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Deep in a Dream: The Long Night of Chet Baker, by James Gavin
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This first major biography of the most romanticized icon in jazz thrillingly recounts his wild ride. From his emergence in the 1950s--when an uncannily beautiful young man from Oklahoma appeared on the West Coast to become, seemingly overnight, the prince of "cool" jazz--until his violent, drug-related death in Amsterdam in 1988, Chet Baker lived a life that has become an American myth. Here, drawing on hundreds of interviews and previously untapped sources, James Gavin gives a hair-raising account of the trumpeter's dark journey.
- Sales Rank: #159593 in Books
- Published on: 2011-07-01
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.00" l, 1.41 pounds
- Binding: Paperback
- 440 pages
From Publishers Weekly
The 1988 funeral of famed trumpet player and vocalist Chet Baker in L.A. was emblematic of the disorder and dysfunction of his life though he was world famous, only a small clique of loyal fans and family attended, and they were fighting with one another. Even his death in Amsterdam (possibly an overdose or drug-related murder) was an unsettled, sordid enigma. Gavin's elegantly written and thoroughly researched biography traces the astonishing highs and lows of Baker's personal and professional life. Born in 1929 in Oklahoma to a doting mother and alcoholic father, he spent 18 months in the army at age 17 before his prodigious talent blossomed when he went back to high school. Aggressively pursuing his career, he became famous for both his trumpet playing and his equally impressive hard drug habit, both of which increased over the next two decades. Gavin is superb at placing Baker in a clearly defined cultural context the "defiant new youth culture: Marlon Brando, Montgomery Clift, and James Dean, all of whom symbolized disgust with every false hope infecting America" and in explicating Baker's out-of-control actions. Gavin has an unerring eye for the salient detail as he charts the continual down-spiraling of the trumpeter's life. Drawing upon a wealth of personal interviews, music journal reviews, national media, jazz criticism and a sound sociological sense of the period, Gavin has produced a stark, troubling portrait of both the artist and his times.
Copyright 2002 Cahners Business Information, Inc.
From Library Journal
There's a point at which the reporting of salacious or sadistic behavior overwhelms more important aspects of a person's life. Gavin (Intimate Nights: The Golden Age of New York Cabaret) comes perilously close to crossing that line in this biography of jazz trumpeter Baker, whose drug-addled life is well known to music fans. Often, Gavin examines the minutest details of Baker's heroin abuse at the expense of detailing his musical triumphs. While he provides valuable information on Baker's neglect and bad treatment of family and friends, as well as his European and Japanese tours, he fails to demonstrate an understanding of his subject's music, which demands respect. Art Pepper's Straight Life is still one of the best examples of jazz biography/autobiography; it not only conveys the toll that heroin took on Pepper (one of Baker's contemporaries) but also gives a good feel for the music. Readers looking for a less commercial (though slightly more fawning) biography are directed to Jeroen de Valk's Chet Baker. Recommended with reservations for academic and public libraries. [This month, Blue Note Records will release Deep in a Dream: The Ultimate Chet Baker Collection, produced by Gavin. Ed.] William G. Kenz, Minnesota State Univ., Moorhea.
- William G. Kenz, Minnesota State Univ., Moorhead
Copyright 2002 Cahners Business Information, Inc.
From Booklist
Jazz trumpet player and singer Chet Baker is remembered today mainly for his angelic face and his ethereal singing voice. His life, as Gavin makes clear in this compelling but painful biography, was utterly unlike his music. Vaulted into sudden fame by his work with Gerry Mulligan in the early 1950s, the photogenic Baker found himself the heartthrob of female jazz fans and the winner of numerous polls for favorite trumpet player. This early adulation as the Great White Hope of jazz earned Baker the enmity of dues-paying black musicians and helped launch him on the self-destructive lifestyle that eventually ruined his looks and wasted his talent. A full-tilt heroin addict for more than 30 years, the once-angelic Baker soon became the antithesis of his romantic music. Gavin chronicles it all, following Baker on the endless search for his next score and describing the failed relationships and missed opportunities left in his wake. And yet, even near the end, his face ravaged and his body covered with abscesses, Baker could still, on occasion, play and sing beautifully. A difficult book to read but an eye-opening reminder of the chasm that sometimes separates life and art. Bill Ott
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
141 of 159 people found the following review helpful.
Where's the music?
By Melissa L. Roberson
While this book will certainly make compelling reading for any Chet Baker fan, or any follower of the 1950s-60s jazz scene, be prepared for a frigid treatment of the subject. Mr. Gavin may have a knack for writing about jazz musicians, but he neither understands nor appreciates the music itself one whit. There was a definite gap in the Chet Baker bio market, and Gavin has filled it. Unfortunately, he has not only taken the same angle that the tabloids always did, covering the drugs-and-domestic-violence aspect of Chet Baker, but he has gone them one better--to suit his theme he paints Baker not as a hip musician, which he was, but as a bumbling Okie square, who could never keep up with the music's 'advances'. Baker's conservative opinions of free jazz and fusion, to name just one example, are held up to ridicule. He is dismissed as being 'incapable' of such 'catharsis', as if his opinion were formed out of jealousy or open-mouthed incomprehension. In fact, Miles Davis, who is repeatedly held up as an example of what a great musician is made of so Baker can pale in comparison, despised free jazz. For that matter, many very hip black jazz musicians hated free jazz, and fusion as well. Louis Armstrong thought bebop itself was a joke. All the usual jazz cliches are resurrected here: white jazz is intellectual and precise but lacks feeling, while black jazz is earthy, charged with life and dripping with soul, etc. Except for frequent put-downs of Baker's music for its alleged "lack of feeling" (what, if not feeling, is Baker's music known for?) Gavin barely mentions any of Baker's recorded legacy, aside from occasional session details which always involved Chet's forgetting the date because he was stoned, and his subsequent lack of blowing power when finally coaxed into the studio. His quiet, intimate music is repeatedly dismissed as 'cold' or 'dead', either because Gavin apparently cannot understand feeling unless it is loud, sweaty and intense, or because any other analysis would complicate his single-minded theme. History features no shortage of creeps, louses or idiot savants who packed their music with feeling--Mozart anyone? Charlie Parker? Miles? Then what's all the fuss about? Why do we listen to this man's music 30, 40 and 50 years after it's been recorded? Why aren't we listening to Abbey Lincoln's or Albert Ayler's or any of the other cathartic free jazz or fusion that Gavin holds up as supreme examples of hip? If you didn't know before reading the book, you won't know after.
0 of 0 people found the following review helpful.
Five Stars
By heymjo
interesting read
38 of 43 people found the following review helpful.
one of the saddest stories ever told
By Stuart Hoffman
It's difficult to recreate the arrival of Chet Baker to the world of jazz. At that time, around 1950, the trumpet masters were Roy Eldridge, Dizzy Gillespe, Fats Navarro, and the Stan Kenton trumpet section, with Maynard Fergueson, and Buddy Childers. These "monsters" played above high C. F's, G's, and yes even DOUBLE high C's were their daily vocabulary. Along comes a kid from Oklahoma, whose family settles near LA, who never practices, has no high register(if he ever played a high C, I've never heard it) and decides to confront these guys, and the public with his idea of jazz, and jazz singing.He is an immediate sensation. His chamber music approach to jazz trumpet playing affects many people as does his singing. There are those who rate him a spinoff of Miles Davis, and that his singing isn't singing at all. I rate him a true master in both categories. The only fly in the ointment was his discovery and love of heroin. It superceded everything in his life---loved ones(some say he only loved heroin) children, musical associates etc. James Gavin does a masterful job recreating a life if possible, more tragic than Art Pepper's, or Charley Parker's. It's not for the faint of heart. If you worship every note and vocal of this master as I do, it's a must.
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