Out of Nowhere [Import]

Out of Nowhere [Import]

Track Listings

1. Teardrop on the Ocean

2. 30 Storeys High

3. We're Still Here

4. Out of Nowhere

5. Go to Hell But Then Turn Right

6. Daddy Was a Miner

7. McGingle's Violin

8. Make Love to Me

9. Old Friend

10. One Step Forward & Two Steps Back

11. Next Time You Talk to Heaven

12. Wild Horses

13. Let's Do It All over Again

Tracks:

Right Outta Nowhere
Gimme Shelter
Hurt Some
Love's Not Through With You Yet
Loving You, Letting You Go
Live It
I Hope You're Happy Now
Down On The Corner
Only Heaven Knows
Give It Away
Wade In The Water

Customer Reviews:

You're gonna hurt some...but not while listening to Kathy and company!.......2006-09-22

I'll admit it....I'm not the most objective person when it comes to Kathy Mattea, but that is because my heart loves, needs, must have music! And in listening to a broad spectrum of music, I became a Kathy Mattea fan. And in becoming a Kathy fan, I went to see her in concert. And in seeing her in concert, I became Kathy Mattea music-dependent! I own all of her CDs and, of course, there are some that I love more than others, and RIGHT OUT OF NOWHERE is right up there at the top of the list. Its title track is particularly dear to me and, I swear, taking her message to heart changed my life. Truly! I won't go into all the tracks here, as others have done an admirable job in describing them already. Obviously, I adore Kathy Mattea's music, and am particularly fond of the acoustic arrangements that she and Bill Cooley, in particular, bring to lucky listeners. These give us Kathy's voice in its purest and most soulful (or exuberant) form, and it is likewise a treat to take in the complex nuances of her musicians' talented playing.

I would recommend that any lover of music add this CD to his or her collection and listen -- live it, man! Even more than that, I would recommend that you do yourself an enormous favor and buy a ticket to see Kathy and her sensational band in concert when you get a chance. She favors small, extraordinary venues designed to showcase exceptional music for fans who want the best listening experience. Not only will the acoustics be superior in such venues, but the more intimate setting is ideal for getting the most from a Mattea concert. Once you've experienced them live in all their exuberant glory, you'll be satisfied with a CD only to see you through while you await the next concert! Yes, folks, she's all that, and so much more!

Buy several copies of this CD and give them to your friends....they'll love you for it!

Good, but not the best.......2006-05-25

Right out of Nowhere is Kathy's third release on the Narada label, and a foray into a more blues type style. For those who were swept away by the power and depth of Roses and by the Celtic instrumentals that album presented, Right out of Nowhere may be a bit disappointing. Also lacking are the songs of eternal love that made her famous. But for all of what this album lacks, it brings forward a sense of hope where others may find despair. The blues riffs are not sad, but steady. Many of the new songs are reminiscent of tracks from Walk the Way the Wind Blows, only greatly matured. Kathy and her band also breathe a fresh interpretation into the classics "Down on the Corner" and "Wade in the Water." I believe Roses is the better album, but this is still a solid work of art well within the level of quality Mattea fans have come to expect.

Just Great to listen 2 .......2005-11-27

I think part of the magic of Kathy Mattea is not only her voice but her abilty to find some really good interesting songs. In this current collection "I Hope your happy now" is one of those classic songs. Also excellent are "Live it" (best shot at a radio Hit) and the title track.

Music Coming Right Out of Mattea's Heart.......2005-10-28

Prime Cuts: Right Out of Nowhere, I Hope You're Happy Now, Give It Away

Despite the ebbs and flows of the changing soundcape of country music--be it the horrid Line Dancing faze or the current Muzik Mafia assault--Kathy Mattea has remained steadfast. Ever since her inaugural CD in 1984, Mattea has anchored her music in her brand of folk-country without amercing to blatant commercialism. Hence, she has left behind a rich legacy of memorial tales that capture lives' most bodacious moments: Who would forget the fairytale romance at the "Five and Dime" ("Love at the Five and Dime") or the gal whose dreams were bigger than Texas ("She Came From Fort Worth")? Though there's nothing quite as piquant as the aforementioned hits, "Right Out of Nowhere" has its share of tunes that ought to continue to intrigue, inspire and harbor bittersweet memories.

Self-produced, "Right Out of Nowhere" is perhaps Mattea's most personal record to date. Coming right off a difficult time (her parents' death and a near breakup of her lengthy marriage), "Right Out of Nowhere" is therapeutic in many ways to Mattea and anyone who has had been through tribulations. Dealing with the theme of venturing into the unknown future, Mattea's warm alto is seasoned with a quiet affirmation of faith as she tackles the acoustic sounding title track. As if she was singing right to herself, the Celtic-flavored "Love's Not Through With Me Yet," offers assurance of love's entangling powers. Most welcomed is fellow artist Suzy Bogguss' harmony vocals which adds support like the presence of a much needed old friend in a time of want. The theme of making most of life (a perennial concern in Mattea's catalog) surfaces again in the celebratory Harley Allen-penned "Live It," underscored by some relentless sounding jaw harp and harmonica.

But, the album's most intimate comes in its quieter moments: Angela Kaset and Skip Ewing's "I Hope You're Happy Now" easily takes the spotlight. An intense piano based ballad, "I Hope You're Happy Now" finds Mattea running into her ex's new woman only to find that he has dumped her too --the remainder of the song finds Mattea berating this Casanova for his heartlessness and lack of commitment. This is heart-wrenching stuff and from the first note, this track spells "hit." But in Mattea's musical world, not everything ends on a bitter note: "Give It Away," a ballad co-written by Mattea's hubby Jon Vezner, offers forgiveness to a brawling couple. While the philosophical "Only Heaven Knows" finds Mattea committing the mystery of suffering to the hands of the Divine.

However, despite being quite a stellar album, there were a few misfires. Though Mattea is to be congratulated for her gutsy move in offering an acoustic read of the Rolling Stones' "Gimme Shelter," it's not the most quintessential track from their catalog. On "Hurt Some" she offers some timely advice to women about relationships, but her exhortations falls flat due to the song's lack of a strong melody line. Also, her bluegrassy take of the traditional gospel "Wade in the Water" is predictable at best. Overall, the pride and place of "Right Out of Nowhere" resides in Mattea's heartfelt nuances that she brings to these songs. Further, "I Hope You're Happy Now" is such a gorgeously heartbreaking ballad that would be enough reason to purchase this CD.

Awesome CD.......2005-10-01

I really love this CD. My favorite song is "Live It"...its infectious. Reminds me of "Gentle On My Mind"....very catchy and great to hear a Steel Guitar back on a Kathy song.
Close seconds for me are "Love's Not Through With You Yet"..."Give It Away" and "Right Out Of Nowhere". Buy this CD...you will be happy you did...I am!

Average customer rating:

The 1990s Best Ska Album
This is a CLASSIC, rereleased

Out of Nowhere
Hepcat
Manufacturer: Hellcat Records
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-03-23

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Clarence Thomas
Prison Of Love
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Caravan (Skaravan)
Police Woman
Same O' Same O'
Train To Skaville
Nigel (Bonus Track)
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Customer Reviews:

The 1990s Best Ska Album.......2005-01-25

I heard Hepcat's first release during the Ska revival that plagued MTV and pop-radio during the late 1990s, when people were force fed crap like Reel Big Fish and Less Than Jake, being told how those bands were playing a type of Jamaican music made popular in the 1970s by British bands like The Specials and Madness. Man, comparing that Circus-Music to anything of the 2-Tone era is insulting enough, but putting it in the same category as classic Jamaican Ska and Reggae pioneers like Desmond Dekker (King of the Ska), Laurel Aitken (Godfather of Ska), and the Skatalites ('nuff said...) is an insult to those legends! Luckily, the Ska revival also brought forth bands of such respectability as The Slackers from New York and Hepcat from Southern California. Hepcat, since hearing this album (originally released on the now dead MoonSka NYC lable), has been my favorite ska band, ever! This album still stands as a testament to the vocal talents of Greg Lee and Alex Desert and the early songwriting talents of David Hillyard, who went along to join The Slackers. The group takes its cues not just from Jamaican music legends, but also American Jazz legends, paying tribute to the likes of Duke Ellington in thier music. One of the most soulful, beautiful, and dynamic albums I've ever heard, it is a must for anyone who loves Ska, and especially for Hepcat fans who were never able to find this album, as the MoonSka version (which I'm lucky enough to have a copy of) has been long out of print. Do yourself a favor--BUY THIS! The fact that you're reading this review shows you got taste...now prove it.

This is a CLASSIC, rereleased.......2004-10-23

This album is one of the greatest traditional ska albums ever. It came out once long ago, but the label they were on folded and it became unavailable. If you like any traditional ska, if you like hepcat, SHlT, if you like music in general, this is a great album. Many of today's 'traditional' bands do not retain the moody flavor of O.G. ska straight offa the island. Man, I paid 200$ for a plane ticket to see these guys, which was 10$ at the door. Also, Hepcat broke up, formed Dubcat with Long Beach Dub Allstars, then got back together again because of all the fans' heartbreak. So do em the honor of buying this, who knows it could be the last chance (again)

Average customer rating:

Vinnie
the best vinnie moore out there
Funtastic
Where's the feeling?
Excellent CD! Vinnie's best!

Out of Nowhere
Vinnie Moore
Manufacturer: Mayhem Records
ProductGroup: Music
Binding: Audio CD

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Release Date: 1996-04-16

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Time Traveler
Vinman's Brew
She's Only Sleeping
Am I Only Dreaming?
770 Days
Move That Thang!
Winter Sun

Album Details

Japanese Release featuring Two Exclusive Bonus Tracks. Tracklisting Unavailable at this Time.

Customer Reviews:

Vinnie.......2007-05-20

Vinnie's recording Out of Nowhere was a new experience for me.I bought this cd for my grandson.who is learning the guitar.Vinnie is sort of a relative,and I wanted my grandson to listen to the cd.He liked it very much.
R.P.DiMaio

the best vinnie moore out there.......2004-06-15

out of nowhere is vinnie best and most
crankin guitar cd I have ever heard since
minds eye,this cd rocks better than anything
now days,if you are a vinnie moore fan and you
have not heard this,your missing alot.go out and
buy this one.

Funtastic.......2003-06-04

This cd is just as fun to listen but also contains lots of very nicely arranged speed picking stuff , very melodic.....i learn alot just from 1 cd This cd...is a must for those who called themselves guitarists. This is the latest VInnie's album that i bought, i already have 3 albums so far...the maze, time odyssey, and live!!! Vinnie has been such a tremendous influence in my guitar playing, initially i listened to satch but not anymore...i think he's stucked already....no other improvement!!Buy this album and those 3 other cds....trust me!!you won't be dissapointed.

Where's the feeling?.......2001-08-30

The guitar playing is decent, but it seems like he doesn't play from the gut like his previous incarnations.

Excellent CD! Vinnie's best!.......2000-08-24

I think this is Vinie Moore's BEST CD, all tracks really shine on their own. The other reviewer mentioned he liked the newer release "The Maze" more than this one, I have to disagree. I liked Vinnie in his "Neo-Classical" days, and I sure wish he would have just stuck to the just plain "Rock-N-Roll" he showcased on this CD. He is an outstanding artist either way, but this is by far my favorite CD of his. I think the track "Losing Faith" is one of the greatest instrumental guitar songs I have ever heard. It sends shivers up my spine!!! Anyway, if you like rock guitar instrumentals, you'll HAVE TO GET THIS!!!

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The Man from U.N.C.L.E., Vol. 3

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006SSQ8O
Release Date: 2005-01-11

Tracks:

First Season Main Title [Revised/Extended]
Jerry Goldsmith Medley: The Deadly Games Affair/The Vulcan ...
Quadripartite Affair
Double Affair, Suite No. 2
Belly Laughs
Finny Foot Affair
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U.N.C.L.E. A Go Go
Bat Cave Affair
One of Our Spies Is Missing
Monks of St. Thomas Affair, Suite No. 2
Spy in the Green Hat
Gerald Fried Medley: The Foreign Legion Affair/The Apple a Day Affair
Karate Killers
Richard Shores Medley: The Summit-Five Affair/The "J" for Judas Affair

Tracks:

Girl from U.N.C.L.E. Main Title
Dog-Gone Affair
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Mother Muffin Affair
Mata Hari Affair
Montori Device Affair
Horns-of-the-Dilemma Affair
Girl from U.N.C.L.E. (End Title)
Deadly Quest Affair: Teaser
Deadly Quest Affair: Act 1
Deadly Quest Affair: Act 2
Deadly Quest Affair: Act 3
Deadly Quest Affair: Act 4

Average customer rating:

this is JAZZ ladies and gentlemen
Carter crashes and burns in this one
I give up
For completists only

Out of Nowhere
James Carter Organ Trio
Manufacturer: Halfnote Records
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music

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ASIN: B0009Q0F1O
Release Date: 2005-06-28

Tracks:

Out Of Nowhere
Along Came Betty
Highjack
Song For Camille
Little Red Rooster
I Believe I Can Fly

Amazon.com

"Out of Nowhere," the second straight live album by saxophonist James Carter's Organ Trio (the Hammond man is fellow Detroiter Gerald Gibbs), is rich in delights. It features his gorgeous throwback tenor sound on the title ballad, hooks him up in an earthy dual baritone sax feature with Hamiet Bluiett and cooks with gas on a Brazilian-tinged version of R. Kelly's "I Believe I Can Fly." But a 16-minute workout with the raw-boned avant-blues guitarist James "Blood" Ulmer on "Highjack" is a rather jarring departure and Carter's freewheeling take on the Benny Golson classic, "Along Came Betty," is undercut by the sweetening effects of his soprano. If you once anticipated the day when the prodigiously talented saxophonist would rein in his excesses--the showboating and mannerisms, the devouring of styles, the insistence on playing every saxophone ever invented--it is now clear he is never going to mature in that fashion. But, if you take the best of what he offers, which is considerable, you will definitely find a way to enjoy the whole package. --Lloyd Sachs

Customer Reviews:

this is JAZZ ladies and gentlemen.......2007-06-02

This is probably a four star CD, but I'm giving it five in order to compensate for all the critics of James Carter who don't seem to know what they are listening to.

This is JAZZ, which, my friends, is built on the tradition of individual virtuosity, spontaneity, free improvisation and group interplay ("blowin'," "chops," "blowin' sessions," "jam sessions," "saxophone duels," "trading fours," etc.) One-upmanship and proving your chops have always been essential aspects of jazz improvisation. Louis Armstrong, Dizzie Gillespie, Charlie Parker, Bud Powell, Sonny Rollins, etc., etc., etc. were all show-offs and exhibitionists (and all the other names that are intended as insults to Carter).

Now everyone agrees that Carter is the most talented and virtuosic jazz performer alive today, but somehow this isn't good enough. It's not enough for him to be the Louis Armstrong of our generation, but he has to be the Duke Ellington and Billy Strayhorn as well.

The objection that Carter lacks a unified and coherent style or musical sensibility strikes me as both hollow (lack of unity and coherence IS his style) and, in a postmodern world, dated. And to those who cite a lack of feeling and emotion in his playing, I'm not sure what to say to such vague and subjective criticisms, other than that they might be confused by the wide range of feeling in his playing.

I know that as the popularity of jazz has plumetted it has had to borrow liberally from rock, soul, funk, hip-hop, pop, easy listening, etc. And nowadays "serious" jazz fans expect jazz to have lots of complex rhythmic and harmonic stuff going on that is borrowed from "art" music (i.e., contemporary manifestations of the European classical tradition). Sometimes this makes for good jazz; sometimes not.

But as for me, straight jazz is still good enough, and Carter's playing is plenty good enough. Not every song in this set is a gem, to be sure, but "Highjacked" alone is worth the price of the CD. Let's all relax and consider ourselves lucky to have such a prodigious talent around making music, instead of trying to pigeonhole him. I saw on reviewer even suggest that Carter take some time off for woodshedding, and limit himself to playing one horn - that would be a tragedy.

Carter crashes and burns in this one.......2006-07-31

When I saw that Carter released a new CD, I was quite excited and quickly snatched it up. Unfortuantely, Carter spends the entire album flaunting his skills by constantly screeching his horn, popping the reed, and all other assortments that, by themselves, give a solo an added touch, but when together as a complete solo, just make it disgusting.

Though I still really enjoy James Carter as a musician, I feel like he could have done much better. Carter really disapointed me here. Instead of spending the album showing off to his audience, he needed to just concentrate on making music.

I give up.......2005-09-14

I've been suckered into purchasing my last James Carter record. Whenever I discover he's come out with a new disc, I think to myself, "Maybe this will be the one where talent matches up with musicality," and I snatch up the sucker.

But I swear, never again. His shtick has worn too thin. I can only take so much blatant showboating, such crass, unrelenting rub-your-face-in-it chops-purveyance before I start to get disgusted. So what if he's technically the greatest player alive on not one, not two, but THREE different saxes--soprano, tenor, and bari? Does that make great music?

No.

Or even listenable music?

Again, no.

What it makes is annoying grandstanding of the Terrell Owens or Randy Moss type. Seldom has such prodigal talent issued forth in such scant results. It's abundantly clear that this man cares nothing about musical integrity. All he's looking for is a context to shred, which he does, admittedly better than anyone on the planet.

If that's your bag, fine. You'll love this disc. But if you want to hear REAL music, you'll look elsewhere. More like about **1/2.

For completists only.......2005-08-31

While James Carter is tentatively still signed to Columbia Records, this live set recorded for Half Note Records at the Blue Note in NYC lacks the sort of programmatic set list that major labels seem so intent on saddling jazz artists with nowadays. This appears to be a fairly standard set list for Carter's organ trio; standards, ballads, blues, and pop songs all used as springboards for extended improvisation. "Out of Nowhere" is akin to a classic post-war blowing session and so lacks the sort of complex writing that most of Carter's generation seems intent on exploring. As such, it places him in a far more traditional context, content to play it loose and easy, unconcerned with modulated time signatures, intricate harmonies, and interweaving charts. Of course, it helps that he's a hell of a soloist. Proficient on his numerous horns at a level that sometimes seems super-human, Carter has at his disposal an arsenal of technique that puts most of his contemporaries to shame.

Ironically, Carter's greatest asset is also his greatest liability. In the studio, Carter's solos are obviously edited. The thematic concept albums that hamstring lesser artists often seem to help focus Carter's boundless spirit and enthusiasm. Without this sort of structure Carter just goes and goes and goes. Hearing this recent recording reminds me of having seen him live in the past, as he follows much the same pattern here.

Carter has a tendency to showboat live. This is a criticism often levied against him, unfortunately, somewhat justified. Although capable of an astonishing number of extended techniques and adept at a myriad of styles, he seems unwilling to edit himself in a live situation. Whether caught up in the moment or simply wanting to push himself further, each solo follows a similar pattern, with the same ferocity and humor that the previous one contained. Not bad for a tune or two, but for an entire set, it makes for a repetitive listen. Fortunately, on the opening ballad, the album's title track, Carter stays within the confines of the piece and delivers a sultry and subtle solo free of histrionics.

Carter's rhythm section is more than capable and is not as rigid as some of his previous sidemen have been. Legendary baritone saxophonist Hamiet Bluiett and Harmolodic guitarist James Blood Ulmer guest star on this freewheeling set. Ulmer contributes to two tracks. His solo on his terse, funky "Highjack" is a delightful blast of wah-wah inspired madness. Carter's baritone solo here begins somewhat restrained until Bluiett arrives and the two of them take their dovetailing solos out into the stratosphere, again and again. "Little Red Rooster" is played straight, as a short conventional blues and ultimately sounds like filler.

Bluiett contributes his own "Song for Camille," a beautiful ballad that is slightly reigned in and also helps drive along the unlikely cover of R. Kelly's "I Believe I Can Fly." A simple exercise in repeated chord structures, the dueling baritones attempt to get air under this limp melody, only to have it coast on an undercurrent of repetition. Not all modern pop songs make for great jazz covers, and this is a case in point. Carter even pulls out his trademark percussive slap tongue on an unaccompanied duet with Bluiett towards the conclusion of the piece, but even that feels tired.

For Carter devotees, this will be an entertaining listen, especially for those unaccustomed to the man's unfettered live playing. On the next studio release hopefully someone will give Carter the same advice Miles once gave to Coltrane:

Coltrane asked Miles how he could bring his solos to a close, feeling that there were too many ideas bubbling up inside him: Miles's suggestion was "take the goddamn horn out of your mouth"...

Average customer rating:

Fresh treatment of old favorites
A paragon of classical jazz

Out of Nowhere
Harold Fethe
Manufacturer: Southport Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
ASIN: B000FOT83Q
Release Date: 2006-05-16

Tracks:

Out of Nowhere
Cuenca Mercado
Take the A Train
There Is No Greater Love
Detour Ahead
It Might As Well Be Spring
You and the Night and the Music
Softly As In A Morning Sunrise
You Are My Sunshine
September In The Rain
This Masquerade
Alexander's Ragtime Band

Product Description

West Coast guitarist Harold Fethe offers his debut CD release for Southport Records. "Out of Nowhere." Recorded during two trips to Chicago, Harold Fethe teams up with 87-year old violinist Johnny Frigo, Joe Vito (who doubles on piano and accordion) and bassist Jim Cox who is best known for his association with Marian McPartland, and also features vocalist Joanie Pallatto on two selections. Overall 'Out Of Nowhere' is a musical dialog in the tradition of classical small-ensemble jazz.

Customer Reviews:

Fresh treatment of old favorites.......2006-06-20

These guys breathe new life into some old classics. There's only one new tune, Harold's own "Cuenca Mercado" which is right at home with its older siblings. Don't let the titles fool you, I guarantee you've never heard "You Are My Sunshine" played this way and when you think of the lyrics, you'll realize this is the way it should always be played. Thanks Harold, please give us some more like this.

A paragon of classical jazz .......2006-06-03

Harold Fethe's debut album, recorded with jazz talents Johnny Frigo, Joe Fito, Jim Cox and Joanie Pallatto is an amazing example of what is possible when a seamingly eclectic group gathers to perform from the heart. The soul of these guys is completely out their for your listening pleasure.

Bravo Harold! I can't wait for the next session.....

Out of Nowhere: The White Whale Story, Vol. 2

Average customer rating:

Out of Nowhere: The White Whale Story, Vol. 2
Various Artists
Manufacturer: Rev-Ola
ProductGroup: Music
Binding: Audio CD

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ASIN: B00061I0KK
Release Date: 2004-11-29

Tracks:

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I'll Be In - The Answer
Blackmail - Dalton & Montgomery
Superman - The Clique
Fine and Dandy - Everpresent Fullness
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Work It Out That Way - The Bears
(It'll All Wash Away) With the Rain - The Brothers
Today Is Today - The Brothers
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Little Children - J.K. & Co.
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Honey, You Can't Take It Back - Dobie Gray
What a Way to Go - Dobie Gray
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Groovy Relationship - Kenny O'Dell
Cheyenne - Horses
Two of Us - The Shake
Christmas Is My Time of Year - The Spirit of Christmas
Will You Still Believe in Me - The Spirit of Christmas
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Album Description

Another collection of classics & obscurities from the legendary LA indie label - with scorching garage, out there psychedelia, soul, & quirky pop, this is the other side of the whale. 25 tracks, most never previously unreleased on CD, remastered & lavishly packaged. Rev-Ola. 2004.

Average customer rating:

Out of Nowhere
Chet Baker
Manufacturer: Milestone
ProductGroup: Music
Binding: Audio CD

Cool Jazz | Jazz | Styles | Music
ASIN: B000MEEX2U

Product Description

Track Listings: 1. Fine and Dandy 2. There Will Never Be Another You 3. Oh, Lady Be Good 4. Privave 5. All the Things You Are 6. Out of Nowhere 7. There Is No Greater Love 8. Theme

Out of Nowhere - Chet Baker Quartet Live, Vol. 2

Average customer rating:

Get Chet!

Out of Nowhere - Chet Baker Quartet Live, Vol. 2
Chet Baker
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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Lady Bird

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An essential CD for Chet Baker fans, this reissue includes some of the selections on the long-unavailable Mosaic Records collection The Complete Pacific Jazz Live Recordings of the Chet Baker Quartet with Russ Freeman. Baker's productive partnership with pianist Freeman only lasted from mid-1953 to 1955, yet it coincided with and helped spark the meteoric rise in the trumpeter's popularity after he split with baritone saxophonist Gerry Mulligan and went solo. The recording is aptly named, as Baker literally appeared out of nowhere to win the Down Beat Readers' Poll for trumpet in 1953 and again in 1954 after an acclaimed U.S. tour. Recorded at the Santa Cruz Civic Center in July 1954 and at the Tiffany Club in L.A. that August, the 10 tracks showcase the controlled passion that typified Baker's trademark "California cool" sound, a style that found a perfect foil in Freeman's clear, crisp pianism. Highlights include memorable interpretations of modern jazz classics such as Charlie Parker's "Billie's Bounce," Mulligan's "Line for Lyons," Tadd Dameron's "Lady Bird," and the popular standards "Stella by Starlight" and "All the Things You Are." The remaining Tiffany Club performances are scheduled to appear on a third volume in this series. --Mitchell Feldman

Customer Reviews:

Get Chet!.......2001-04-07

This set and Volume 1 (This Time The Dreams On Me) are newly released live performances of the Chet Baker Quartet and are both excellent. Chet is the jazz musician I listen too when I need to relax and cool down from the pressures of existing. A great primer for Chet novices and fans alike. After you own this may I suggest The Italian Sessions as your next tast of Chet. Chet and Miles are my all-time jazz favorites.

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Out of Nowhere
Lee Konitz , and Paul Bley Quartet
Manufacturer: Steeplechase
ProductGroup: Music
Binding: Audio CD

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