Chet Baker - Chet Baker & Crew - 180g 2LP

Product no.: PPANPJ1224

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Chet Baker - Chet Baker & Crew - 180g 2LP
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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

Pure Pleasure / Pacific Jazz - PPAN PJ1224  - 180 Gram Virgin Vinyl

Mastered by Steve Hoffman & Kevin Gray - Pacific Jazz PJ-1224

6 Bonus Tracks - Limited Edition - Pressed  at Pallas Germany

The surfaces of both these LPs are impeccable -- as quiet as vinyl gets. This helps reveal the personality of each recording all the better. Pure Pleasure has released ten Pacific Jazz titles, but there are hundreds of the label's recordings that are unrepresented among LP reissues. Here's hoping that Pure Pleasure continues to mine this especially deep vein - The Audio Beat
Chet Baker and Crew comes highly recommended for audiophiles, fans of early period Baker, and those  like me  that have a special place in our jazz hearts for the West Coast jazz scene that came and went from the early ’50s till the mid ’60s, when the LA jazz scene briefly rivaled the Big Apple for jazz supremacy. - LP Review
The numbers heard on "Chet Baker & Crew" were among a prolific flurry of recordings Baker was involved in during the last week of July 1956 — fresh from an extended European stay. The crew on these sides includes Phil Urso (tenor sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums), and of course Baker (trumpet/vocals). Joining the combo on both the original as well as the alternate take of “To Mickey’s Memory” and “Pawnee Junction” is Bill Loughbrough (chromatic tympani). His unmistakable percussive accents and tuned drum solos give these West Coast bop tracks uniquely Polynesian intonations.
The band members take full advantage of their individual roles and abilities as soloists to really stretch out on “Slightly Above Moderate” and the Urso-credited composition “Halema” — named after Baker’s wife. The chemistry of cool that flows between Urso and Baker is perhaps at its finest during the seamless exchange heard on “Worryin’ The Life Out Of Me”. Timmons also boasts notable contributions throughout. His playful and scampering style dresses up the bluesy “Lucius Lu” and “Line for Lyons”, among others. The latter is also notable as it contains the sole Baker vocal on this set. 
This LP reissue of "Chet Baker & Crew" increases the original eight-song Pacific Jazz collection to include all 14 tracks completed during three sessions in late July 1956 at the Forum Theater in Los Angeles.
In 1952, when Pacific Jazz was founded in Los Angeles, New York was the epicenter of jazz recording. The Blue Note, Prestige, and Riverside labels were all headquartered in New York, and the three of them, along with music giant Columbia, which was also based in NYC, were responsible for the most important recordings of the era -- and the establishment of jazz as largely an East Coast phenomenon. But as its catalog grew, Pacific Jazz began to represent a different voice. Labeled variously West Coast or cool jazz, the records coming from Los Angeles were unlike those coming out of the East, even though some of Pacific Jazz's most prominent musicians paid their dues in New York.
Trumpeter and vocalist Chet Baker was one of Pacific Jazz's most recognizable artists, but he attained even greater renown after leaving the label in the late 1950s. The eight tunes on the first LP of Chet Baker & Crew comprise the original album, with the second LP adding six more numbers that were recorded at the same time but not released. The swinging bop is in many ways quintessentially West Coast: a loping rhythmic foundation supports an overlay of well-arranged, melodic horns, the piano in a supporting role. Baker is characteristically pensive and lyrical -- like Bill Evans on trumpet -- and he has some taut interplay with Phil Urso on tenor sax. The early stereo sound is above average, featuring a well-resolved sense of space and ample center fill. The bass is also surprisingly punchy in spots.
Chet Baker, trumpet & vocals D3
Bobby Timmons, piano
Phil Urso, tenor saxophone
Jimmy Bond, bass
Peter Littman, drums
Bill Loughbrough, Timpani (Chromatic) A1, C1 & D1
LP 1
1. To Mickey's Memory
2. Slightly Above Moderate
3. Halema 
4. Revelation 
5. Something For Liza
6. Lucius Lu
7. Worrying The Life Out Of Me
8. Medium Rock 
LP 2
1. To Mickey's Memory (Alternate Take)
2. Jumpin' Off A Clef
3. Chippyin'
4. Pawnee Junction
5. Music To Dance By
6. Line For Lyons
Chet Baker - Chet Baker & Crew - 180g 2LP
We use the Original Tapes and work with only the Best Mastering Studios
Plated and Pressed at Pallas in Germany on 180 gram Virgin Vinyl
Highest Quality Jackets and  Inner Sleeves
Low Numbers per Stamper Released in Limited Quantities
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Pure Pleasure Records
The Restoration of the Art of Sound
180g Vinyl Mastered From The Best Available Sources

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records. During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s – or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production. To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

There really is nothing quite like it.  It’s the touch, the feel, you have to stop and stare, the cover,  the real thing, even the smell.

Its tangible, you can feel it, see it, study it,   muse/dream over it, it’s real, someone  has spent hours and hours over its construction and presentation. Pure Pleasure Records is just that, Pure Pleasure and that is what it has set out to be.  The music and the physical record.  Something to keep, treasure, admire and above all enjoy.Of course with vinyl it’s not just a record, it’s the cover,  the sleeve notes, you are  holding a unique package, produced by craftsmen.

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Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 

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