Chesney Henry "Chet" Baker, Jr. (December 23, 1929 – May 13, 1988) was an A… Read Full Bio ↴Chesney Henry "Chet" Baker, Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter, flugelhornist and vocalist.
Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian David Gelly described the promise of Baker's early career as "James Dean, Sinatra, and Bix, rolled into one." His well-publicized drug habit also drove his notoriety and fame, Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and '80s.
Baker was born and raised in a musical household in Yale, Oklahoma; his father, Chesney Baker, Sr., was a professional guitar player, and his mother, Vera (née Moser) was a talented pianist who worked in a perfume factory. His maternal grandmother, Randi Moser, was Norwegian. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large.
Baker received some musical education at Glendale Junior High School, but left school at age 16 in 1946 to join the United States Army. He was posted to Berlin, where he joined the 298th Army band. After leaving the army in 1948, he studied theory and harmony at El Camino College in Los Angeles. He dropped out in his second year, however, re-enlisting in the army in 1950. Baker became a member of the Sixth Army Band at the Presidio in San Francisco, but was soon spending time in San Francisco jazz clubs such as Bop City and the Black Hawk. Baker once again obtained a discharge from the army to pursue a career as a professional musician.
Baker's earliest notable professional gigs were with saxophonist Vido Musso's band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1952 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.
In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan's baritone sax and Baker's trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other's playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet's version of "My Funny Valentine", featuring a Baker solo, was a hit, and became a tune with which Baker was intimately associated.
The Quartet found success quickly, but lasted less than a year because of Mulligan's arrest and imprisonment on drug charges. Baker formed his own quartet with pianist and composer Russ Freeman in 1953, along with bassists Carson Smith, Joe Mondragon, and Jimmy Bond and drummers Shelly Manne, Larry Bunker, and Bob Neel. The Chet Baker Quartet found success with their live sets, and they released a number of popular albums between 1953 and 1956. In 1953 and 1954, Baker won the Down Beat and Metronome magazines' Readers Jazz Polls, beating the era's two top trumpeters, Miles Davis and Clifford Brown. Down Beat readers also voted Baker as the top jazz vocalist in 1954. In 1956, Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career.
Due to Baker's chiseled features, he was approached by Hollywood studios, and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined an offer of a studio contract, preferring life on the road as a musician. Over the next few years, Baker fronted his own combos, including a 1955 quintet featuring Francy Boland, where Baker combined playing trumpet and singing. In 1956 Chet Baker completed an eight month tour of Europe, where he recorded Chet Baker In Europe.
He became an icon of the West Coast "cool school" of jazz, helped by his good looks and singing talent. Baker's 1956 recording, released for the first time in its entirety in 1989 as The Route, with Art Pepper, helped further the West Coast jazz sound and became a staple of cool jazz.
Baker began using heroin in the 1950s, resulting in an addiction that lasted the remainder of his life. At times, Baker pawned his instruments for money to maintain his drug habit. In the early 1960s, he served more than a year in prison in Italy on drug charges; he was later expelled from both West Germany and the United Kingdom for drug-related offenses. Baker was eventually deported from West Germany to the United States after running afoul of the law there a second time. He settled in Milpitas in northern California, where he played in San Jose and San Francisco between short jail terms served for prescription fraud.
In 1968, Baker was savagely beaten (allegedly while attempting to buy drugs) after a gig in The Trident restaurant in Sausalito, California sustaining severe cuts on the lips and broken front teeth, which ruined his embouchure. He stated in the film Let's Get Lost that an acquaintance attempted to rob him one night but backed off, only to return the next night with a group of several men who chased him. He entered a car and became surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street, where the chase by his attackers continued, and subsequently he was beaten to the point that his teeth, never in good condition to begin with, were knocked out, leaving him without the ability to play his horn. He took odd jobs, among them pumping gas. Meanwhile he was fitted for dentures and worked on his embouchure. Three months later he got a gig in New York City.
Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as West Coast jazz.
After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career. He relocated to New York City and began performing and recording again, including with guitarist Jim Hall. Later in the 1970s, Baker returned to Europe, where he was assisted by his friend Diane Vavra, who took care of his personal needs and otherwise helped him during his recording and performance dates.
From 1978 until his death in 1988, Baker resided and played almost exclusively in Europe, returning to the USA roughly once a year for a few performances. This was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well received by critics, who maintain that the period was one of Baker's most mature and rewarding. Of particular importance are Baker's quartet featuring the pianist Phil Markowitz (1978–80) and his trio with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse (1983–85).[citation needed] He also toured with saxophonist Stan Getz during this period.
In 1983, British singer Elvis Costello, a longtime fan of Baker, hired the trumpeter to play a solo on his song "Shipbuilding", from the album Punch the Clock. The song exposed Baker's music to a new audience. Later, Baker often featured Costello's song "Almost Blue" (inspired by Baker's version of "The Thrill Has Gone") in his concert sets, and recorded the song for Let's Get Lost, a documentary film about his life.
The video material recorded by Japanese television during Baker's 1987 tour in Japan showed a man whose face looked much older than he was, but his trumpet playing was alert, lively and inspired. Baker recorded the live album Chet Baker in Tokyo with his quartet featuring pianist Harold Danko, bassist Hein van de Geyn and drummer John Engels less than a year before his death, and it was released posthumously. Silent Night, a recording of Christmas music, was recorded with Christopher Mason in New Orleans in 1986 and released in 1987.
Baker's compositions included "Chetty's Lullaby", "Freeway", "Early Morning Mood", "Two a Day", "So Che Ti Perderò" ("I Know I Will Lose You"), "Il Mio Domani" ("My Tomorrow"), "Motivo Su Raggio Di Luna" ("Tune on a Moon Beam"), "The Route", "Skidadidlin'", "New Morning Blues", "Blue Gilles", "Dessert", and "Anticipated Blues".
At about 3:10 am on May 13, 1988, Baker was found dead on the Prins Hendrikkade, near the Zeedijk, the street below his second-story room of Hotel Prins Hendrik in Amsterdam, Netherlands, with serious wounds to his head. Heroin and cocaine were found in his hotel room, and an autopsy also found these drugs in his body. There was no evidence of a struggle, and the death was ruled an accident. A plaque outside the hotel memorializes him and the room he was staying in, No. 210, is named "The Chet Baker Room".
Baker is buried at the Inglewood Park Cemetery in Inglewood, California.
- Baker was photographed by William Claxton for his book Young Chet: The Young Chet Baker. An Academy Award-nominated 1988 documentary about Baker, Let's Get Lost, portrays him as a cultural icon of the 1950s, but juxtaposes this with his later image as a drug addict. The film, directed by fashion photographer Bruce Weber, was shot in black-and-white and includes a series of interviews with friends, family (including his three children by third wife Carol Baker), associates and women friends, interspersed with film from Baker's earlier life, and with interviews with Baker from his last years.
- Time after Time: The Chet Baker Project, written by playwright James O'Reilly, toured Canada in 2001 to much acclaim. The musical play Chet Baker – Speedball explores aspects of his life and music, and was premiered in London at the Oval House Theatre in February 2007, with further development of the script and performances leading to its revival at the 606 Club in the London Jazz Festival of November 2007.
- Baker was reportedly the inspiration for the character Chad Bixby, played by Robert Wagner in the 1960 film All the Fine Young Cannibals. Another film, to be titled Prince of Cool, about Baker's life, was cancelled as of January 2008.
- In 1991, singer/songwriter David Wilcox recorded the song "Chet Baker's Unsung Swan Song" on his album Home Again, speculating on what might have been Baker's last thoughts before falling to his death. The song was later covered by k.d. lang as "My Old Addiction" on her 1997 album Drag.
- The song "Chet Baker", which appears on the 2007 CD Wally Page and Johnny Mulhern: Live at the Annesley House, by Irish folk singer-songwriter Wally Page, describes the end of Baker's life in Amsterdam.
- Jeroen de Valk has written a biography of Baker which is available in several languages: Chet Baker: His Life and Music is the English translation.
Other biographies include James Gavin's Deep In A Dream—The Long Night of Chet Baker, and Matthew Ruddick's Funny Valentine. Baker's "lost memoirs" are available in the book As Though I Had Wings, which includes an introduction by Carol Baker.
- He is portrayed by Ethan Hawke in the 2015 film Born to Be Blue.
- The Australian electronica musician Nicholas James Murphy chose Chet Faker as his stage name, in order to pay homage to Chet Baker, who was a big influence for him.
Honors
In 1987 Chet Baker was inducted into the Big Band and Jazz Hall of Fame.
In 1989 he was elected to Down Beat Jazz Hall of Fame by that magazine's Critics Poll.
In 1991 he was inducted into the Oklahoma Jazz Hall of Fame.
In 2005 Oklahoma Governor Brad Henry and the Oklahoma House of Representatives proclaimed July 2 as "Chet Baker Day".
In 2007 Mayor of the City of Tulsa, Kathy Taylor, proclaimed December 23 as "Chet Baker Day".
On October 10, 2015 Yale, Oklahoma held the inaugural Chet Baker Jazz Festival in Baker's honor.
Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian David Gelly described the promise of Baker's early career as "James Dean, Sinatra, and Bix, rolled into one." His well-publicized drug habit also drove his notoriety and fame, Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and '80s.
Baker was born and raised in a musical household in Yale, Oklahoma; his father, Chesney Baker, Sr., was a professional guitar player, and his mother, Vera (née Moser) was a talented pianist who worked in a perfume factory. His maternal grandmother, Randi Moser, was Norwegian. Baker began his musical career singing in a church choir. His father introduced him to brass instruments with a trombone, which was replaced with a trumpet when the trombone proved too large.
Baker received some musical education at Glendale Junior High School, but left school at age 16 in 1946 to join the United States Army. He was posted to Berlin, where he joined the 298th Army band. After leaving the army in 1948, he studied theory and harmony at El Camino College in Los Angeles. He dropped out in his second year, however, re-enlisting in the army in 1950. Baker became a member of the Sixth Army Band at the Presidio in San Francisco, but was soon spending time in San Francisco jazz clubs such as Bop City and the Black Hawk. Baker once again obtained a discharge from the army to pursue a career as a professional musician.
Baker's earliest notable professional gigs were with saxophonist Vido Musso's band, and also with tenor saxophonist Stan Getz, though he earned much more renown in 1952 when he was chosen by Charlie Parker to play with him for a series of West Coast engagements.
In 1952, Baker joined the Gerry Mulligan Quartet, which was an instant phenomenon. Several things made the Mulligan/Baker group special, the most prominent being the interplay between Mulligan's baritone sax and Baker's trumpet. Rather than playing identical melody lines in unison like bebop giants Charlie Parker and Dizzy Gillespie, the two would complement each other's playing with contrapuntal touches, and it often seemed as if they had telepathy in anticipating what the other was going to play next. The Quartet's version of "My Funny Valentine", featuring a Baker solo, was a hit, and became a tune with which Baker was intimately associated.
The Quartet found success quickly, but lasted less than a year because of Mulligan's arrest and imprisonment on drug charges. Baker formed his own quartet with pianist and composer Russ Freeman in 1953, along with bassists Carson Smith, Joe Mondragon, and Jimmy Bond and drummers Shelly Manne, Larry Bunker, and Bob Neel. The Chet Baker Quartet found success with their live sets, and they released a number of popular albums between 1953 and 1956. In 1953 and 1954, Baker won the Down Beat and Metronome magazines' Readers Jazz Polls, beating the era's two top trumpeters, Miles Davis and Clifford Brown. Down Beat readers also voted Baker as the top jazz vocalist in 1954. In 1956, Pacific Jazz released Chet Baker Sings, a record that increased his profile but alienated traditional jazz fans; he would continue to sing throughout his career.
Due to Baker's chiseled features, he was approached by Hollywood studios, and he made his acting debut in the film Hell's Horizon, released in the fall of 1955. He declined an offer of a studio contract, preferring life on the road as a musician. Over the next few years, Baker fronted his own combos, including a 1955 quintet featuring Francy Boland, where Baker combined playing trumpet and singing. In 1956 Chet Baker completed an eight month tour of Europe, where he recorded Chet Baker In Europe.
He became an icon of the West Coast "cool school" of jazz, helped by his good looks and singing talent. Baker's 1956 recording, released for the first time in its entirety in 1989 as The Route, with Art Pepper, helped further the West Coast jazz sound and became a staple of cool jazz.
Baker began using heroin in the 1950s, resulting in an addiction that lasted the remainder of his life. At times, Baker pawned his instruments for money to maintain his drug habit. In the early 1960s, he served more than a year in prison in Italy on drug charges; he was later expelled from both West Germany and the United Kingdom for drug-related offenses. Baker was eventually deported from West Germany to the United States after running afoul of the law there a second time. He settled in Milpitas in northern California, where he played in San Jose and San Francisco between short jail terms served for prescription fraud.
In 1968, Baker was savagely beaten (allegedly while attempting to buy drugs) after a gig in The Trident restaurant in Sausalito, California sustaining severe cuts on the lips and broken front teeth, which ruined his embouchure. He stated in the film Let's Get Lost that an acquaintance attempted to rob him one night but backed off, only to return the next night with a group of several men who chased him. He entered a car and became surrounded. Instead of rescuing him, the people inside the car pushed him back out onto the street, where the chase by his attackers continued, and subsequently he was beaten to the point that his teeth, never in good condition to begin with, were knocked out, leaving him without the ability to play his horn. He took odd jobs, among them pumping gas. Meanwhile he was fitted for dentures and worked on his embouchure. Three months later he got a gig in New York City.
Between 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as West Coast jazz.
After developing a new embouchure resulting from dentures, Baker returned to the straight-ahead jazz that began his career. He relocated to New York City and began performing and recording again, including with guitarist Jim Hall. Later in the 1970s, Baker returned to Europe, where he was assisted by his friend Diane Vavra, who took care of his personal needs and otherwise helped him during his recording and performance dates.
From 1978 until his death in 1988, Baker resided and played almost exclusively in Europe, returning to the USA roughly once a year for a few performances. This was Baker's most prolific era as a recording artist. However, as his extensive output is strewn across numerous, mostly small European labels, none of these recordings ever reached a wider audience, even though many of them were well received by critics, who maintain that the period was one of Baker's most mature and rewarding. Of particular importance are Baker's quartet featuring the pianist Phil Markowitz (1978–80) and his trio with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse (1983–85).[citation needed] He also toured with saxophonist Stan Getz during this period.
In 1983, British singer Elvis Costello, a longtime fan of Baker, hired the trumpeter to play a solo on his song "Shipbuilding", from the album Punch the Clock. The song exposed Baker's music to a new audience. Later, Baker often featured Costello's song "Almost Blue" (inspired by Baker's version of "The Thrill Has Gone") in his concert sets, and recorded the song for Let's Get Lost, a documentary film about his life.
The video material recorded by Japanese television during Baker's 1987 tour in Japan showed a man whose face looked much older than he was, but his trumpet playing was alert, lively and inspired. Baker recorded the live album Chet Baker in Tokyo with his quartet featuring pianist Harold Danko, bassist Hein van de Geyn and drummer John Engels less than a year before his death, and it was released posthumously. Silent Night, a recording of Christmas music, was recorded with Christopher Mason in New Orleans in 1986 and released in 1987.
Baker's compositions included "Chetty's Lullaby", "Freeway", "Early Morning Mood", "Two a Day", "So Che Ti Perderò" ("I Know I Will Lose You"), "Il Mio Domani" ("My Tomorrow"), "Motivo Su Raggio Di Luna" ("Tune on a Moon Beam"), "The Route", "Skidadidlin'", "New Morning Blues", "Blue Gilles", "Dessert", and "Anticipated Blues".
At about 3:10 am on May 13, 1988, Baker was found dead on the Prins Hendrikkade, near the Zeedijk, the street below his second-story room of Hotel Prins Hendrik in Amsterdam, Netherlands, with serious wounds to his head. Heroin and cocaine were found in his hotel room, and an autopsy also found these drugs in his body. There was no evidence of a struggle, and the death was ruled an accident. A plaque outside the hotel memorializes him and the room he was staying in, No. 210, is named "The Chet Baker Room".
Baker is buried at the Inglewood Park Cemetery in Inglewood, California.
- Baker was photographed by William Claxton for his book Young Chet: The Young Chet Baker. An Academy Award-nominated 1988 documentary about Baker, Let's Get Lost, portrays him as a cultural icon of the 1950s, but juxtaposes this with his later image as a drug addict. The film, directed by fashion photographer Bruce Weber, was shot in black-and-white and includes a series of interviews with friends, family (including his three children by third wife Carol Baker), associates and women friends, interspersed with film from Baker's earlier life, and with interviews with Baker from his last years.
- Time after Time: The Chet Baker Project, written by playwright James O'Reilly, toured Canada in 2001 to much acclaim. The musical play Chet Baker – Speedball explores aspects of his life and music, and was premiered in London at the Oval House Theatre in February 2007, with further development of the script and performances leading to its revival at the 606 Club in the London Jazz Festival of November 2007.
- Baker was reportedly the inspiration for the character Chad Bixby, played by Robert Wagner in the 1960 film All the Fine Young Cannibals. Another film, to be titled Prince of Cool, about Baker's life, was cancelled as of January 2008.
- In 1991, singer/songwriter David Wilcox recorded the song "Chet Baker's Unsung Swan Song" on his album Home Again, speculating on what might have been Baker's last thoughts before falling to his death. The song was later covered by k.d. lang as "My Old Addiction" on her 1997 album Drag.
- The song "Chet Baker", which appears on the 2007 CD Wally Page and Johnny Mulhern: Live at the Annesley House, by Irish folk singer-songwriter Wally Page, describes the end of Baker's life in Amsterdam.
- Jeroen de Valk has written a biography of Baker which is available in several languages: Chet Baker: His Life and Music is the English translation.
Other biographies include James Gavin's Deep In A Dream—The Long Night of Chet Baker, and Matthew Ruddick's Funny Valentine. Baker's "lost memoirs" are available in the book As Though I Had Wings, which includes an introduction by Carol Baker.
- He is portrayed by Ethan Hawke in the 2015 film Born to Be Blue.
- The Australian electronica musician Nicholas James Murphy chose Chet Faker as his stage name, in order to pay homage to Chet Baker, who was a big influence for him.
Honors
In 1987 Chet Baker was inducted into the Big Band and Jazz Hall of Fame.
In 1989 he was elected to Down Beat Jazz Hall of Fame by that magazine's Critics Poll.
In 1991 he was inducted into the Oklahoma Jazz Hall of Fame.
In 2005 Oklahoma Governor Brad Henry and the Oklahoma House of Representatives proclaimed July 2 as "Chet Baker Day".
In 2007 Mayor of the City of Tulsa, Kathy Taylor, proclaimed December 23 as "Chet Baker Day".
On October 10, 2015 Yale, Oklahoma held the inaugural Chet Baker Jazz Festival in Baker's honor.
In A Sentimental Mood
Chet Baker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In A Sentimental Mood
I can see the stars come thru my room
While your loving attitude
Is like a flame that lights the gloom
On the wings of ev'ry kiss
Drift a melody so strange and sweet
In this sentimental bliss you make my
Paradise complete
Rose pearls seem to fall
It's all like a dream to call you mine
My heart's lighter thing
Since you made me this night a thing divine
In A Sentimental Mood
I'm within a world so heavenly
For I never dreamt
That you'd be loving sentimental me
In A Sentimental Mood
I can see the stars come thru my room
While your loving attitude
Is like a flame that lights the gloom
On the wings of ev'ry kiss
Drift a melody so strange and sweet
In this sentimental bliss you make my
Paradise complete
Rose pearls seem to fall
It's all like a dream to call you mine
My heart's lighter thing
Since you made me this night a thing divine
In A Sentimental Mood
I'm within a world so heavenly
For I never dreamt
That you'd be loving sentimental me
I can see the stars come thru my room
While your loving attitude
Is like a flame that lights the gloom
On the wings of ev'ry kiss
Drift a melody so strange and sweet
In this sentimental bliss you make my
Paradise complete
It's all like a dream to call you mine
My heart's lighter thing
Since you made me this night a thing divine
In A Sentimental Mood
I'm within a world so heavenly
For I never dreamt
That you'd be loving sentimental me
In A Sentimental Mood
I can see the stars come thru my room
While your loving attitude
Is like a flame that lights the gloom
On the wings of ev'ry kiss
Drift a melody so strange and sweet
In this sentimental bliss you make my
Paradise complete
Rose pearls seem to fall
It's all like a dream to call you mine
My heart's lighter thing
Since you made me this night a thing divine
In A Sentimental Mood
I'm within a world so heavenly
For I never dreamt
That you'd be loving sentimental me
The lyrics to Chet Baker’s song 'In A Sentimental Mood' captures the essence of a romantic moment shared by two lovers. The first verse sets the scene, and the imagery is evocative. The singer speaks about looking at the stars in his room while his lover's "loving attitude/is like a flame that lights the gloom." The metaphor is simple but effective as it signifies the way the object of his affection has brought light and warmth into his life. He goes on to describe the power of their kisses - "on the wings of every kiss/drifts a melody so strange and sweet," and the feeling of completeness that follows.
The repeated line, "In a Sentimental Mood," adds to the romantic feel of the song. The singer is basking in the intensity of the moment and the fact that he never dreamed someone as "sentimental" as him could experience such passion. The final line, "For I never dreamt/that you'd be loving sentimental me," speaks to the level of surprise and gratitude the singer feels towards his lover for showing him the kind of love he never thought he deserved. 'In a Sentimental Mood' is a timeless ode to love and the way it can take our breath away and transform us.
Line by Line Meaning
In A Sentimental Mood
The song's title sets the tone for the peaceful and wistful mood
I can see the stars come thru my room
The singer can imagine the celestial beauty of the night sky in their bedroom
While your loving attitude
The singer acknowledges the affectionate demeanor of their partner
Is like a flame that lights the gloom
The partner's love brings light and warmth to the artist's life
On the wings of ev'ry kiss
Each kiss is imbued with an emotional and musical resonance
Drift a melody so strange and sweet
The kisses create a unique and lovely melody in the singer's mind
In this sentimental bliss you make my
The partner's love creates a feeling of overwhelming joy and contentment
Paradise complete
The artist feels like they have achieved a state of perfect happiness
Rose pearls seem to fall
The artist sees the beauty in the small things around them
It's all like a dream to call you mine
The artist feels lucky and grateful to have the love of their partner
My heart's lighter thing
The weight of the world feels lifted by the partner's love
Since you made me this night a thing divine
The partner's love has transformed an ordinary night into a spiritually meaningful one
I'm within a world so heavenly
The singer feels like they are in a perfect, idyllic world
For I never dreamt
The singer expresses their incredulity and surprise at having found such a loving partner
That you'd be loving sentimental me
The singer is in awe that their partner sees the beauty in them and loves them deeply
Lyrics © Sony/ATV Music Publishing LLC, Tratore, Capitol CMG Publishing, Integrity Music, Songtrust Ave, Cloud9
Written by: Duke Ellington, Irving Mills, Manny Kurtz
Lyrics Licensed & Provided by LyricFind
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Marcílio Godoi
Tradução caseira:
Mas agora já foi
Nem te digo
O silêncio entre nós dois
Nunca teve muito sentido
Era isso, amar, era tudo o que se pedia
Mas agora já foi
Não há palavras para o passado
O desespero fez de mim o mesmo
Fez de mim um outro.
Quem vê o desenho do peixe
Agigantar-se ao lado da tigela
Quem anda pelo terraço
Vê o outono de cima
Quem ouve o estalo do plástico
Que envolve como celofane
Galhos desnudos de trepadeiras?
Você não sabe, e eu
Que desço a escada tampouco
Eu sou o mesmo, eu sou um outro.
ferchulowsky alunada
"But now it has happened,
No use in talking
The silence between me and you
Has never had meaning.
It was, love it, that was all
That was asked.
But now it has happened,
No words for the foretime,
The desperation has made me the same,
Has made me another.
Who looks at the shape of the fish
Grow giant on the side of his bowl,
Who walks on the terrace
Observing foliage from above,
Who hears the snapping of plastic
That wraps like cellophane
Bare branches of climbers?
You don't know, and I
Who descend the stairs neither,
I am the same, I am another."
Tam Anh Astronomia e Deserto
Thậm chí tôi để mặc lên spotify để nhạc Chet Baker chạy đi chạy lại chơi không hay biết. Nó lặp đi lặp lại như một vòng kim đồng hồ quay không mệt nghỉ..Có một sự cô đơn nổi bật trong bài hát đang chơi của anh ấy..biểu hiện của sự mất mát to lớn khi bạn đánh mất người mình yêu...Trong nhiều năm, Chet không còn chơi với thể xác nữa ... anh chơi với linh hồn ...Bạn có thể nghe thấy những âm thanh nhẹ nhàng mà anh ấy tạo ra khi anh ấy thở, khi đọc bài thơ tuyệt vời này .. Chỉ hơi thở của anh ấy đã có tôi.
Vâng, Jazz cho phép bạn chèo thuyền đến những vùng đất xinh đẹp trong suy nghĩ. Thứ khác là Chet tôi có thể hiểu sự kiên trì của anh ấy trong việc thoát khỏi đau đớn và những ký ức tồi tệ không thể quên ...Đây là âm nhạc thực sự. Điều này giúp bạn tiếp xúc với cảm xúc của mình. Khoảng lặng giữa tôi và bạn không bao giờ có ý nghĩa
Tôi đã nghe thêm bản chơi guitar hoàn toàn tuyệt vời qua một trong những cách giải thích rằng kèn hay nhất của cher .. Cũng như vậy, và tôi nhận thấy không thể vượt qua điều này. NICOLA STILO - nghệ sĩ guitar người Ý đáng kinh ngạc đệm theo cách thuần túy nhất của Brazil để chơi violão (Accustical Guitar). Nicolo đã thể hiện một kỹ năng tuyệt vời khi chơi nó và CHET (nhạc sĩ nhạc jazz đầu tiên mà tôi cảm thấy yêu thích trong lúc này trong BELO HORIZONTE) đã làm tan nát trái tim tôi khi chơi giai điệu kỳ diệu này !!! Muito obrigado NICOLA & CHET! Cả hai cao thủ thần thánh !!!
Hôm qua khi khám phá ra âm nhạc của Chet, tôi bắt đầu nghe ngày càng nhiều giai điệu của anh ấy. Tôi đã tự hỏi làm thế nào tất cả chúng có thể sâu và mạnh mẽ theo một cách rất tinh tế. Tôi quyết định đọc về anh ấy, và tôi ngay lập tức tìm ra lý do tại sao. Anh ấy đã sống một cuộc đời rất bi thảm, và điều đó thực sự thể hiện trong âm nhạc của anh ấy. Chet thổi kèn và âm thanh được tạo ra từ nỗ lực của anh ấy rất chân thành đối với người nghe. Khoảng lặng giữa các mối quan hệ và âm nhạc hỗ trợ nó. Như gió từng cơn gió nhỏ. ..Bạn là lửa và tình yêu, bạn là tình yêu đốt cháy cơ thể tôi, nhưng bạn cũng là tình yêu sẽ làm cho nó trở nên thuần khiết "
Máu và não giống như vắc-xin hoặc vitamin bởi vì ngày của chúng ta là thời gian,của giờ và kim đồng hồ quay, đóng vòng tròn về phía chúng ta và màu đen vượt thời gian.Màn đêm hút chúng ta vào như cát lún, tiếp nhận chúng ta hoàn toàn mà không cần một cơn mưa hoặc . ..Đang trôi vào một giấc mơ
Vâng, từ từ trôi và trôi ... trên cao của trần tục và điên cuồng. Cảm ơn Chet, cầu mong bạn sẽ yên nghỉ trong hòa bình vĩnh viễn.
Một lần nữa, trước khi đi ngủ, tôi nghe tiếng kèn của anh ấy như một liều thuốc chữa bách bệnh để xua đuổi bóng tối và chế ngự tốt hơn bất kỳ giấc mơ nào.
Khi âm nhạc biến thành liều thuốc cho tâm hồn. Cảm ơn Chet, luôn ở trong trái tim tôi.
Điều gì chúng ta cô đơn
một ngôi sao xa xôi mà chúng ta đã thấy
cố gắng để đạt được nó
và rơi mạnh...
Yêu hết mình,
Không có gì để thêm chỉ cần lắng nghe, nhắm mắt lại
Hôm nay đã dành hàng giờ để nghe nhạc của anh ấy ... âm nhạc tuyệt vời! Không thể không yêu anh ấy ... TUYỆT VỜI ... khi âm nhạc biến thành một giấc mơ ..Anh ấy là một trong những người đặc biệt ...
The desperation has made me the same, has made me another...This is the reason for living.....
https://open.spotify.com/album/0JktSvZgGkbext2xCxJlv4...
Felipe Martins
But now It has happen - no use in talking -
the silence between me and you has never had meaning.
It was. Love it, that was all that was asked.
But now it has happen - no words for the foretime,
the desperation has made me the same, has made me another.
Who looks at the shape of a fish grow giant on the side of his bowl?
Who walks on the terrace observing foliage from above?
Who hears the snapping of plastic that wraps like cellophane bare branches of climbers, you don't know.
And i who descend the stairs, neither I am the same, I am another.
MegaPascal31
Upon recently discovering Chet's music, I began to listen to more and more of his tunes. I was wondering how they could all be so deep and powerful in a very delicate way. I decided to read up on him, and I instantly found out why. He lived a very tragic life, and it really shows in his music. Incredible.
Elle Firogeni
Be realife expressed in the art of the artist
—and so, no wonder, we have the art we have nowadays.
Et Ros
chet baker had expressed in his song all of the saddest human feelings, it' s incredible
mizpahboy
+Et Ros If I may....I would like to submit for your approval a passage from "This is my Beloved" written by Mr. Walter Benson. Because hate is legislated written into the primer and the testament shot into
our blood and brain like vaccine or vitamins because our day is of time, of
hours and the clock-hand turns, closes the circle upon us and black timeless
night sucks us in like quicksand, receives us totally without a raincheck or
a parachute, a key to heaven or the last long look I need love more than ever now...I need your love. I need love more than hope or money, wisdom or a drink.
Et Ros
really enjoyable, thank you very much for this pearl
Nathan Braddy
A swear there is nothing in the world like some of this sad and sober jazz while you're in one of those moods. It's my favorite type of jazz to play. It's just so soulful and heartfelt and meaningful. It feels real unlike most music now.
rcmacmusic
>sober
>Chet Baker
Choose one
Josh Music
@rcmacmusic lol so true. This music is so introspective and painful
Ludovic Monroe
Chet singing, playing trumpet, talking ... a miracle of sensibility, sadness, beauty
Maggie Schmidt
há um aroma de Brasil no ar! há um acorde de cais, de milton nascimento, nessa obra! chet, um gênio em sensibilidade e em harmonia! uma obra prima!❤❤❤