Eric Le Lann-I Remember Chet

ERiC LE LAnn+ nELsOn VERAs & GiLdAs BOCLé TRiBUTE TO CHET BAKER Frank sinatra & Jack Wolf 05 sUMMERTiME 4:43 George Gershwin 06 THE TOUCH OF YOUR LiPs 4:30 Ray noble 07 MiLEsTOnEs 4:53 Miles davis 08 ZinGARO 6:40 Antonio Carlos Jobim 09 LOVE FOR sALE 6:05 Cole Porter 10 AnGEL EYEs 7:39 Matt denis 11 BACKTiME 5:05 Eric Le Lann TOTAL TiME 49:09 .BEEJAZ ERiC LE LAnn 01 FOR MinORs OnLY 3:54 Jimmy Heath 02 iF i sHOULd CARE 5:21 Ralph Rainger 03 THE MORE i sEE YOU 4:50 Harry Warren 04 i AM A FOOL TO WAnT YOU 3:02 Joel Herron. with kind permission of Paul Baker and Bruce Guthrie Text translation by Rollin'dice Productions Produced by BEE JAZZ Executive producers for BEE JAZZ : Alexandre Leforestier & Mohamed Gastli Label Manager for BEE JAZZ : Mohamed Gastli For more information about BEE JAZZ Records. mixed and mastered by simon derasse at 51studio in August & september 2012 Graphic design : Element-s/Jérôme Witz Chet Baker cover photo : © Christian ducasse.2khz/24bits .com | contact@beejazz. please visit : www.beejazz.com/beejazz facebook.com distribution : Abeille Musique distribution twitter.fr Phone : +33 (0)140165430 i +33 (0)625470493 Recording / Mixing / Mastering 88.com/beejazzchannel BEE 057 COnTACT BOOKinG Jean-René Pouilly [email protected] LE LAnn trumpet nELsOn VERAs guitar GiLdAs BOCLé double bass Recorded. ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé . ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé . he drove very fast yet well. He handed me his trumpet and it was a real delight to play with him. in spite of the fact that we’d all been influenced – and notably Chet . . We went back to Rue de l’Université for a second time. He played his new trumpet and the sound was the same. the inventor: Louis Armstrong. causing a spurt of blood to blast the room’s walls. however. Chet immediately invited me to play and handed me his trumpet right after every solo. i was surprised by his driving. . i know a store that sells trumpets in Pigalle. The two of us left. extremely beautiful. as always. as he was standing behind me. he was highly sensitive. To go forward means preventing oneself from doing what one knows. closing it up. i soaked up his style. thanks.» Chet was scheduled to play at the new Morning that night. the sound was a mere reflection of himself. i played as much as he asked me to. We played several standards and after two hours or so. As we headed back to the hotel. naked.Eric. Music was genuinely his reason for being.Okay. He actually used his teeth problems . He’d given his all earlier that afternoon. i can still recall the expression on the faces of the two salesmen that greeted me as i entered the store on Rue duperré. . He said he wanted to drive.» i hence went over there just before noon. He made several more attempts before being able to successfully shoot up. . i went outside for a while. They hadn’t seen Chet yet. where i live. We played some more and he said: . Around 1 pm. very powerful German sedan. you can stay. Can you drive me to Rue de l’Université? . «i’m going to see Chet at his hotel on Boulevard de strasbourg. As he was accustomed to doing. Eric Le lann (nov 2012) . He had a syringe in his right hand and was holding it up straight to remove any air bubbles. You should change trumpets. We jumped back in the car. Chet then looked around his calf area for a vein that was still operational. and then reopening it. in his pocket. he picked the cheapest one.no. My car was an old.000 francs. but this allowed him to come up with a different sound and phrasing. staring at it at length. a way for him not to be caught with too much dope on him in case he ever got pulled over. who’d often become his guitarist when there was no piano. Unable to fully bite the mouthpiece. in-between tunes. The trumpet cost 3. full of air. in the same pattern as his body’s rotation as he reached for a box of tissues. people like Clark Terry. join me.Come in! i entered the room. we took a break and i headed out for lunch. The sounds didn’t come out. i returned around 2 pm and knocked on the door of his hotel room. let’s go see these trumpets. To go forward is to say no. He missed. he stepped aside to shoot up again. no one knows why he had so much trouble playing that night. . weaving through traffic and visibly enjoying it.«do you have a car?» he asked me. i told him: .Of course. i mentioned his trumpet again. i can see him to this day. he couldn’t go into high pitches. The valves of his trumpet were kept dry thanks to paper towel that required replacing every so often. Late that morning. people were disappointed. i’d brought my mouthpiece. He had his mouthpiece. Clifford Brown. in terms of phrasing and choice of notes. The purchase was expedited in a matter of minutes.Chet. Chet’s back was towards me. Back to the hotel we went. We went out to eat a toasted sandwich. he was like a child opening the box of his brand-new trumpet. i do. life isn’t worth living.Okay. paid. it’s okay. He asked to see the trumpets and within three seconds. before coming back with Mickey. Chet was endearing.by Miles and the old guard. but my main objective was to have my own. we got to the new Morning and the room was packed. As for me. He listened to me distractedly and continued to play. Mickey was there. . but i was doing everything i could not to sound like him. a Bach 7C. . there must’ve been 500 people. Back at the hotel. and we left. as if the Messiah had just made his return to Earth. Around 9 pm.Who is it? . he took a wad of cash out of his back pocket. listening. Chet said he had to run an errand. a basic Getzen.«Without love. he was facing the window. after which he raised his trumpet to his lips. When they finally did. and for those who knew him. preventing oneself from copying. as they say. We played a few new standards and his sound and phrasing were out of this world. and he was loving it. necessity is the mother of invention.Yes. without my trumpet. He could play any trumpet.to create a new sound for himself. i was probably influenced by his playing. Chet started to sing. their jaws dropped and they completely froze. Chet was playing with his flutist. i’ll be back in a moment.thus affecting his lips .no.do you want some? . i got a call from Mickey saying. Chet le premier par Miles. se faufile entre les voitures et prend visiblement beaucoup de plaisir. nu. Clark Terry. un premier modèle Getzen. il y a 500 personnes. il s’isole pour se piquer à nouveau. Clifford Brown et pour ceux qui connaissent.Come in  ! Je rentre dans sa chambre. comme si dieu était enfin redescendu sur terre. c’est réglé. dans la mesure où on a tous été influencé. Mickey était là et écoutait. Chet est attachant. peux-tu m’amener rue de l’Université  ? -Bien sûr. de retour à l’hôtel. nous sortons grignoter un croque-monsieur. mais je crois que je fais tout pour ne pas lui ressembler – je parle du phrasé. -Oui j’en ai une. Avancer c’est s’empêcher de faire ce que l’on sait faire. On reprend la voiture. il a dans sa poche son embouchure Bach. . Personne n’a jamais su pourquoi ce soir-là il eut tellement de mal à jouer. Je suis surpris par sa conduite. Les pompes à eau de sa trompette sont étanches grâce à du sopalin que l’on doit changer de temps en temps. la manque et un jet de sang arrose les murs de la chambre suivant le mouvement de rotation que fait son corps lorsqu’il cherche à atteindre sa boîte de kleenex. du choix des notes. Entre deux titres. je connais un magasin qui vend des trompettes à Pigalle où j’habite. Ma voiture est une vieille voiture allemande très puissante et il se régale. quelqu’un d’hypersensible. Le manque de pince ne lui permet pas d’aller dans l’aigu. Eric Le lann (nov 2012) . nous jouons plusieurs standards et au bout de deux heures. je lui dis : . très beaux comme toujours. le son est le même avec plein d’air. tu devrais changer de trompette. -Ok. nous retournons rue de l’Université une seconde fois. J’y allais donc en fin de matinée sans ma trompette. c’est s’empêcher de copier. nous partons tous les deux. -do you want some  ? -no thanks. Chet commence par chanter puis embouche sa trompette. i’ll be back in a moment. Vers 13 heures. elle coûte 3000 francs. la salle est bondée. Comme souvent. On rejoue de nouveaux standards et son son et son phrasé sont lunaires. direction l’hôtel. il sort une liasse de billets de sa poche arrière. Chet cherche ensuite une veine encore opérationnelle au niveau du mollet. Avancer. Mickey m’appela en fin de matinée et me dit :»Je vais voir Chet à son hôtel boulevard de strasbourg. Je suis sûrement influencé par son jeu. la refermant puis l’ouvrant encore. je joue autant qu’il me le demande.Chet. ouvrant la boîte de cette trompette neuve. En cinq minutes. En arrivant rue duperré. il souhaite conduire. il y a un break et je vais manger à l’extérieur de l’hôtel. il m’écoute d’une oreille distraite puis continue à jouer. il demande à voir les trompettes. On joue encore un peu et il me dit: . il s’est en fait servi de ses problèmes de dents et donc de lèvres pour se fabriquer un autre son.je t-y attends». il conduit très vite et très bien. une seringue à la main droite bien verticale.Who is here  ? . Je m’en imprègne mais souhaite avant tout avoir un style propre.Ok.«La vie ne vaut pas la peine d’être vécue sans amour». nous retournons à l’hôtel. Tout de suite Chet m’invite à jouer et à chaque fin de solo me tend sa trompette. Chet jouait avec son flûtiste qui devenait guitariste lorsqu’il n’y avait pas de piano. -no it’s ok. une 7C. c’est dire non. La fonction crée l’organe. je revois encore la tête des deux vendeurs me disant bonjour. Chet jouait ce soir-là au new Morning. il s’y prend plusieurs fois avant de réussir à se piquer. il me passe sa trompette et c’est un plaisir de jouer avec lui. Chet est de dos face à la fenêtre. Chet dit qu’il a une course à faire. Je prends l’air un certain temps puis reviens avec Mickey. l’inventeur: Louis Armstrong. -As-tu une voiture  ? me demande-t-il. il peut jouer n’importe quelle trompette. Je reviens vers 14 heures et frappe à la porte de sa chambre. allons voir ces trompettes. Vers 21 heures nous arrivons au new Morning. mais ça lui permet de trouver un autre son et un autre phrasé. vraiment la musique est toute sa vie. il est comme un enfant. Puis il joue sa nouvelle trompette. le son c’est soi. you can stay. n’ayant pas encore vu Chet qui est derrière moi puis se figeant. j’ai mon embouchure. les gens sont déçus. c’est une façon de ne pas avoir trop de produit sur lui au cas où il serait contrôlé. Je lui reparle de sa trompette. les anciens. il enlève l’air de l’aiguille.éric . paye et on part. il a tout donné cet après-midi. la regardant longuement. Je le vois encore. choisit en trois secondes la moins chère. le son ne sort pas. com/beejazz join bee jazz community www.beejazz.Le cataLoGue bee jazz eSt DiSPonibLe en tÉLÉcHaRGement SanS comPReSSion [QuaLitÉ cD] SuR WWW.com/beejazz touteS LeS nouVeautÉS bee jazz Sont DiSPonibLe en QuaLitÉ « StuDio maSteRS » SuR WWW.Qobuz.Qobuz.com . magic malik CATALOG 2012 ALL BEE JAZZ RELEASES NOW AVAILABLE FOR DOWNLOAD IN STUDIO MASTERS QUALITY . piano. distortion. space echo.2kHz 24bits 192kHz Available in download in quality Studio Masters Available in download in quality Studio Masters BEE056 24bits 96kHz Available in download in quality Studio Masters BEE058 I RELEASE DATE: JANUARY 22TH 2013 . voix BEE055 RUSCONI MACHA GHARIBIAN REVOLUTION MARS Stefan Rusconi. feed-back & choirs Claudio Strüby drums. 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Saxophone soprano Jean-Philippe Viret. double bass. piano Recorded in 2006 Christophe Wallemme. saxophones Olivier Hutman. clavicord Riccardo Del Fra. percussions Prabhu Edouard. drums François Jeanneau. drums & percussions Emil Spanyi. guitar Elios Ferré. trumpet Recorded in Mai 2005 BEE013 I RELEASE DATE: AUGUST 2006 BEE012 I RELEASE DATE: FEBRUARY 2006 BEE015 I RELEASE DATE: NOVEMBER 2005 JEAN-PHILIPPE MUVIEN DANIEL HUMAIR . saxophone tenor & soprano. double bass Alain Jean-Marie. piano Sébastien Boisseau. double bass André Minvielle. double bass Recorded in Mai 2003 Gabriel Zufferey. double bass Daniel Huamir. guitar Alain Jean-Marie. piano Gilles Naturel. guitar Elios Ferré.GUILLAUME DE CHASSY & DANIEL YVINEC AVEC ANDRÉ MINVIELLE GABRIEL ZUFFEREY SÉBASTIEN BOISSEAU DANIEL HUMAIR CHANSONS SOUS LES BOMBES APRÈS L'ORAGE THE RAINBOW OF LIFE Boulou Ferré. drums Recorded in Septembre 2003 Guillaume de Chassy. piano Daniel Yvinec. vocals Recorded in 2003 BEE007 I RELEASE DATE: APRIL 2004 BOULOU & ELIOS FERRÉ BEE006 I RELEASE DATE: MARCH 2004 BEE005 I RELEASE DATE: NOVEMBER 2003 .