the JB’s or Nile Rodgers’ chicken pickin’ vs comping solution (which avoids chordal clashes by relegating one of the guitars to the role of single-note percussion instrument). There’s Ornette’s Prime Time division between Bern Nix’s rolled-off “jazz” tone and Charles Ellerbee’s trebly wah. Almost everything else is a variation on one of these.


In Ches Smith’s record Clone Row, each piece is built around a different concept for guitar interaction. The delightful and gifted weirdness of Mary Halvorson’s playing is counterpointed, contrasted, unisoned with, played off, juxtaposed (that is to say, enters every relationship possible) with Liberty Ellman’s equally amazing sound palette, chops, and imagination. This definitely ain’t your father’s guitar band.
The overall vibe of the record—despite Halvorson’s occasional noise outbursts or Ellman’s distorted guitar lines (see Mixed Fridge) is neither punk/funk, nor Zorn-ish metal—and certainly not the looser parameters of Ornette’s improvised harmolodics. Smith’s vibraphone playing, Halvorson’s guitar tone (whammy pedal squiggles aside), the brilliant electronics, and (most of all) the compositions themselves are somehow strangely West Coast cool. It’s as if I’m hearing a Jim Hall concert in which one of us did a lot of mushrooms, or (dare I write this?) some post-punk post-Dave Brubeck post-trip-hop experiment with classical form.

This recording is, most of all, about Ches as composer. He’s picked up a lot on his long, strange trip of the last few decades. The Haitian funkiness of his work with We All Break is audible—but deeply buried, encoded in the polyrhythms (check out Heart Breakthrough). His long-running side musician collaborations with John Zorn and Tim Berne are also evident but sublimated here into something new.

Not that improvising is absent. Check out the compelling collective statements in Sustained Nightmare and Ready Beat. Check out the brilliant interplay and bass soloing on Abrade With Me (a Weather Report for the age of extreme weather?) Nick Dunston is my favorite bassist of the new generation, and he plays brilliantly throughout. And Ches’ drumming here has all the groove, energy, and incredible range that have kept him in demand from Saturday night Vodou services to jazz and new music recording sessions (…the thinking man’s rock barbarian?).
The sus chords in Abrade With Me do build, for a moment, towards a fusion type of climax...but just at the moment I was gritting my teeth in anticipated defense against some horrible synth solo, the drums drop out, and we’re transported to the ambient lounge at the rave, and we suddenly understand we’re in the hands of a composer with the power to transport us just about anywhere.
So, this is a composer’s record most of all; a composer’s record performed by musicians who happen to be great improvisers. Ches Smith builds here on his reputation as a gifted new voice with an important vision, while showcasing some of the most creative musicians of our time.

Local Philadelphia singing sensations Al and Tyrone Chestnut self produced the classic 12" single "Sweet Little Rita” mixed in New York in 1983
by the highly regarded Steve Goldman, who was the chief engineer for Mighty M productions and whose mixes for Kashif, Evelyn Champagne King, Melba Moore, George Benson and others, became radio staples. Like most Street Level releases,
"Sweet Little Rita" was recorded inPhiladelphia, mixed in New York, and originally released in Canada. Presented here is the original 12" version plus bonus instrumental version.

Known as ‘Mr. Guitar’, Chet was one of the greatest and most influential musicians in Country
Music. He was an RCA Nashville Producer from the late '50s through to the mid-70's,
masterminding sessions for Dolly Parton, Charley Pride, Waylon Jennings and Jim Reeves. Chet
moved to Nashville and became a session man, playing on records by the Everly Brothers, Elvis
Presley and others, while also performing as a solo artist on the Grand Ole Opry. An in-demand
figure at this point, Chet commenced his own recording career with an instrumental version of
Indian Love Call. Followed by Yankee Doodle Dixie, a showcase arrangement on which Chet
played the Bass strings and Treble strings simultaneously! An architect of the Nashville Sound, he
recorded an instrumental version of the Chordettes' hit Mr. Sandman, which provided him with his
first Country Music chart entry. His records began to cross over into Pop and he enjoyed Hot 100
success with the percussive Boo Boo Stick Beat, Teensville, One Mint Julep, Sleep Walk and Oh
Lonesome Me

Chesney Henry Baker Jr was more than just a trumpet player. He was so many things to so many people. To some, a Bix Beiderbecke for the post-bebop generation, forever creating lyrical phrases that sometimes jumped for joy, or opting for a melancholy beauty, so sad you could almost hear the tears falling. To others he was a flawed Hollywood hero, a face that set him apart from the usual run of 52nd Street icons; a From Here To Eternity Montgomery Clift or James Dean in headhung frustration in Rebel Without A Cause. Released in 1959
the Chet album proved to be one of the trumpet star’s last offerings before heading back to Europe for what would become know as the Milano sessions

Chet Baker Plays Vladimir Cosma was orignially released in 1985 by French record label Carrere Records. It features rearrangements of songs written by Romanian film score composer Vladimir Cosma.

A new collection of classic LPs - 180 gram vinyl LP +bonus digipak CD inside!

Chet Baker Sings was the debut vocal album by jazz trumpet star Chet Baker released in 1954 by Pacific Jazz Records.

An album that has endured every music trend, it remains an essential album in any collector’s jazz or popular music library. In 2001, the album received a

posthumous Grammy Hall of Fame Award.


The bonus CD with this package includes the complete album “Chet Baker Sings” plus 10 bonus tracks.

This is the last recording of legendary Chet Baker. The producer of NDR radio in Hamburg (who had set in with Chet at a Hamburg jazzclub as a drummer many years ago which was an unforgettable experience for him) had asked Chet what his favourite project would be, carte blanche.
Well, he answered that he would love to record with a quintet of good friends, a jazz big band and a symphonic orchestra. All were provided and the result is a breath taking event indeed.

‘Chet Sings’ by the trumpeter and vocalist Chet Baker is a classic of West Coast cool jazz. Recorded between 1953 and 1956 this CD reissue includes 10 bonus tracks and vinyl inludes 2 bonus tracks.
The collective personnel accompanying Baker includes Russ Freeman on piano & celeste; Jimmy Bond, Carson Smith, Joe Mondragon, bass; Peter Littman, Lawrence Marable, Bob Neel, Shelly Manne, drums; among others. The 20-page booklet features complete information and specially prepared liner notes by Penguin
Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.
SINGS

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Chet Baker was the epitome of cool... the possessor of the kind of
looks that usually only featured in the most elegant of Hollywood
movies. He also played the trumpet in a way that transcended jazz
boundaries, and won him countless admirers among those who didn’t
normally stoke their hi-fis with bebop sounds. An opportunity to play
alongside the legendary Charlie Parker provided Chet’s start in the
jazz life - and that same year, 1952, he became a member of Gerry
Mulligan’s ground-breaking piano-less quartet - a combo that made
the sort of recordings that were essential to those of a hip genre.

Chet Baker (1929 – 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. Baker earned much attention and critical praise through the 1950s but his well-publicized drug habit also drove his notoriety (he was in and out of jail frequently before enjoying a career resurgence in the late ‘70s and '80s). Chet’s career in-cluded collaborations with greats such as Elvis Costello, Charlie Parker and Van Morrison. Mr. Baker was the subject of many books and documentaries throughout the decades and he was even portrayed by Ethan Hawke in the 2015 film Born to Be Blue.
Chet began his musical career singing in a church choir and his mother said that he had begun to memorize tunes on the radio before he was even given his first instrument. Peers called Baker a natural musician to whom playing came effortlessly. In the early 1950s he was chosen by Charlie Parker for a series of West Coast engagements…shortly after this, his song "My Funny Valentine" became a hit and would be associated with Baker for the rest of his career. Mr. Baker (with his quartet) was a regular performer at famous Los Angeles jazz clubs such as The Haig.
Chet Baker's quartet released popular albums between 1953 and 1956 and he won reader's polls at Metronome & Down Beat magazine, beating trumpeters Miles Davis and Clifford Brown. In 1956, Pacific Jazz Records released Chet Baker Sings, an album that seriously increased his visibility. During most of the 1960s (before heading to Europe more frequently) Chet recorded music that could be classified as ‘West Coast jazz’
From 1978 until his death in 1988, Chet Baker lived and played almost exclusively in Europe, returning to the U.S. once a year for a few performances. This was Baker's most prolific era as a recording artist.
On the album we are presenting to you today (Cool Cat) you’ll find Dutch recordings (recorded in 1986 & released in 1989). This rare gem of an album is comprised out of tracks written by some of the top jazz composers of all time (including Thelonious Monk) and played meticulously by Baker and his all-star line-up consisting out of Jon Burr (Yo-Yo Ma), Ben Riley (Sonny Rollins, Alice Coltrane, Thelonious Monk) and many others.
Be prepared for six sublime tunes that bring out the more intimate and touching aspects of the Chet Baker sound, a fantastic session where the master plays his themes with an almost religious surrender. On Cool Cat the listener is treated to a mix of both instrumentals and mid-sung tunes with very moving vocals. The trumpeter's laid-back breathy approach and perfectly placed notes in combination with his superb rhythm section provides the listener with an un-mistakable evidence that Baker still had considerable powers as a musician late in his career. Despite a seemingly chaotic and nomadic life, there is an unmistakable serenity emerging from the trumpeter's sound throughout the al-bum…a deep and touching beauty can be felt, marking this as one of Chet’s best from the period.
Originally recorded in 1986 and released in 1989 on Timeless Records, the legendary Dutch jazz label run by Ria and Wim Wigt (who were patrons and friends of Chet till his sudden passing in 1988), Tidal Waves Music now proudly pre-sents the first official reissue (and the first ever UK vinyl release) of Chet Baker’s classic Cool Cat album. This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip. The jacket also features ex-clusive pics shot in Amsterdam in 1986 by legendary Dutch photographer Joost Leijen (known for his work with artists such as Art Blakey and Pharoah Sanders). Released exclusively for Record Store Day 2021 and available in partici-pating stores worldwide on June 12th 2021…with the EXCEPTION of North America. This RSD21 release is not avail-able to stores located in the US. There will be a regular North American edition for this album coming out as well in July!

Long time hard to find and long awaitedreissue of Chet Baker’s last studio album.
Lyrical, poignant, it shows Chet Baker at his best. Included the original version of Elvis Costello’s “Almost Blue”. Which has become
an all-time classic masterpiece in Chet’s repertoire, also heard on the “Let’s Get lost” soundtrack. HQ re-mastering

"This may well be Baker's best LP so far. He plays throughout with more virility than often heretofore; his tone is fuller with a cheering diminution of wispiness, and, withal, he has been able to retain the lyricism that is his primary identification." - Nat Hentoff, DownBeat

Limited edition box set, which includes the complete original LP - 180g vinyl - gatefold sleeve, an 80-page book 'The Making of Chet Baker Sings' by Brian Morton and the complete CD with bonus tracks

The unforgettable 'Chet Baker Sings' put Baker on the map not just as a brilliant trumpeter, but also a talented vocalist. The album was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. The reasons are quite clear; Chet's voice is tender and beautiful, and at the same time his phrasing always swings and surprises.

The initial 1954 release was a 10" LP (Pacific Jazz LP11) which contained just eight tracks, reappearing in 1956 as a 12" LP (World Pacific PJ-1222) with additional tracks from the same session.
This wonderful definitive edition puts together: the original 12" LP 'Chet Baker Sings' in a 180-gram virgin vinyl gatefold edition illustrated with William Claxton photos from the sessions; the complete CD containing the same album plus six bonus tracks; an 80- page fully illustrated hardcover book on which writer Brian Morton explores the genesis of the iconic album. The book also includes a
specially written essay by bassist Riccardo Del Fra, speaking about his experiences playing with Chet, as well as dozens of classic, rare and never before published photos by such important jazz photographers as William Claxton, among many others.