In March 1956, Chet Baker was touring in Germany when he was paired with singer-guitarist Caterina Valente. For those of you unfamiliar with Valente, she was born in Paris to Italian parents and would become a pop sensation in the '60s with her ability to record flawlessly in about a dozen languages. Which is why she was in Germany.
In other words, Valente was a record company's dream, especially when a label wanted the same song in multiple languages for sale in those markets.
Sadly, combining Baker with Valente in a Baden-Baden studio was a bit of a mismatch. What may have seemed smart on paper came off rather disjointed when the two tracks they recorded were finished—I'll Remember April and Everytime We Say Goodbye.
Baker, of course, was about lyricism and patience whereas Valente's intonation on this date lacked the proper warmth and care. And based on their facial expressions listening back in the photo at top, they seem to know it.
A big thanks to JazzWax reader Anthony Middleton in London for sending along the rare photo at top. [Photo by Dimbley]
Here's I'll Remember April...
And here's Everytime We Say Goodbye...
JazzWax note: While we're in Europe with this post, be sure to pick up a copy of today's Wall Street Journal (or go here) to read my interview with legendary French rock star Johnny Hallyday. [Photo of Johnny Hallyday by WireImage/Getty Images]
Those recordings are the most obscure, but they belong in my opinion to the very best in Caterina Valente's career.
I have to disagree with the above statement about Caterina's intonation & warmth. Well, they both should've made a whole album together, not only two tracks.
I love this intimate duet; and it sounds not exactly like a "mismatch." But, maybe I'm deaf?
Posted by: Brew | April 20, 2012 at 06:05 AM
I agree with Brew -- Catrina was a swinger. Years later (probably the late 1970s) I reviewed Catrina when she appeared at a largish Chicago-area concert room, the Golf-Mill Theater (she was the opening act for Don Rickles or some such figure). She was startlingly good and very jazz-like; brought her own drummer to join the theater's excellent orchestra (e.g. lead trumpeter was John Howell), and her drummer not only was excellent, too, but also very much in the mold of Philly Joe Jones!
Posted by: Larry Kart | April 20, 2012 at 09:14 AM
Gotta agree with Marc on this one. On "April", I really don't like the way she pushes the tempo. Not crazy about her voice on either recording. She sounds like she's mailing it in.
Posted by: Dave James | April 20, 2012 at 10:33 AM
I disagree as well. Caterina Valente was a perfect vocalist and had dozens of no 1 hits all around Europe.
Posted by: JukeboxAmericano | April 20, 2012 at 12:36 PM
I have to say I'm 100% with Marc - it is a mismatch. Her phrasing is too 'straight' for me on 'April'. On 'Everytime' she's a bit better, but for me she doesn't have a real jazz conception. Don't like her vibrato at the end of long lines either. It's all personal taste I guess.
Posted by: Steve Barrow | April 20, 2012 at 04:37 PM
According to Gene Lees, Valente was earwitness to Chet's legendary "condolence" to pianist Romano Mussolini (son of Il Duce): "Gee, sorry about your old man!"
Posted by: Bill Kirchner | April 20, 2012 at 07:30 PM
I agree with Marc. Valente sounds like she's just going off the sheet music, with little character, swing, or warmth. It's not a terrible track by any means, but it's certainly not memorable.
Posted by: Minhquan Nguyen | April 20, 2012 at 08:17 PM
Three for, three against and one undecided.
I break the tie, I find them great.
Love her voice and of course Chet is always
good in my book.
Posted by: Denis Ouellet | April 20, 2012 at 10:30 PM
It definitely was a mismatch -- but in styles only. And the guitar tremolo didn't do much to enhance Chet's breathy phrasing, either.
However, it's my opinion there was nothing wrong with Valente's intonation. She sang in tune and was obviously a fine artist. It's just that her bag ain't Chet's bag and the two didn't mesh.
A musical experiment that didn't work out. It happens.
Posted by: Jery Rowan | April 21, 2012 at 03:55 AM
I'm not a big fan of this recording session either. Marc identifies the recording session as having taken place in Baden Baden in Germany in March 1956. As far as I can tell, this is incorrect - I think it took place after a gig in Stuttgart in October 1955 - after she joined a gig with the Chet Baker Quartet. Her manager recalled that pianist Dick Twardzik was particularly dismissive of the idea of recording with her. You can read the full story in my new Chet bio - Funny Valentine: The Story of Chet Baker
Posted by: Matthew Ruddick | November 09, 2012 at 07:09 AM