Charlie Haden

Yes, how do jazz musicians make it nowadays? It's getting harder and harder - support live music! Support our... https://t.co/as4QJ39EfT

— Charlie Haden (@charliehaden) June 22, 2016

Celebrating Charlie Haden ....

(Tue) Jan 13, 2015 at 7:00 PM

Family and friends, including many jazz greats, will come together to celebrate the life of jazz legend CHARLIE HADEN (1937-2014), Grammy Lifetime Achievement Award Recipient and NEA Jazz Master  who is one of the most innovative and influential bassists in the history of jazz.  Just as importantly, Haden was a husband, a father, a colleague, a friend, a teacher, and a human being passionately concerned about social justice. He first came to fame as a member of the iconic Ornette Coleman Quartet, and literally changed the way the bass was played. He went on to play with Keith Jarrett and a who’s who of music’s greats, including John Coltrane, Alice Coltrane, Pat Metheny, Michael Brecker, Stan Getz, Chet Baker, Abbey Lincoln, and so many more. At the same time he formed his iconic bands Liberation Music Orchestra (in 1969) and Quartet West (in 1986) with which he performed and recorded until his untimely passing.  In 1982, he founded the Jazz Studies Program at California Institute of the Arts in Valencia, CA.


Among the many performers will be Geri Allen, Kenny Barron, Carla Bley, Jack DeJohnette, Denardo Coleman, Ravi Coltrane, Bill Frisell, Ethan Iverson, Josh Haden and the Haden Triplets, Ruth Cameron-Haden, Dr, Maurice Jackson, Lee Konitz, Pat Metheny, Josh Redman, Gonzalo Rubalcaba, Brandee Younger, as well as  Quartet West with Alan Broadbent, Ernie Watts, Rodney Green, with Scott Colley on bass, and Liberation Music Orchestra with Carla Bley, Tony Malaby, Chris Cheek, Loren Stillman, Michael Rodriguez, Seneca Black, Curtis Fowlkes, Vincent Chancey, Joe Daley, Steve Cardenas, Matt Wilson, with Steve Swallow on bass.

read more: http://thetownhall.org/event/624-celebrating-charlie-haden-19372014

CD REVIEW: Keith Jarrett / Charlie Haden / Paul Motian - Hamburg ‘72

Pianist Keith Jarrett found fame early in life, initially with Charles Lloyd in the mid-60s. When this concert was taped at the NDR Funkhaus in Hamburg on 14th June 1972, his trio with bass player Charlie Haden and drummer Paul Motian had existed for six years, recorded three albums for Atlantic Records, and was already at a creative peak. Jarrett was still only 27 years old.

After a hint of “When You Wish upon a Star” during a lyrical, unaccompanied opening, the piano coalesces with splashing cymbals and Rainbow (which is credited to Jarrett’s then-wife, Margot) becomes a lightly swinging and relatively mainstream affair. Haden is only briefly heard, and – until Jarrett’s luminous eruptions at the end of the piece – we only get a taste of the riches in store.

The next four selections are by Jarrett. Everything That Lives Laments is notable partly because – in addition to piano - Jarrett plays (frequently over-blown) flute, and Motian shakes bells and chimes. Haden is highlighted before retreating into a group improvisation that is clearly more than a random free-for-all; these men know each other well and really communicate. The tune ends tenderly, with Jarrett back on piano and Motian at the drums. 

Piece for Ornette bursts with energy and evokes Coleman’s urgent, piano-less style. Jarrett uses soprano saxophone with a raw, vocalised timbre. Chattering, shrieking and stuttering with wayward abandon, his dialogue with a highly-charged Motian builds in intensity and becomes a thrilling, passionate exchange. Eventually, Haden steps between them, as if he’s engaging calmness and reason to break up a screaming row. After this, it’s hard to imagine that Jarrett – in little over a decade – would be leading a very different trio with a repertoire concentrating on old jazz standards.

read more: http://news360.com/digestarticle/zY-Z3JVmkk-ommq2Cl7fGg

Pat Metheny & Charlie Haden -Our spanish love song

Jazz bassist Charlie Haden dies aged 76

Photo: http://sbccfilmreviews.org/?p=8415

Los Angeles (AFP) - Grammy Award-winning Charlie Haden, a legendary jazz bassist who played with artists including John Coltrane and Chet Baker, has died in Los Angeles. He was 76.

Haden also joined pianist Keith Jarrett's ensemble in the 1960s and was considered as revolutionizing double bass playing in jazz music.

He won three Grammy Awards, the most recent in 2004, and best Latin Jazz Album for Land of the Sun.

"It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness," said ECM Records spokeswoman Tina Pelikan on Friday.

"Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Hadenand Petra Haden were all by his side."

Haden was an original member of the Ornette Coleman Quartet, and collaborated with artists also including Don Cherry, Alice Coltrane and Billy Higgins, according to Billboard magazine.

In 1967 he joined Jarrett's band, before forming the group Old and New Dreams with Cherry, and the politically tinged Liberation Music Orchestra with composer Carla Bley, the journal said.

Over the years he also worked with figures including Dizzy Gillespie, Lee Konitz and Joe Henderson, as well as pop stars like Yoko Ono, Ringo Starr, Rickie Lee Jones and Beck, according to Variety.

read more: http://news.yahoo.com/jazz-bassist-charlie-haden-dies-aged-76-003717746.html

Influences: Bass players Charlie Haden

Alto saxophonist Ornette Coleman’s revolutionary quartet stood the jazz world on its head at the end of 1959. His vigorous and intense music was in continual motion: melodically, harmonically and rhythmically. With no piano providing a chordal roadmap, Charlie Haden’s bass was the freewheeling bottom rooted in low, earthly tones.

Haden, 74, comes from a background quite unlikely for his role as musical insurgent. He debuted at 22 months in the Haden Family Band on its radio show in Springfield, Mo. The Carter Family and the Delmore Brothers were contemporaries; Mother Maybelle Carter used to hold the toddler Charlie on her lap.

The stringent textures and rhythmic complexity of Coleman's music alienated quite a few listeners and musicians. But Coleman was a Texan with a deep blues background. His melodies always had a folksy quality, which made Haden a perfect fit for the music. “Ornette always loved the fact that my background was in country music,” Haden points out.

An abiding love of well-written standard songs has always been an important ingredient in Haden's music. He’s had mutually beneficial collaborations with pianists Hampton Hawes and Keith Jarrett, trumpeter Chet Baker, and composer-arranger Carla Bley, among others. Haden began the jazz program at Cal Arts 27 years ago and a love of what he calls “deep” songs is something he tries to impart to students.

Haden’s Quartet West, celebrating its 25th year, is another format where good songs from many sources have been integral. Whether explored as four-way musical interactions on the bandstand, or recorded with orchestrations by founding pianist Alan Broadbent, the song takes center stage. Tenor saxophonist Ernie Watts, Broadbent, Haden and drummer Rodney Green occupy an almost singular place in contemporary jazz for their celebration of great, though sometimes obscure, material.

Before Quartet West’s four-night gig at Catalina Jazz Club, Haden spoke about some of his influences.

Singers: On our new album, “Sophisticated Ladies” [on Emarcy], we get to play with some of my favorite singers: Cassandra Wilson, Diana Krall, Melody Gardot, Norah Jones, Renée Fleming, and my wife, Ruth Cameron. I started as a singer and when I picked up the bass — I carried on that singing through the instrument. Working with Chet showed me how an instrumentalist sings through his instrument. And my favorite singers have always been the deep ones, like Billie Holiday and Jeri Southern.

Carla Bley: We’re very, very close, and there's nobody like her. We found out early on that we shared the same philosophy and worldview. We saw life through the same vision and we hear the same juxtaposition of intervals. She introduced me to the music of Erik Satie. We’re working on a new “Liberation” album and she’s written three new arrangements that just bring tears to your eyes. We’ll be playing a couple of those new things at Catalina’s.

Songs: I’ve always loved great composers. Ornette wrote many beautiful melodies, but I also love the great songs from the Broadway shows. Hampton Hawes knew all of the great songs; he was very inspiring. I love Chopin’s slow etudes, and Bill Evans used one of them in his introduction to “Young and Foolish.” I loved that what we were both hearing comes from the same place.

Past and future: I’ve tried to bring out the human voice in each young musician at Cal Arts. I want them to be able to see the similarities of different kinds of great music, above the categories. I’m thankful my parents provided music around me where I could hear the beautiful harmonies and melodies. Most people aren’t brought up with really deep music, so I was very fortunate.

http://latimesblogs.latimes.com/culturemonster/2011/08/influences-bass-players-charlie-haden.html

Charlie Haden And Keith Jarrett Channel The Standards

by NPR Staff
After three decades without a collaboration, jazz legends Keith Jarrett and Charlie Haden have teamed up for a new album called Jasmine. The piano-and-bass duo recorded Jasmine in Jarrett's studio in his New Jersey home — no bells, no whistles, just crystal-clear sound. Haden and Jarrett seamlessly trade melodies back and forth in a sort of musical conversation, but Jarrett says it's much deeper than that. "We're trying to find the dynamic — not exactly blend, but add the right color at the right moment based on what the other player is playing," he says.

On Jasmine, Jarrett plays an old, beat-up Steinway. He says that even though he has another piano to play, he always sits down at his practice instrument. "I have a connection with it," he says. "It has its problems as far as evenness across the keyboard. It has some strange noises and inequities, but it's close to me." During their recording sessions, Haden says, he heard the subtleties of the music in a way he'd never heard them before — the piano mallets striking the strings, and even his fingertips brushing upon his bass' strings.

"It's just incredible, the sounds that come out of the music, that are involved in the music," Haden says. "And it just shows you that it's really not about music. It's about the universe we're living in." Both Jarrett and Haden approach music similarly, with the same musical values, and that's why they say recording this album felt so natural. They channeled the standards in Jasmine, but also put a high premium on improvisation.

"That's the thing about musicians," Haden says. "The priority is to create something new that's never been before. And you put your life on the line every time that you play."
http://www.npr.org/templates/story/story.php?storyId=127038106