There has been many great trumpet players since the early 1900's many known and unknown i will display some of the horn player that have broken the media gate and have left us with some very nice memories that will last forever Thur there recordings. Many have become household names with every one who ever decided to play trumpet . This the only American art form better know as "JAZZ" has given the world talent such as Miles Davis and Dizzy Gillespie both men were unofficial ambassadors of jazz thur out the world for many years so please take your time and enjoy yourself if you can play a little you will fine that the styles of old have evolved to a more complex way of expression.
Monday, August 6, 2012
Tuesday, September 1, 2009
Miles Secret Greatness.....Time
Miles Dewey Davis III (May 26, 1926 – September 28, 1991)
Widely considered one of the most influential musicians of the 20th century, Miles Davis was with his groups at the forefront of several major developments in jazz music including cool jazz, hard bop, free jazz and fusion. Many well-known jazz musicians made their names as members of Davis' ensembles .Miles Davis was born to a relatively affluent family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927, the family moved to East St. Louis. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.
Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the instrument's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, and Davis would carry his clear signature tone throughout his career. Buchanan was said to slap Davis' knuckles every time he started using heavy vibrato.[1] Davis once remarked on the importance of this signature sound, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much Baseline bass. Just right in the middle. If I can’t get that sound I can’t play anything.In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was taken on as third trumpet for a couple of weeks because Buddy Anderson was out sick. When Eckstine's band left Davis behind to complete the tour, the trumpeter's parents were still keen for him to continue formal academic studies
In the fall of 1944, following graduation from high school, Miles moved to New York City to study at the Juilliard School of Music.
Upon arriving in New York, Davis spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including the famous saxophonist Coleman Hawkins.[1]
Having finally succeeded in locating his idol, Davis became part of the milieu of musicians that centered around the jam sessions that were kept nightly in two of Harlem's night clubs, Minton's Playhouse and Monroe's, a group that at the time included many of the future protagonists of the bebop revolution, young musicians .
In the same period, he dropped out of Juilliard, having first asked permission from his father. In his autobiography, he criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. He also did partly acknowledge that the Juilliard period contributed to the theoretical background, that he would rely greatly upon in later years.
He began playing professionally in many jazz combos, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered for the first time in a recording studio as a member of the group of Herbie Fields. This was the first of many recordings to which Davis participated in the following years, most of the time as a sideman. His first studio occasion as a leader came in 1946, with an occasional group called '"Miles Davis Sextet plus Earl Coleman and Ann Hathaway"', one of the rare occasions in which Davis - who was already a member of the Charlie Parker quintet - can be heard accompanying singers. Record dates in which Davis was featured as leader were the exception, rather than the rule, however: the next, isolated, date came around in 1947.Davis' influences included late 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown and Jimi Hendrix, many of whom he met through Betty Mabry, a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio.
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his seminal trio, for the album sessions as the music had been planned around Evans' piano style.[19] Both Davis and Evans had direct familiarity with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before what came to be known as the Birth of the Cool sessions, and Evans from study with Russell in 1956.
By the time In a Silent Way had been recorded in February 1969, Davis had augmented his standard quintet with additional players. At various times Hancock or Joe Zawinul were brought in to augment Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances.
Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools — programmed synthesizers, samples and drum loops — to create an entirely new setting for Davis' playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.
Widely considered one of the most influential musicians of the 20th century, Miles Davis was with his groups at the forefront of several major developments in jazz music including cool jazz, hard bop, free jazz and fusion. Many well-known jazz musicians made their names as members of Davis' ensembles .Miles Davis was born to a relatively affluent family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927, the family moved to East St. Louis. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.
Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the instrument's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato, and Davis would carry his clear signature tone throughout his career. Buchanan was said to slap Davis' knuckles every time he started using heavy vibrato.[1] Davis once remarked on the importance of this signature sound, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much Baseline bass. Just right in the middle. If I can’t get that sound I can’t play anything.In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was taken on as third trumpet for a couple of weeks because Buddy Anderson was out sick. When Eckstine's band left Davis behind to complete the tour, the trumpeter's parents were still keen for him to continue formal academic studies
In the fall of 1944, following graduation from high school, Miles moved to New York City to study at the Juilliard School of Music.
Upon arriving in New York, Davis spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including the famous saxophonist Coleman Hawkins.[1]
Having finally succeeded in locating his idol, Davis became part of the milieu of musicians that centered around the jam sessions that were kept nightly in two of Harlem's night clubs, Minton's Playhouse and Monroe's, a group that at the time included many of the future protagonists of the bebop revolution, young musicians .
In the same period, he dropped out of Juilliard, having first asked permission from his father. In his autobiography, he criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. He also did partly acknowledge that the Juilliard period contributed to the theoretical background, that he would rely greatly upon in later years.
He began playing professionally in many jazz combos, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered for the first time in a recording studio as a member of the group of Herbie Fields. This was the first of many recordings to which Davis participated in the following years, most of the time as a sideman. His first studio occasion as a leader came in 1946, with an occasional group called '"Miles Davis Sextet plus Earl Coleman and Ann Hathaway"', one of the rare occasions in which Davis - who was already a member of the Charlie Parker quintet - can be heard accompanying singers. Record dates in which Davis was featured as leader were the exception, rather than the rule, however: the next, isolated, date came around in 1947.Davis' influences included late 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown and Jimi Hendrix, many of whom he met through Betty Mabry, a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio.
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his seminal trio, for the album sessions as the music had been planned around Evans' piano style.[19] Both Davis and Evans had direct familiarity with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before what came to be known as the Birth of the Cool sessions, and Evans from study with Russell in 1956.
By the time In a Silent Way had been recorded in February 1969, Davis had augmented his standard quintet with additional players. At various times Hancock or Joe Zawinul were brought in to augment Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances.
Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu (1986), would be his first to use modern studio tools — programmed synthesizers, samples and drum loops — to create an entirely new setting for Davis' playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.
Freddie the Player
Frederick Dewayne Hubbard
April 1938 December 2008) . He was known
for playing hard bop and post bop styles from the early
60s and on. His unmistakable and influential tone contributed to new
perspectives for modern jazz and bebop.
Hubbard started playing the and trumpet in his school band, studying at the Jordan Conservatory with the principal trumpeter of the Indianapolis Symphony Orchestra. In 1958, at the age of 20, he moved to New York, and began playing with some of the best jazz players of the era. In June 1960 Hubbard made his first record as a leader, Open Sesame, with saxophonist Tina Brooks, pianist McCoy Tyner, bassist Sam Jones, and drummer Clifford Jarvis
In August 1961, Hubbard made one of his famous records, Ready for Freddie, which
was also his first collaboration with saxophonist Wayne Shorter. Hubbard would
join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz
Messengers. He played on several Blakey recordings.
It was during this time
that he began to develop his own sound, distancing himself from the early
influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.Although his early 1970s jazz albums Red Clay, First
Light, Straight Life, and Sky Dive were particularly well received and
considered among his best work, the albums he recorded later in the decade were rated high and open his talents to a non-jazz listening audience.
In August 1961, Hubbard made one of his famous records, Ready for Freddie, which
was also his first collaboration with saxophonist Wayne Shorter. Hubbard would
join Shorter later in 1961 when he replaced Lee Morgan in Art Blakey's Jazz
Messengers. He played on several Blakey recordings.
It was during this time
that he began to develop his own sound, distancing himself from the early
influences of Clifford Brown and Morgan, and won the Downbeat jazz magazine "New Star" award on trumpet.Although his early 1970s jazz albums Red Clay, First
Light, Straight Life, and Sky Dive were particularly well received and
considered among his best work, the albums he recorded later in the decade were rated high and open his talents to a non-jazz listening audience.
First Light won a 1972 Grammy Award and included pianists Herbie Hancock and Richard Wyands, guitarists Eric Gale and George Benson, bassist Ron Carter, drummer Jack DeJohnette, and percussionist Airto Moreira. In 1994, Freddie, collaborating with Chicago jazz vocalist/co-writer Catherine Whitney, had lyrics set to the music of First Light.
Monday, August 10, 2009
Then Came Louis the Great
Louis Armstrong was the greatest of all Jazz musicians. Armstrong defined what it was to play Jazz. His amazing technical abilities, the joy and spontaneity, and amazingly quick, inventive musical mind still dominate Jazz to this day. Only
Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs. Joe "King" Oliver was his favorite and the older man acted as a father to Louis, even giving him his first real cornet, and instructing him on the instrument. By 1917 he played in an group at bars in New Orleans
In 1919 he left New Orleans for the first time to join a band in St. Louis. When the boats left from New Orleans Armstrong also played regular gigs in parades with brass bands. When King Oliver left the city in 1919 to go to Chicago, Louis took his place in from time to time. In 1922 Louis received a telegram from his mentor Joe Oliver, asking him to join his in Chicago. This was a dream come true for Armstrong and his amazing playing in the band soon made him a sensation among other musicians in Chicago. The New Orleans style of music took the town by storm and soon many other bands from down south made their way north to Chicago. While playing in Oliver's Creole Jazz Band, Armstrong met Lillian Hardin, a piano player and arranger for the band. In February of 1924 they were married. Lil was a very intelligent and ambitious woman who felt that Louis was wasting himself playing in Oliver's band. By the end of 1924 she pressured Armstrong to reluctantly leave his mentor's band and move to New York to play in Fletcher Henderson's Orchestra for 13 months. During that time he also did dozens of recording sessions with numerous Blues singers, including Bessie Smith's 1925 classic recording of "St. Louis Blues". He also recorded with the Red Onion Jazz Babies.
By 1929 Louis was becoming a very big star. He toured with the show "Hot Chocolates" and appeared occasionally with Fletcher Henderson. Armstrong moved to Los Angeles in 1930 where he fronted a band called the New Cotton Club Orchestra. In 1931 he returned to Chicago and assembled his own band for touring purposes. In June of that year he returned to New Orleans for the first time since he left in 1922 to join King Oliver's Creole Jazz Band. Armstrong was greeted as a hero, but racism marred his return when a White radio announcer refused to mention Armstrong on the air and a free concert that Louis was going to give to the cities' African-American population was cancelled at the last minute. In 1932 he went on tour to England where he was a great success. For the next three years Armstrong was always on tour. He crisscrossed the U.S. dozens of times and returned to Europe playing in Denmark, Sweden, Norway, Holland and England. In 1935 he returned to the home for Armstrong to work with a band made up of predominantly New Orleans musicians, many of whom had also played with King Oliver. The band was named Louis Armstrong and his Orchestra and was one of the most popular acts of the Swing era. During the next ten years Armstrong became one of the most famous men in America. The Dixieland Jazz revival was just beginning to end and the Be Bop age had begun. So, in 1947 the orchestra and replaced them with a small group that became one of the greatest and most popular bands in Jazz history. The group was called the Louis Armstrong Allstars and over the years featured exceptional musicians . The band went through a number of personnel changes over the years but remained extremely popular worldwide. They toured extensively travelling to Africa, Asia, Europe and South America for the next twenty years until Louis' failing health caused them to disband. Armstrong became known as America's Ambassador. In 1963 Armstrong scored a huge international hit with his version of "Hello Dolly". . In 1968 he recorded another number one hit with the touchingly optimistic "What A Wonderful World". Armstrong's health began to fail him and he was hospitalized several times over the remaining three years of his life, but he continued playing and recording. On July 6th 1971 the world's greatest Jazz musician died in his sleep at his home in Queens, New York.Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs. Joe "King" Oliver was his favorite and the older man acted as a father to Louis, even giving him his first real cornet, and instructing him on the instrument. By 1917 he played in an group at bars in New Orleans
In 1919 he left New Orleans for the first time to join a band in St. Louis. When the boats left from New Orleans Armstrong also played regular gigs in parades with brass bands. When King Oliver left the city in 1919 to go to Chicago, Louis took his place in from time to time. In 1922 Louis received a telegram from his mentor Joe Oliver, asking him to join his in Chicago. This was a dream come true for Armstrong and his amazing playing in the band soon made him a sensation among other musicians in Chicago. The New Orleans style of music took the town by storm and soon many other bands from down south made their way north to Chicago. While playing in Oliver's Creole Jazz Band, Armstrong met Lillian Hardin, a piano player and arranger for the band. In February of 1924 they were married. Lil was a very intelligent and ambitious woman who felt that Louis was wasting himself playing in Oliver's band. By the end of 1924 she pressured Armstrong to reluctantly leave his mentor's band and move to New York to play in Fletcher Henderson's Orchestra for 13 months. During that time he also did dozens of recording sessions with numerous Blues singers, including Bessie Smith's 1925 classic recording of "St. Louis Blues". He also recorded with the Red Onion Jazz Babies.
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THE ROAD TO JAZZ IS THUR PHILLY
Lee Morgan was born July 10 1938
in Philadelphia, Pennsylvania, Morgan was a jazz prodigy, joining the Dizzy Gillespie big band at 18, remaining a member for two years. In 1956 he began recording as a leader, mainly for the Blue Note label; eventually he recorded twenty-five albums for the company. Morgan’s principal influence as a player was Clifford Brown, having had direct contact with him before Brown’ death.
He was featured trumpeter on several early Hank Mobley records, and John Coltrane’s Blue Train. Joining Art Blakey’s Jazz Messengers in 1958 further developed his talent as a soloist and writer. He toured with Blakey for a few years, and was featured on Moanin, which is probably Blakey’s best known recording. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This classic version of the Jazz Messengers, The Freedom Rider album was then recorded.
Morgan left the Jazz Messengers in 1961, struggling with heroin addiction, managing to kick his habit in his hometown. He returned to the music scene after a two-year absence, playing on Grachan Moncur III’s essentially avant-garde Evolution album, and experimenting on some of his own recordings such as the title track of Search for the New Land (1964), but the popularity of his famous album, The Sidewinder, featuring Joe Henderson precluded his career developing in this way.
The title track of that record cracked the pop charts in 1964 and served as the background theme for Chrysler commercials during the World Series. In 1964 Morgan rejoined the Jazz Messengers, after his successor Freddie Hubbard departed, which had now become a sextet with the addition of Curtis Fuller to the group.
Alongside this commercial success, Morgan continued to record thur prolifically, producing such works as Search For the New Land which reached the top 20 of the R&B charts. His work became increasingly more modal and free towards the end of the sixties. He had begun to lead his own group, featuring Bernie Maupin as a multi-reedist.
Lee Morgan was murdered by his common-law wife, following an argument between sets at Slug’s, a popular New York City jazz club.
THE YOUNG MASTER
Clifford Brown was born October 30 1930 in Wilmington, Delaware. The teen-aged trumpeter began playing gigs in Philadelphia on graduating in 1948. That same year, he entered the University of Delaware on a music scholarship, but there was one slight snag: the college happened to be momentarily short of a music department.
Brownie remained there a year anyway, majoring in mathematics, and taking up a little spare time by playing some Philadelphia dates with such preeminent bop figures as Kenny Dorham, Max Roach, J.J. Johnson and Fats Navarro. He acquired considerable inspiration and encouragement from Navarro, who was greatly impressed with the youngster's potentialities.
After the year at the University of Delaware, Brownie had a chance to enter a college that did boast a good music department, namely Maryland State. They also had a good 16-piece band, and he learned a lot about both playing and arranging until one evil evening in June 1950 when, on his way home from a gig, he was involved in the first of three automobile accidents, the last of which was to prove fatal.
For a whole year in 1950-51, Clifford Brown had plenty of opportunity for contemplation but precious little for improving his lip. It took just about a year, plus some verbal encouragement from Dizzy Gillespie, to set him back on the path from which he had been so rudely sideswiped.
He had his own group in Philly for a while, then joined the Chris Powell combo, with which he was working at Cafe Society when his first date with Lou Donaldson was cut. There followed a stint with Tadd Dameron in Atlantic city, after which he joined Lionel Hampton, touring Europe with him in the fall of 1953. In 1954 Brownie won the Down Beat critics' poll as the new star of the year. Moving out to California, he formed an alliance with Max Roach .
His style was influenced by Fats Navarro, sharing Navarro's virtuosic technique and brilliance of invention. His sound was warm and round, and notably consistent across the full range of the instrument. He could articulate every note, even at the high tempos which seemed to present no difficulty to him; this served to enhance the impression of his speed of execution. His sense of harmony was highly developed, enabling him to deliver bold statements through complex harmonic progressions (chord changes), and embodying the linear, "algebraic" terms of bebop harmony. As well as his up-tempo prowess, he could express himself deeply in a ballad performance. Clifford Brown was and still is one of the greatest trumpet players of all time !
Brownie remained there a year anyway, majoring in mathematics, and taking up a little spare time by playing some Philadelphia dates with such preeminent bop figures as Kenny Dorham, Max Roach, J.J. Johnson and Fats Navarro. He acquired considerable inspiration and encouragement from Navarro, who was greatly impressed with the youngster's potentialities.
After the year at the University of Delaware, Brownie had a chance to enter a college that did boast a good music department, namely Maryland State. They also had a good 16-piece band, and he learned a lot about both playing and arranging until one evil evening in June 1950 when, on his way home from a gig, he was involved in the first of three automobile accidents, the last of which was to prove fatal.
For a whole year in 1950-51, Clifford Brown had plenty of opportunity for contemplation but precious little for improving his lip. It took just about a year, plus some verbal encouragement from Dizzy Gillespie, to set him back on the path from which he had been so rudely sideswiped.
He had his own group in Philly for a while, then joined the Chris Powell combo, with which he was working at Cafe Society when his first date with Lou Donaldson was cut. There followed a stint with Tadd Dameron in Atlantic city, after which he joined Lionel Hampton, touring Europe with him in the fall of 1953. In 1954 Brownie won the Down Beat critics' poll as the new star of the year. Moving out to California, he formed an alliance with Max Roach .
His style was influenced by Fats Navarro, sharing Navarro's virtuosic technique and brilliance of invention. His sound was warm and round, and notably consistent across the full range of the instrument. He could articulate every note, even at the high tempos which seemed to present no difficulty to him; this served to enhance the impression of his speed of execution. His sense of harmony was highly developed, enabling him to deliver bold statements through complex harmonic progressions (chord changes), and embodying the linear, "algebraic" terms of bebop harmony. As well as his up-tempo prowess, he could express himself deeply in a ballad performance. Clifford Brown was and still is one of the greatest trumpet players of all time !
SMOOTH AND COOL
Chesney Henry "Chet" Baker Jr. born Yale, Oklahoma, December 23, 1929 played trumpet, flugelhorn and did a little singing as well. At the age of 12 he learn to play trumpet. He played trumpet through junior high school, and on through college.
After developing a new embouchure Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, 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, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates.
From 1978 to 1988 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 this was probably Baker's most mature and most rewarding phase.
In 1946 he was drafted into the Army, and played in the Army band in Berlin.1953, Baker formed his own band featuring Russ Freeman on piano. The Chet Baker Quartet toured and recorded with great success. As the decade came to a close, Chet was addicted to heroin and his life was filled with arrests and scandals.
After returning home, Baker continued his music education at El Camino College.
In 1952 he won an audition with Charlie Parker, then went on to join Gerry
Mulligan's pianoless quartet. The group performed regularly at
Hollywood. In
Baker's prominence rose during the cool jazz of the 50's. But his success wasBetween 1966 and 1974, Baker mostly played flugelhorn and recorded music that could mostly be classified as early smooth jazz or mood music.
badly hampered by drug addiction, particularly in the 1960s, he was
imprisoned for a short period of time.In 1966, Baker was severely beaten after a
gig in San Francisco, sustaining severe cuts on the lips and broken front teeth,
which ruined his embouchure. Accounts of the incident vary from that point on
Baker had to learn to play all over again with dentures.
After developing a new embouchure Baker returned to the straight-ahead jazz that began his career, relocating to New York City and began performing and recording again, notably with guitarist Jim Hall. Later in the seventies, 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, Baker resided and played almost exclusively in Europe, returning to the USA roughly once per year for a few performance dates.
From 1978 to 1988 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 this was probably Baker's most mature and most rewarding phase.
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