About Chet is Back (Speakers Corner) by Chet Baker:
Forty-two years ago, Chet Baker - one of the most tragic figures of jazz who lived on the fast lane and ruined himself with drugs and alcohol - was constantly on the road from one European jazz club to another. Local rhythm groups were not always top notch so it was only logical to pick the very best from several countries for a film-music production in Italy. And it was equally logical that RCA’s Italian subsidiary brought the musicians into the studio in January 1962.
With one exception, the eight titles on this disc are all so-called standards. The two winds demand total concentration from the rhythm section while maintaining relaxed and laid-back harmonic patterns. And this is something the Italian Tommasi, the Belgian Thomas, the Frenchman Quersin and the Swiss Humair carry off with an air of nonchalance. The two ballads "These Foolish Things" and the only new composition "Ballata In Forma Di Blues" are tucked in between the other numbers and give the listener space to breathe. They are surrounded by numbers with a fast tempo, all of which demonstrate Chet Baker’s and Bobby Jaspar’s high standard of musicianship. And then there is "Over The Rainbow", whose theme is coupled with another tragic figure of music history, Judy Garland: Chet on his trumpet conjures up pure magic in the middle section.
Happily, these recordings - made in Rome in 1962 - are not purely restricted to collectors living in the Sixties. This re-release on LP now offers the opportunity to listen to some excellent music and to enjoy the cover – just as it was on the original recording: a priceless gem!
- Chet Baker (trumpet)
- Bobby Jaspar (tenor saxophone, flute)
- Amadeo Tommasi (piano)
- René Thomas (guitar)
- Benoit Quersin (bass)
- Daniel Humair (drums)
Recording: January 1962 in Rome, Italy
About Speakers Corner
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, Speakers Corner 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 existant 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 emphasise that Speakers Corner 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 have one digital recording in our catalogue (Alan Parsons / Eye In The Sky“), but even in this particular case we used the analogue tapes for cutting.
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 – excluding the exception above – and that the lacquer discs are newly cut.