Eric Le Lann-I Remember Chet

ERiC LE LAnn
+ nELsOn VERAs
& GiLdAs BOCL
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 BOCL
double bass
Recorded, mixed and mastered by simon derasse
at 51studio in August & september 2012
Graphic design : Element-s/Jrme Witz
Chet Baker cover photo : Christian ducasse, with
kind permission of Paul Baker and Bruce Guthrie
Text translation by Rollin'dice Productions
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ERiC LE LAnn
+ nELsOn VERAs
& GiLdAs BOCL
ERiC LE LAnn
+ nELsOn VERAs
& GiLdAs BOCL
ERiC LE LAnn
+ nELsOn VERAs
& GiLdAs BOCL
Without love, life isnt worth living.

Chet was scheduled to play at the new Morning that night. Late that morning, i got a call from Mickey saying, im 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, whod 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. id 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. Chets 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, ill be back in a moment.
- no, its 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 rooms walls, in the same
pattern as his bodys 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 lUniversit?
- 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 wed 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 lUniversit 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, lets 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
duperr. They hadnt 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 couldnt 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 mustve been 500 people. Chet
started to sing, after which he raised his trumpet to his lips. The sounds didnt
come out, people were disappointed. Hed 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 dtre vcue

sans amour.
Chet jouait ce soir-l au new Morning. Mickey mappela en fin de matine
et me dit :Je vais voir Chet son htel boulevard de strasbourg,je t-y
attends. Jy allais donc en fin de matine sans ma trompette. Comme
souvent, Chet jouait avec son fltiste qui devenait guitariste lorsquil ny
avait pas de piano. Mickey tait l et coutait.
Tout de suite Chet minvite jouer et chaque fin de solo me tend sa
trompette, jai mon embouchure. Vers 13 heures, il y a un break et je vais
manger lextrieur de lhtel. Je reviens vers 14 heures et frappe la
porte de sa chambre.
- Who is here ?
- ric
- Come in !
Je rentre dans sa chambre, Chet est de dos face la fentre, nu, une
seringue la main droite bien verticale, il enlve lair de laiguille.
-do you want some ?
-no thanks, ill be back in a moment.
-no its ok, you can stay.
Chet cherche ensuite une veine encore oprationnelle 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 lorsquil cherche atteindre
sa bote de kleenex. il sy prend plusieurs fois avant de russir se piquer.
Je prends lair un certain temps puis reviens avec Mickey.
nous jouons plusieurs standards et au bout de deux heures, Chet dit quil
a une course faire.
-As-tu une voiture ? me demande-t-il.
-Oui jen ai une.
-Ok, peux-tu mamener rue de lUniversit ?
-Bien sr.
nous partons tous les deux, il souhaite conduire. Je suis surpris par sa
conduite, il conduit trs vite et trs bien, se faufile entre les voitures et
prend visiblement beaucoup de plaisir. Ma voiture est une vieille voiture
allemande trs puissante et il se rgale. de retour lhtel, il sisole pour
se piquer nouveau.
On rejoue de nouveaux standards et son son et son phras sont lunaires,
trs beaux comme toujours. il me passe sa trompette et cest un plaisir
de jouer avec lui. Je suis srement influenc par son jeu, mais je crois
que je fais tout pour ne pas lui ressembler je parle du phras, du choix
des notes. Je men imprgne mais souhaite avant tout avoir un style propre. dans la mesure o on a tous t influenc, Chet le premier par Miles,
les anciens, Clark Terry, Clifford Brown et pour ceux qui connaissent,
linventeur: Louis Armstrong.
Avancer, cest dire non. Avancer cest sempcher de faire ce que lon
sait faire, cest sempcher de copier.
Les pompes eau de sa trompette sont tanches grce du sopalin que
lon doit changer de temps en temps.
Entre deux titres, je lui dis :
- Chet, je connais un magasin qui vend des trompettes Pigalle o
jhabite, tu devrais changer de trompette.
il mcoute dune oreille distraite puis continue jouer. nous retournons
rue de lUniversit une seconde fois, cest une faon de ne pas avoir trop
de produit sur lui au cas o il serait contrl. Je lui reparle de sa
trompette, nous retournons lhtel. On joue encore un peu et il me dit:
- Ok, allons voir ces trompettes.
On reprend la voiture. En arrivant rue duperr, je revois encore la tte
des deux vendeurs me disant bonjour, nayant pas encore vu Chet qui est
derrire moi puis se figeant, comme si dieu tait enfin redescendu sur
terre.
il demande voir les trompettes, choisit en trois secondes la moins chre,
un premier modle Getzen, il a dans sa poche son embouchure Bach, une
7C. En cinq minutes, cest rgl, elle cote 3000 francs, il sort une liasse
de billets de sa poche arrire, paye et on part. direction lhtel. Je le
vois encore, il est comme un enfant, ouvrant la bote de cette trompette
neuve, la regardant longuement, la refermant puis louvrant encore, vraiment la musique est toute sa vie.
Chet est attachant, quelquun dhypersensible. Puis il joue sa nouvelle
trompette, le son est le mme avec plein dair. il sest en fait servi de ses
problmes de dents et donc de lvres pour se fabriquer un autre son. Le
manque de pince ne lui permet pas daller dans laigu, mais a lui permet
de trouver un autre son et un autre phras. La fonction cre lorgane.
il peut jouer nimporte quelle trompette, le son cest soi.
nous sortons grignoter un croque-monsieur. Vers 21 heures nous arrivons au new Morning, la salle est bonde, il y a 500 personnes. Chet
commence par chanter puis embouche sa trompette, le son ne sort pas,
les gens sont dus, il a tout donn cet aprs-midi, je joue autant quil
me le demande.
Personne na jamais su pourquoi ce soir-l il eut tellement de mal jouer.
Eric Le lann (nov 2012)
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Eric Le Lann-I Remember Chet

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TOTAL TiME 49:09

Produced by BEE JAZZ

Without love, life isnt worth living.

To go forward is to say no. To go forward means preventing oneself from

Eric Le lann (nov 2012)

La vie ne vaut pas la peine dtre vcue

Eric Le lann (nov 2012)

Le cataLoGue bee jazz eSt DiSPonibLe

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I WILL FOLLOW YOU

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