Eric Le Lann-i Remember Chet

Transcript

ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé TRiBUTE TO CHET BAKER 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, 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 ERiC LE LAnn trumpet nELsOn VERAs guitar GiLdAs BOCLé double bass Recorded, mixed and mastered by simon derasse at 51studio in August & september 2012 Graphic design : Element-s/Jérôme Witz Chet Baker cover photo : © Christian ducasse, 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, please visit : www.beejazz.com | [email protected] distribution : Abeille Musique distribution twitter.com/beejazz facebook.com/beejazzchannel BEE 057 COnTACT BOOKinG Jean-René Pouilly [email protected] Phone : +33 (0)140165430 i +33 (0)625470493 Recording / Mixing / Mastering 88,2khz/24bits ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé ERiC LE LAnn + nELsOn VERAs & GiLdAs BOCLé «Without love, life isn’t worth living.» Chet was scheduled to play at the new Morning that night. Late that morning, i got a call from Mickey saying, «i’m going to see Chet at his hotel on Boulevard de strasbourg, join me.» i hence went over there just before noon, without my trumpet, however. As he was accustomed to doing, Chet was playing with his flutist, who’d often become his guitarist when there was no piano. Mickey was there, listening. Chet immediately invited me to play and handed me his trumpet right after every solo. i’d brought my mouthpiece. Around 1 pm, we took a break and i headed out for lunch. i returned around 2 pm and knocked on the door of his hotel room. - Who is it? - Eric. - Come in! i entered the room. Chet’s back was towards me, he was facing the window, naked. He had a syringe in his right hand and was holding it up straight to remove any air bubbles. - do you want some? - no, thanks, i’ll be back in a moment. - no, it’s okay, you can stay. Chet then looked around his calf area for a vein that was still operational. He missed, causing a spurt of blood to blast the room’s walls, in the same pattern as his body’s rotation as he reached for a box of tissues. He made several more attempts before being able to successfully shoot up. i went outside for a while, before coming back with Mickey. We played several standards and after two hours or so, Chet said he had to run an errand. - «do you have a car?» he asked me. - Yes, i do. - Okay. Can you drive me to Rue de l’Université? - Of course. The two of us left. He said he wanted to drive. i was surprised by his driving, he drove very fast yet well, weaving through traffic and visibly enjoying it. My car was an old, very powerful German sedan, and he was loving it. Back at the hotel, he stepped aside to shoot up again. We played a few new standards and his sound and phrasing were out of this world, extremely beautiful, as always. He handed me his trumpet and it was a real delight to play with him. i was probably influenced by his playing, but i was doing everything i could not to sound like him, in terms of phrasing and choice of notes. i soaked up his style, but my main objective was to have my own, in spite of the fact that we’d all been influenced – and notably Chet - by Miles and the old guard, people like Clark Terry, Clifford Brown, and for those who knew him, the inventor: Louis Armstrong. To go forward is to say no. To go forward means preventing oneself from doing what one knows, preventing oneself from copying. The valves of his trumpet were kept dry thanks to paper towel that required replacing every so often. in-between tunes, i told him: - Chet, i know a store that sells trumpets in Pigalle, where i live. You should change trumpets. He listened to me distractedly and continued to play. We went back to Rue de l’Université for a second time, a way for him not to be caught with too much dope on him in case he ever got pulled over. As we headed back to the hotel, i mentioned his trumpet again. We played some more and he said: - Okay, let’s go see these trumpets. We jumped back in the car. i can still recall the expression on the faces of the two salesmen that greeted me as i entered the store on Rue duperré. They hadn’t seen Chet yet, as he was standing behind me. When they finally did, their jaws dropped and they completely froze, as if the Messiah had just made his return to Earth. He asked to see the trumpets and within three seconds, he picked the cheapest one, a basic Getzen. He had his mouthpiece, a Bach 7C, in his pocket. The purchase was expedited in a matter of minutes. The trumpet cost 3,000 francs, he took a wad of cash out of his back pocket, paid, and we left. Back to the hotel we went. i can see him to this day, he was like a child opening the box of his brand-new trumpet, staring at it at length, closing it up, and then reopening it. Music was genuinely his reason for being. Chet was endearing, he was highly sensitive. He played his new trumpet and the sound was the same, full of air. He actually used his teeth problems - thus affecting his lips - to create a new sound for himself. Unable to fully bite the mouthpiece, he couldn’t go into high pitches, but this allowed him to come up with a different sound and phrasing. necessity is the mother of invention, as they say. He could play any trumpet, the sound was a mere reflection of himself. We went out to eat a toasted sandwich. Around 9 pm, we got to the new Morning and the room was packed, there must’ve been 500 people. Chet started to sing, after which he raised his trumpet to his lips. The sounds didn’t come out, people were disappointed. He’d given his all earlier that afternoon. As for me, i played as much as he asked me to. no one knows why he had so much trouble playing that night. Eric Le lann (nov 2012) «La vie ne vaut pas la peine d’être vécue sans amour». Chet jouait ce soir-là au new Morning. Mickey m’appela en fin de matinée et me dit :»Je vais voir Chet à son hôtel boulevard de strasbourg,je t-y attends». J’y allais donc en fin de matinée sans ma trompette. Comme souvent, Chet jouait avec son flûtiste qui devenait guitariste lorsqu’il n’y avait pas de piano. Mickey était là et écoutait. Tout de suite Chet m’invite à jouer et à chaque fin de solo me tend sa trompette, j’ai mon embouchure. Vers 13 heures, il y a un break et je vais manger à l’extérieur de l’hôtel. Je reviens vers 14 heures et frappe à la porte de sa chambre. - Who is here  ? - éric - Come in  ! Je rentre dans sa chambre, Chet est de dos face à la fenêtre, nu, une seringue à la main droite bien verticale, il enlève l’air de l’aiguille. -do you want some  ? -no thanks, i’ll be back in a moment. -no it’s ok, you can stay. Chet cherche ensuite une veine encore opérationnelle au niveau du mollet, 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. il s’y prend plusieurs fois avant de réussir à se piquer. Je prends l’air un certain temps puis reviens avec Mickey. nous jouons plusieurs standards et au bout de deux heures, Chet dit qu’il a une course à faire. -As-tu une voiture  ? me demande-t-il. -Oui j’en ai une. -Ok, peux-tu m’amener rue de l’Université  ? -Bien sûr. nous partons tous les deux, il souhaite conduire. Je suis surpris par sa conduite, il conduit très vite et très bien, se faufile entre les voitures et prend visiblement beaucoup de plaisir. Ma voiture est une vieille voiture allemande très puissante et il se régale. de retour à l’hôtel, il s’isole pour se piquer à nouveau. On rejoue de nouveaux standards et son son et son phrasé sont lunaires, très beaux comme toujours. il me passe sa trompette et c’est un plaisir de jouer avec lui. Je suis sûrement influencé par son jeu, mais je crois que je fais tout pour ne pas lui ressembler – je parle du phrasé, du choix des notes. Je m’en imprègne mais souhaite avant tout avoir un style propre. dans la mesure où on a tous été influencé, Chet le premier par Miles, les anciens, Clark Terry, Clifford Brown et pour ceux qui connaissent, l’inventeur: Louis Armstrong. Avancer, c’est dire non. Avancer c’est s’empêcher de faire ce que l’on sait faire, c’est s’empêcher de copier. Les pompes à eau de sa trompette sont étanches grâce à du sopalin que l’on doit changer de temps en temps. Entre deux titres, je lui dis : - Chet, je connais un magasin qui vend des trompettes à Pigalle où j’habite, tu devrais changer de trompette. il m’écoute d’une oreille distraite puis continue à jouer. nous retournons rue de l’Université une seconde fois, 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, nous retournons à l’hôtel. On joue encore un peu et il me dit: - Ok, allons voir ces trompettes. On reprend la voiture. En arrivant rue duperré, je revois encore la tête des deux vendeurs me disant bonjour, n’ayant pas encore vu Chet qui est derrière moi puis se figeant, comme si dieu était enfin redescendu sur terre. il demande à voir les trompettes, choisit en trois secondes la moins chère, un premier modèle Getzen, il a dans sa poche son embouchure Bach, une 7C. En cinq minutes, c’est réglé, elle coûte 3000 francs, il sort une liasse de billets de sa poche arrière, paye et on part. direction l’hôtel. Je le vois encore, il est comme un enfant, ouvrant la boîte de cette trompette neuve, la regardant longuement, la refermant puis l’ouvrant encore, vraiment la musique est toute sa vie. Chet est attachant, quelqu’un d’hypersensible. Puis il joue sa nouvelle trompette, le son est le même avec plein d’air. il s’est en fait servi de ses problèmes de dents et donc de lèvres pour se fabriquer un autre son. Le manque de pince ne lui permet pas d’aller dans l’aigu, mais ça lui permet de trouver un autre son et un autre phrasé. La fonction crée l’organe. il peut jouer n’importe quelle trompette, le son c’est soi. nous sortons grignoter un croque-monsieur. Vers 21 heures nous arrivons au new Morning, la salle est bondée, il y a 500 personnes. Chet commence par chanter puis embouche sa trompette, le son ne sort pas, les gens sont déçus, il a tout donné cet après-midi, je joue autant qu’il me le demande. Personne n’a jamais su pourquoi ce soir-là il eut tellement de mal à jouer. Eric Le lann (nov 2012) Le cataLoGue bee jazz eSt DiSPonibLe en tÉLÉcHaRGement SanS comPReSSion [QuaLitÉ cD] SuR WWW.Qobuz.com/beejazz touteS LeS nouVeautÉS bee jazz Sont DiSPonibLe en QuaLitÉ « StuDio maSteRS » SuR WWW.Qobuz.com/beejazz join bee jazz community www.beejazz.com magic malik CATALOG 2012 ALL BEE JAZZ RELEASES NOW AVAILABLE FOR DOWNLOAD IN STUDIO MASTERS QUALITY JAN LUNDGREN À SUIVRE ... 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