Charlie Haden - Heart Play

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 49:27
Size: 114,7 MB
Art: Front

( 3:55)  1. Anna
( 3:01)  2. If...
( 8:18)  3. La Pasionaria
( 6:01)  4. Snow
( 6:18)  5. Silence
( 8:02)  6. Child's Song
( 2:33)  7. Nocturne
(11:15)  8. For Turiya

Though Italian guitarist and composer Antonio Forcione has been hailed as "the Jimi Hendrix of the acoustic guitar" and has been favorably compared to the brilliantly versatile Tommy Emmanuel, his work on this low-key, intimate dual date is for the most part more thoughtful, reflective and subdued. That's not to say it's not inspired. It's simply not designed to overwhelm. His opening compositions "Anna" and "If..." are sweet, soulful, and gracefully romantic, with legendary bassist Charlie Haden providing sensual accompaniment. Haden's three compositions range from the more rhythmic and lively "La Pasionaria" (on which the bassist all but dares Forcione to keep up via an increasingly inventive, swaying melody) to the moody "Silence" and the haunting, experimental "For Turiya," which features lengthy bass soloing that runs from subtle to thunderous. The lone outside tune is Fred Hersch's wistful "Child's Play," on which the tandem play an interesting, point-counterpoint melody-rhythm line. While well played and intricately performed, this type of date, focused more on craft than any sustainable energy, is best enjoyed by die-hard fans of the two artists.By Jonathan Widran https://www.allmusic.com/album/heartplay-mw0001482784

Personnel:Charlie Haden — bass; Antonio Forcione — guitar

Heart Play

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Art Pepper - So in Love

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:48
Size: 109,5 MB
Art: Front

( 6:26)  1. Straight No Chaser
( 6:49)  2. Blues for Blanche
(11:42)  3. So in Love
(12:17)  4. Diane
(10:33)  5. Stardust

This deluxe release from the classy (but long defunct) Artists House label, as with all of Art Pepper's recordings of his comeback years, is easily recommended. Actually all of the music on So in Love has been reissued in greatly expanded form in Pepper's massive 16-CD Galaxy box set. The original LP has lengthy versions of "So in Love," "Stardust," "Straight No Chaser" and two Pepper originals ("Diane" and "Blues for Blanche"). 

Assisted by two equally talented rhythm sections (pianists Hank Jones and George Cables, bassists Ron Carter and Charlie Haden, and drummers Al Foster and Billy Higgins), Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations. 

~ Scott Yanow https://www.allmusic.com/album/so-in-love-mw0000622404

Personnel:  Art Pepper - alto saxophone;  George Cables (tracks 2, 3 & 5), Hank Jones (tracks 1 & 4) - piano;  Ron Carter (tracks 1 & 4), Charlie Haden (tracks 2, 3 & 5) - bass;  Al Foster (tracks 1 & 4), Billy Higgins (tracks 2, 3 & 5) - drums

So in Love

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Charlie Haden & Brad Mehldau - Long Ago And Far Away

Styles: Post Bop, Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 71:52
Size: 165,7 MB
Art: Front

( 9:55)  1. Au Privave
( 9:13)  2. My Old Flame
(12:00)  3. What'll I Do
(15:05)  4. Long Ago And Far Away
(12:59)  5. My Love And I
(12:37)  6. Everything Happens To Me

It starts with a few irreverent tickles. Just three minutes into Bird’s “Au Privave,” Brad Mehldau gives his muse the green light, messes around with a spray of notes, and we’re off into a chatty conversation where blithe trills are grounded by buoyant thumps meaning informality has just as much bearing on this entertaining exchange as decorum does. Perhaps that’s predictable. Impulse!’s last three Haden duet discs (with Jim Hall and Gonzalo Rubalcaba, respectively) make hay with a parallel dynamic. One of the bassist’s strengths was splitting the diff between the formidable and the folksy, and as these six performances from a 2007 German show illustrate, Mehldau has little problem turning to his colloquial side when the mood strikes. The cozy context gives the pianist’s whimsy more wiggle room than usual. Though the book is ballad-heavy and the tempos measured, both participants skip through a handful of passages with a mischievous air. Mehldau’s right hand dodges opaque excursions and lets light-hearted flurries carry the day on “What’ll I Do.” Because the two decide on a bouncy gait for “Long Ago and Far Away,” it too is a romp that trusts mercurial solos to control its temperament. 

Both players love a moody digression, however, and “My Love and I” turns bluesy and brooding while still dropping a string of surprises. The pianist’s urbane essence is no longer on the back burner, and the duo’s pulsing interplay renders yet another bit of sage advice: Caprice is an ally, dismiss it at your peril. ~ Jim Macnie https://jazztimes.com/reviews/albums/charlie-haden-brad-mehldau-long-ago-far-away/

Personnel: Charlie Haden – bass; Brad Mehldau – piano

Long Ago And Far Away

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Laurence Hobgood, Charlie Haden, Kurt Elling - When The Heart Dances

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 64:36
Size: 155,6 MB
Art: Front

(6:41)  1. Que sera sera
(4:49)  2. When The Heart Dances
(6:11)  3. First Song
(7:34)  4. Sanctuary
(5:17)  5. Chickoree
(5:26)  6. Stairway To The Stars
(5:39)  7. New Orleans
(6:44)  8. Why Did I Choose You
(5:52)  9. Leatherwood
(4:45) 10. Daydream
(5:33) 11. The Cost Of Living

Man, this is a beautiful album. How could it be otherwise? An intimate, unhurried conversation between Laurence Hobgood, since 1994 vocalist Kurt Elling's musical director, and one of the finest jazz pianists out there, and the magisterial Charlie Haden, featured bassist in bands led by saxophonist Ornette Coleman, pianist Keith Jarrett and guitarist Pat Metheny, among a truck load of other distinctions. The inimitable Elling guests on three tracks  In his liner notes, describing the genesis of When The Heart Dances, Hobgood relates how, at a convention of the IAJE (International Association of Jazz Educators), he was chatting with Haden. Commenting on the mayhem and confusion that is the recording industry in the 2000s, Haden said something like, "I don't know about you, but the crazier things get, the more I think how nice it is to make records where we can just play music.  And just play music is what they do gorgeous, transporting music unalloyed by artifice, gimmickry or any notion to be style jockeys. Within 30 seconds or so of the start of the opening track, Jay Livingston and Ray Evans' lovely "Que Sera Sera," Hobgood and Haden have woven a spell which doesn't let up until the final whispers of Don Grolnick's "The Cost Of Living," and lingers in the memory long after. If music can soothe the savage beast, the medicine doesn't get any more efficacious than that on When The Heart Dances  The pace is measured and moderate even Hoagy Carmichael's "New Orleans" is here more hymn-like than a dancehall romp the interaction deep and easy. Hobgood and Haden get straight to the heart of their source material, five originals and six standards, with a gentle intensity that is utterly beguiling. It's hard to think of many parallels, but the imagination with which the duo explore the hidden corners of the standards is on par with that of pianist Al Haig's The Al Haig Trio (Esoteric, 1954) or 55 years later, pianist Liam Noble and drummer Paul Clarvis's Starry Starry Night (Village Life, 2009). Exquisitely poised, it's music of shimmering beauty. Elling's three tracks slot right into the ambiance, his performance of Haden's rhapsodic "First Song" a masterpiece among masterpieces.  A mention has to made of sound engineer Ken Christianson, who has turned in what is in effect an audiophile recording, perfectly capturing the spectrum of resonances of both Hobgood's Steinway D and Haden's bass, made some 250 years ago by the French luthier Jean-Baptiste Vuillaume, and sounding never more like an instrument of the gods than it does here. Elling's warm caress is similarly ennobled. Were it recorded on a mobile phone, When The Heart Dances would be magical enough. By way of Christianson, it's simply irresistible. ~ Chris May https://www.allaboutjazz.com/when-the-heart-dances-kurt-elling-naim-label-review-by-chris-may.php

Personnel: Laurence Hobgood: piano; Charlie Haden: bass (1-3, 5-8, 10, 11); Kurt Elling: vocals (3, 6, 10).

When The Heart Dances

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Pat Healy - Sings Just Before Dawn · Her Complete Recordings

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 58:45
Size: 136,3 MB
Art: Front

(0:28) 1. Bobby Troup Introduces Pat Healy
(1:33) 2. I Wish I Were In Love Again
(2:38) 3. Bobby Troup Interviews Pat Healy
(1:42) 4. The Siren Song
(3:47) 5. Don't Ever Leave Me
(3:54) 6. The Siren Song
(3:38) 7. I'm A Dreamer, Aren't We All?
(1:39) 8. Boys And Girls
(2:47) 9. Naughty But Nice
(3:35) 10. Isn't It A Pity
(4:09) 11. When I Fall In Love
(4:07) 12. Nobody Else But Me
(2:21) 13. Easy Come 
(3:13) 14. Every Time
(3:26) 15. You Never Knew About Me 
(0:22) 16. Bobby Troup Introduces Pat Healy
(2:24) 17. Blue Moon
(3:51) 18. I've Got It Again
(0:55) 19. Bobby Troup Introduces Pat Healy
(1:38) 20. They All Laughed
(0:17) 21. Bobby Troup Introduces The Next Song
(1:40) 22. The Siren Song
(2:00) 23. Ever Since You Went Away (Bonus Track)
(2:30) 24. Bill Bailey Won't You Please Come Home (Bonus Track)

Miss Pat Healy (1927-2020) was born in Cleveland but at age 22 she settled in Los Angeles. She spent years filling various jobs before having the courage to make impromptu appearances at some local nightclubs. Finally in 1957 spirited by pianist Joe Marino, she quit her job and soon emerged as a praised and applauded singer by the audiences, winning soon her first professional contract as a guest vocalist on the television show Stars of Jazz, backed by the Paul Bley trio. As a consequence of her performance, she was offered to record for World Pacific Records.

On Just Before Dawn, her debut album, Pat sang eleven standard songs, some of them quite unusual, backed by cellist Fred Katz’s intimate approach to arranging and conducting, and by Joe Marino’s quartet. In both settings, she revealed herself as a vocalist with clarity of sound, style, sensitivity, and the ability to sing difficult songs, with the right accompaniment, resulting in this distinctive album, the first and only she recorded.The remaining recordings come from two later appearances of Pat in Stars of Jazz, where she can be heard with the backing of the Keith Williams orchestra, and finally, alone with her favorite accompanist, Joe Marino.By Jordi Pujol
https://www.amazon.com/Sings-Just-Before-Dawn-Recordings/dp/B0BXFSTGF4

Personnel: Pat Healy (vcl), Fred Katz (arr, dir), Paul Horn (as, bcl, fl), Paul Bley, Gerald Wiggins, Joe Marino (p), John Pisano, Howard Roberts (g), Charlie Haden, Hal Gaylor, Richard Von Holberg (b), Lenny McBrowne, Chico Hamilton, Shelly Manne (d)

Sings Just Before Dawn · Her Complete Recordings

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Lee Konitz, Brad Mehldau & Charlie Haden - Alone Together

Styles: Saxophone, Piano Jazz, Bop
Year: 1997
File: MP3@320K/s
Time: 73:39
Size: 168,7 MB
Art: Front

(13:45) 1. Alone Together
(12:55) 2. The Song Is You
(10:59) 3. Cherokee
(11:32) 4. What Is This Thing Called Love ?
(12:49) 5. Round Midnight
(11:36) 6. You Stepped Out Of A Dream

Alone Together, Lee Konitz's first recording for Blue Note, is a special event. The saxophonist teamed up with legendary bassist Charlie Haden and young lion pianist Brad Mehldau, and the trio's interaction on this set of relaxed bop is astonishing. On paper, the music on Alone Together a collection of standards should just be straightahead cool bop, but all three musicians are restless and inventive, making even the simplest numbers on the disc vibrant, lively and adventurous. It's a wonderful record, one that makes a convincing argument that Konitz remains a vital force even as he reached his seventieth year.~ Stephen Thomas Erlewine https://www.allmusic.com/album/alone-together-mw0000596268

Personnel: Lee Konitz – alto sax; Brad Mehldau – piano; Charlie Haden – bass

Alone Together

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Don Cherry, Dewey Redman, Charlie Haden and Ed Blackwell - Old And New Dreams

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 47:07
Size: 108,2 MB
Art: Front

(12:18)  1. Lonely Woman
( 5:41)  2. Togo
( 5:34)  3. Guinea
( 8:10)  4. Open or Close
( 7:31)  5. Orbit of La-Ba
( 7:50)  6. Song For The Whales

The second recording by Old and New Dreams was, like its first from three years earlier, named after the group. Trumpeter Don Cherry, tenor saxophonist Dewey Redman, bassist Charlie Haden, and drummer Ed Blackwell made for a mighty team, performing high-quality free bop in the tradition of the Ornette Coleman Quartet (of which they were all alumni). In addition to two of Ornette's tunes (including a lengthy exploration of "Lonely Woman"), the musicians each contributed an original of their own. Stirring music in a setting that always brought out the best in each of these musicians. ~ Scott Yanow http://www.allmusic.com/album/old-and-new-dreams-1979-mw0000649442

Personnel:  Bass – Charlie Haden;  Drums – Ed Blackwell;  Tenor Saxophone, Oboe [Musette] – Dewey Redman;  Trumpet, Piano – Don Cherry

Old And New Dreams

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Keith Jarrett - The Mourning of a Star

Styles: Piano, Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 43:52
Size: 102,0 MB
Art: Front

(6:12)  1. Follow the Crooked Path (Though It Be Longer)
(1:17)  2. Interlude No. 3
(3:20)  3. Standing Outside
(2:13)  4. Everything That Lives Laments
(1:37)  5. Interlude No. 1
(6:56)  6. Trust
(2:18)  7. All I Want
(5:06)  8. Traces of You
(9:21)  9. The Mourning of a Star
(0:52) 10. Interlude No. 2
(4:35) 11. Sympathy

This album gives one an interesting look at the early Keith Jarrett, who was already performing on an album of the Charles Lloyd Quartet and Miles Davis' early fusion band. He had not yet fully developed his style, but he was clearly on his way. These trio performances (with bassist Charlie Haden and drummer Paul Motian) are impressive for the period, but the best was yet to come. ~ Scott Yanow https://www.allmusic.com/album/the-mourning-of-a-star-mw0000111796

Personnel: Piano, Recorder [Tenor], Soprano Saxophone, Drums [Steel] – Keith Jarrett;  Bass, Drums [Steel] – Charlie Haden; Drums, Drums [Steel] – Paul Motian

The Mourning of a Star

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Keith Jarrett - Backhand

Styles: Piano, Flute Jazz
Year: 1974
File: MP3@320K/s
Time: 39:45
Size: 91,2 MB
Art: Front

( 9:07)  1. Inflight
(11:40)  2. Kuum
( 7:49)  3. Vapallia
(11:08)  4. Backhand

Recorded at the same sessions as Death and the Flower, this out-of-print LP, whose music has not yet been reissued on CD, features pianist Keith Jarrett's exciting but underrated American group of the 1970s, a quintet with tenor saxophonist Dewey Redman, bassist Charlie Haden, drummer Paul Motian and percussionist Guilherme Franco. The group (with Jarrett occasionally switching to flute and Redman to the bizarre-sounding musette) is in typically exploratory, yet often melodic form on lengthy renditions of four of Jarrett's inside/outside originals. ~ Scott Yanow https://www.allmusic.com/album/backhand-mw0000915428

Personnel:  Keith Jarrett - piano, flute, percussion; Dewey Redman - tenor saxophone, musette, percussion; Charlie Haden - bass; Paul Motian - drums, percussion; Guilherme Franco - percussion

Backhand

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Jane Ira Bloom - Mighty Lights

Styles: Saxophone Jazz
Year: 1983
File: MP3@320K/s
Time: 39:27
Size: 90,7 MB
Art: Front

(7:03)  1. 2--5--1
(7:10)  2. Lost in the Stars
(5:48)  3. I Got Rhythm but No Melody
(6:15)  4. The Man with Glasses
(7:05)  5. Change Up
(6:06)  6. Mighty Lights

This was, in a way, soprano saxophonist Jane Ira Bloom's debut, in that it was the first of her albums to be put out by a label she did not herself own her first two records were self-produced. Even at such an early stage in her development one can hear the attention to craft that would always characterize her work, though her skills at this point were not what they would later become. Bloom's control over the horn was occasionally dubious, but she evidenced an attractive tone and a coherent (if a bit immature and self-conscious) manner of phrasing. Her tunes were already quite sophisticated and distinctive, pointing to the even more ambitious composer into which she evolved. On the other hand, her band for this album will probably not be excelled for the rest of her career. Charlie Haden and Ed Blackwell are pretty heavy company for such a callow young musician to be keeping, and pianist Fred Hersch is certainly no slouch. Obviously, the rhythm section's work raises this music to a higher plane than it would have reached had not Bloom the wherewithal to engage the services of these gentlemen. ~ Chris Kelsey https://www.allmusic.com/album/mighty-lights-mw0000267377

Personnel: Jane Ira Bloom - soprano saxophone; Fred Hersch - piano;  Charlie Haden - bass; Ed Blackwell - drums

Mighty Lights

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Charlie Haden and Hank Jones - Come Sunday

Styles: Piano Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 42:28
Size: 104,7 MB
Art: Front

(4:25)  1. Take My Hand Precious Lord
(2:29)  2. God Rest Ye Merry Gentlemen
(2:58)  3. Down By The Riverside
(4:11)  4. Going Home
(2:08)  5. Blessed Assurance
(2:58)  6. It Came Upon The Midnight Clear
(2:53)  7. Bringing In The Sheaves
(1:56)  8. Deep River
(2:59)  9. Give Me That Old Time Religion
(2:29) 10. Sweet Hour Of Prayer
(3:56) 11. The Old Rugged Cross
(3:08) 12. Were You There When They Crucified My Lord
(2:16) 13. Nearer My God To Thee
(3:36) 14. Come Sunday

Come Sunday continues the dialog between two jazz masters bassist Charlie Haden and pianist Hank Jones that began with 1995's Steal Away (Verve). The topic of discussion concerns hymns, spirituals, and beloved tunes which are, without a doubt, personal and familiar to both musicians. Jones (the elder sibling of jazz luminaries Elvin Jones and Thad Jones) was the son of a devout Baptist deacon while Haden grew up performing in his family's radio show, which included country and American folk music. Though conversational in tone, the date's significance is understated more than just two renowned musicians playing together. Recorded shortly before his death in 2010, it is one of Jones' final recordings, and serves as a reminder of his lyrical touch, accompanied here by Haden's empathy and resonance.  Any indications of Jones health were nonexistent. At 91, his melodicism and technical abilities continue to astound, whether swinging gracefully on "Down by the Riverside" or gently on "Bringing In The Sheaves," as Haden's workmanship guides with unassuming assurance. The two seemed to be enjoying themselves immensely, keeping the tunes pretty much intact but also illuminating their inner qualities, as the swanky cadence of "Give Me That Old Time Religion" silently echoes the song's sentiment, "It's good enough for me."  There are moments, such as the duo's powerful exchange in "Were You There When They Crucified My Lord?" and the serenity in "Nearer My God To Thee," that speak of the musicians' delicate and self-effacing approach. At first, the two seasonal songs "God Rest Ye Merry, Gentlemen" and "It Came Upon A Midnight Clear" seem totally out of place, but ultimately fit perfectly within the context of this time-weathered set. 

While the covers are taken primarily from sacred compositions, the tunes transcend both religious and secular boundaries and can be appreciated on many levels. From the duo's unobtrusive interpretations to the way in which the Jones and Haden communicate, the melodies contain a quiet magic whose crowning jewel is found in the beloved title track, written by the great Duke Ellington. It is an apropos sentiment to this moving release. ~ Mark F. Turner https://www.allaboutjazz.com/come-sunday-charlie-haden-emarcy-review-by-mark-f-turner.php

Personnel: Charlie Haden: bass; Hank Jones: piano.

Come Sunday

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Denny Zeitlin, Charlie Haden - Time Remembers One Time Once

Styles: Piano Jazz, Post Bop
Year: 1983
File: MP3@320K/s
Time: 53:45
Size: 123,2 MB
Art: Front

(6:35)  1. Chairman Mao
(9:53)  2. Bird Food
(6:53)  3. As Long As There's Music
(4:27)  4. Time Remembers One Time Once
(7:04)  5. Love For Sale
(6:37)  6. Ellen David
(8:05)  7. Satellite/How High The Moon
(4:06)  8. The Dolphin

Denny Zeitlin and Charlie Haden joined forces for this 1981 date at the Keystone Korner, covering a wide range of material in this exciting duo set. Haden's "Chairman Mao" is a complex number, as Haden opens with an intense repetitious vamp before Zeitlin enters with the delicate Oriental-flavored theme, which sets up Haden's intricate bass solo. The duo has lots of fun with Ornette Coleman's topsy-turvy blues "Bird Food" before reverting to a lovely standard ballad, "As Long as There's Music," with an added emphasis on its lyricism. Zeitlin's intriguing "Time Remembers One Time Once" starts as a waltz but its sudden turns defy prediction. Their laid-back approach to "Love for Sale" is refreshing, especially when compared to the typically uptempo arrangements heard all too often. A medley of John Coltrane's "Satellite" and the old warhorse "How High the Moon" (with Haden coyly interpolating Charlie Parker's "Ornithology," which is based upon "How High the Moon") also works beautifully. The occasional over-modulation in this recording doesn't detract from the outstanding performances. ~ Ken Dryden https://www.allmusic.com/album/time-remembers-one-time-once-mw0000084907

Personnel:  Denny Zeitlin — piano;  Charlie Haden — bass

Time Remembers One Time Once

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Ornette Coleman - The Empty Foxhole

Styles: Saxophone, Trumpet And Violin Jazz 
Year: 1966
File: MP3@320K/s
Time: 38:48
Size: 89,0 MB
Art: Front

(6:49)  1. Good Old Days
(3:20)  2. The Empty Foxhole
(7:16)  3. Sound Gravitation
(8:18)  4. Freeway Express
(7:05)  5. Faithful
(5:57)  6. Zig Zag

Denardo Coleman, son of the free jazz master, is now forty years old and has been playing drums for thirty-four years. The virtuosity that he has developed over these years can be heard to best advantage on his father's two new albums of 1996, Sound Museum: Three Women and Sound Museum: Hidden Man. His playing has been fine through the years, as on James Blood Ulmer's 1978 Tales of Captain Black. The Empty Foxhole, however, dates from 1966, when the drummer was ten years old. Proud papa explains in the liner notes that he gave an enthusiastic Denardo a drum set for Christmas when he was six. That would mean that at the time the album was recorded Denardo probably had more experience playing drums than Ornette had on trumpet and violin, his two new instruments which are lovingly featured on this album. Of the six cuts, only "Good Old Days," "Faithful," and "Zig Zag" contain Ornette's inimitable alto saxophone. The title track and "Freeway Express" present the master on trumpet, and "Sound Gravitation" is the first and only piece Ornette has ever recorded exclusively on violin. Father and son are joined by Charlie Haden on bass, who thus becomes, on three of these tracks, the only player who has extensive experience with the instrument he's playing. As such he is the stabilizing force of the trio. 

Freddie Hubbard famously commented in a Blindfold Test that Denardo the drummer sounded "like a little kid fooling around." Miles Davis, in a Blindfold Test of his own, mistook Don Cherry for Ornette on trumpet, which may be insulting to Don Cherry, Ornette, or neither one. In any case, the trumpeter, the violinist, and the drummer in this group are anything but conventional, and that's just what the leader wanted. When Ornette picks up his alto here, he plays more simply than usual. "Good Old Days" is as straightforward a blues as Ornette plays; "Faithful" is another in the series of mournful ballads Ornette was playing at the time (the wrenching "Sadness" never made it to the studio, but is worth checking out on live discs); "Zig Zag" is playful. Ornette's adventurousness here is confined to the intense trumpet piece "Freeway Express," where he pulls Miles' chain a little with a harmon mute, and the intense violin workout "Sound Gravitation." I had a chance to pick up a violin the other day. I've never played it in my life, but in a few seconds I was approximating "Sound Gravitation." Does that mean it's worthless as music? No. Ornette Coleman is not a conventional musician, but he has too much musical talent to make a bad album. Haden's bowed bass interacts skillfully with his furious violin. For that matter, Haden is masterful all the way through.

Listening to him listen to Ornette (and Denardo) and react is a musical experience of value. Nor is the little kid just fooling around. The music here is unlike most everything else that ever came out of Blue Note, or anywhere, but those who won't notice or care that these guys are not the smoothest of instrumentalists might enjoy this album. I do. ~ Robert Spencer https://www.allaboutjazz.com/the-empty-foxhole-ornette-coleman-blue-note-records-review-by-robert-spencer.php

Personnel  Ornette Coleman - alto saxophone (tracks 1, 5, 6), trumpet (2, 4), violin (3);  Charlie Haden - bass;  Denardo Coleman - drums

The Empty Foxhole

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Keith Jarrett - Silence

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:26
Size: 153,1 MB
Art: Front

( 7:22)  1. Byablue
( 8:36)  2. Rainbow
( 9:41)  3. Trieste
( 1:13)  4. Fantasm
( 6:01)  5. Mushi Mushi
( 3:13)  6. Silence
( 6:59)  7. Bop-Be
(10:38)  8. Gotta Get Some Sleep
( 3:39)  9. Blackberry Winter
( 5:19) 10. Pocket Full of Cherry
( 3:39) 11. Byablue (solo piano version)

The Keith Jarrett American Quartet's last recording session combines most of the contents Byablue and Bop-Be, omitting "Yahllah" and "Konya" from the former and "Pyramids Moving" from the latter. The partial sampling of the sessions indicates that the quartet went out on a high note, still exciting and inventive, the old interplay very much in action, unrepentantly acoustic in an electric era. The quartet was soon to be defunct. ~ Richard S.Ginell https://www.allmusic.com/album/silence-mw0000083094

Personnel:  Keith Jarrett – piano, soprano saxophone (on #10);  Dewey Redman – tenor saxophone;  Charlie Haden – bass;  Paul Motian – drums.

Silence

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Keith Jarrett - Expectations

Styles: Piano Jazz 
Year: 1972
File: MP3@320K/s
Time: 77:50
Size: 179,6 MB
Art: Front

( 0:51)  1. Vision
( 8:14)  2. Common Mama
( 6:55)  3. The Magician In You
( 5:25)  4. Roussillon
( 4:29)  5. Expectations
( 9:33)  6. Take Me Back
( 5:06)  7. The Circular Letter (For J.K.)
(17:21)  8. Nomads
( 4:28)  9. Sundance
( 9:51) 10. Bring Back The Time When (If)
( 5:33) 11. There Is A Road (God's River)

This was the first real indication to the world that Keith Jarrett was an ambitious, multi-talented threat to be reckoned with, an explosion of polystylistic music that sprawled over two LPs (now squeezed onto a single CD). Using his classic quartet (Dewey Redman, Charlie Haden, Paul Motian) as a base, Jarrett occasionally adds the biting rock-edged electric guitar of Sam Brown and always-intriguing percussionist Airto Moreira, and indulges in some pleasant string and brass arrangements of his own, along with some grinding organ smears and acceptable soprano sax. Jarrett again turns his early rampant eclecticism loose  from earthy gospel-tinged soul-jazz to the freewheeling atonal avant-garde yet this time he does it with an exuberance and expansiveness that puts his previous solo work in the shade. "Common Mama," a spicy Latin workout with brass punctuations, "Take Me Back," driving soul jazz with streaks of electric jazz-rock, and the lengthy, nearly free "Nomads" are the most invigorating tracks.~ Richard S. Ginell https://www.allmusic.com/album/expectations-mw0000691522

Personnel:   Keith Jarrett: piano, organ, soprano saxophone, tambourine, percussion, arrangements;  Dewey Redman: tenor saxophone, percussion;  Sam Brown: guitar;  Charlie Haden: bass;  Paul Motian: drums;  Airto Moreira: percussion.

Expectations

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Ornette Coleman - Change Of The Century

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 41:35
Size: 95,3 MB
Art: Front

(6:39)  1. Ramblin'
(6:24)  2. Free
(6:59)  3. The Face Of The Bass
(5:16)  4. Forerunner
(5:31)  5. Bird Food
(6:02)  6. Una Muy Bonita
(4:41)  7. Change Of The Century

Change Of The Century was an audacious album title, to say the least. On his second Atlantic release and second with his most like-minded ensemble (trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins) alto saxophonist Ornette Coleman pushed the freedom principal farther. At the same time, he looked backward too for inspiration. Having eliminated the piano on his Contemporary release, Tomorrow Is The Question! (1959), Coleman opened up wide improvisational opportunities. On that recording, he and his "freedom principle" remained partially inhibited by the presence of traditionalist bassist Percy Heath and drummer Shelly Manne, who resisted coloring outside of the lines as Coleman was attempting to do. But that was not so on The Shape Of Jazz To Come (Atlantic, 1959) and Change Of The Century. While the rhythm section continued to provide enough cohesive swing to propel matters, Coleman and Cherry stretched the melodic boundaries without the previous harmonic anchors. Change of the Century is compelling in its embrace of contrasts. "Ramblin'" is funky organic, almost early rock and roll. Haden plucks and strums his way through a fractured 12-bar format that never fully resolves itself into the comfort of the anticipated. Coleman's solo over Haden's support is bar-walking rhythm and blues, lowdown and dirty, smelling of beer and Lucky Strikes. Cherry plays his famous pocket trumpet, sounding closer to Lee Morgan than anyone else, squeezing out hard bop lines like sparks from a metal lathe. Haden solos using the figures he has supported the whole piece with. His intonation is middle-of-the-note, relaxed and slightly wooden. "Ramblin'" retains an erstwhile harmonic structure, albeit only barely. The head of "Free" is an odd premonition for composer/saxophonist Oliver Nelson's "Hoedown" from The Blues and the Abstract Truth (Impulse!, 1961), passing through an ascending and descending blues figure. Haden is rock solid throughout, even when the solo-going gets ragged and frayed. Higgins' accents are as potent as pepper, shoring up the edges of chaos on the briskly-timed piece. "The Face Of Bass" gives prominence to Haden while at the same time sounding strangely traditional for an album entitled Change of the Century. But it is a facade. Coleman encourages a careful abandon in the piece's overall structure and arrangement. Cherry pops on his solo, sometimes sounding like Freddie Hubbard, sometimes, Art Farmer.

"Forerunner" pretends that it is bebop, with a serpentine head and a deft drum break by Higgins. Coleman's solo is inspired, quenched in gospel and the blues. His tonal expanse is as big as his native Texas, informed by the many great tenor saxophone players from that state. Cherry emerges assertive, playing with swagger and attitude. So well constructed and delivered is his solo that it is easy to forget that a move toward a freer musical system is in the works. Haden remains stalwart in time-keeping, shepherding everything between the rhythmic ditches. The same can be said for the Charlie Parker-inspired "Bird Food," which is surveyed at a fast clip over a complex note pattern.  "Una Muy Bonita" is only passing Latin, with pianist Thelonious Monk phrasing and side- winding playing. Haden sets up a familiar clave beat with strummed chords. Coleman stages the piece to more insinuate a Latin vibe than to actually play one. After a lengthy introduction, Cherry solos muted, allowing himself a broad swath over which to play. The disc's closer, the title tune, was the most fully-realized "free jazz" at that point from Coleman. It is a wild phantasm of notes that are to "free jazz" what trumpeter Dizzy Gillespie's "Bebop" was for that virtuosic genre. It is a clarion call played on impulse. Yes, finally things are really beginning to come apart at the seams, properly foreshadowing Free Jazz: A Group Improvisation (Atlantic, 1961). Coleman has fully gained his traction and is now read. ~C.Michael Bailey https://www.allaboutjazz.com/ornette-coleman-change-of-the-century-ornette-coleman-by-c-michael-bailey.php

Personnel: Ornette Coleman: alto saxophone; Don Cherry: pocket trumpet; Charlie Haden: bass; Billy Higgins: drums.

Change Of The Century

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Charlie Haden with Gonzalo Rubalcaba - Land of the Sun

Styles: Post Bop, Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 63:14
Size: 144,9 MB
Art: Front

(6:17)  1. Fuiste Tu (It Was You)
(5:08)  2. Sueno Solo COn Tu Amor (I Only Dream of Your Love)
(7:00)  3. Cancion De Cuna a Patricia (Lullaby for Patricia)
(8:06)  4. Solamente Una Vez (You Belong to My Heart))
(5:41)  5. Nostalgia
(7:07)  6. De Siempre (Forever)
(3:21)  7. Anoranza (Longing)
(4:49)  8. Cuando Te Podre Olvidar (When Will I Forget You)
(6:42)  9. Esta Tarde Vi Llover (Yesterday I Heard the Rain)
(8:58) 10. Cancion a Paola (Paola's Song)

It should come as no surprise that Land of the Sun, a collection of Mexican ballads written by three of Mexico's most prominent modern composers, is yet another chapter in Charlie Haden's continually unfolding musical biography. Haden was given a folder of songs by the late and legendary Mexican composer José Sabre Marroquín by his daughter as a thank you for his recording of "Nocturnal." Haden went over the tunes and decided to record some of them; he turned them over to pianist Gonzalo Rubalcaba for arranging, employed a stellar band, and Land of the Sun is the end result. What a result. There are eight compositions by Marroquín and one each by Augustín Lara and Armando Manzanero, in their own right prolific and revered songwriters who have been recorded in this country by Presley, Sinatra, and Bennett, to name a few. The band assembled for this project is stellar Joe Lovano, Ignacio Berroa, Rubalcaba, Miguel Zenón, Oriente Lopez, Larry Koonse, Lionel Loueke, Michael Rodriguez, and Juan De La Cruz. Rubalcaba's charts don't transform the songs into jazz tunes, but rather become an entryway for melodic improvisation, rhythmic invention, and group interplay. Rubalcaba's front-line interaction with Lovano, Zenón, and Rodriguez especially on "De Siempre" is emotionally honest and musically inspiring. "Nostalgia," introduced by Spanish guitar, percussion, and piano, is a wonderful springlike bittersweet melody wrapped in a languid rhythm and made poignant first by Rodriguez, and then Zenón, before the guitars waft back in. Lara's "Solamenta una Vez" is arranged for trio here. Rubalcaba's solo, with its shifting ostinati and alternating chordal and single-note runs, is breathtaking. Lovano's lyricism on "Esta Tarde Vi Llover," by Manzanero, is played in his best Ben Webster. With skittering brush work by Berroa, Lovano accents the tune's similarities to "A Kiss Is Just a Kiss" before turning it over to Rubalcaba, who extrapolates the harmony and opens it up against De La Cruz's bongos. Land of the Sun is a deeply romantic album, but it is lush without artificial ornamentation or affectation. Musically, its refinement is such that it begs critical as well as casual listening. Hopefully this won't be the last such exercise from Haden and Rubalcaba, but an introduction.~ Thom Jurek https://www.allmusic.com/album/land-of-the-sun-mw0000637062  

Personnel:  Charlie Haden – bass;  Gonzalo Rubalcaba – piano;  Ignacio Berroa – drums;  Joe Lovano – tenor saxophone;  Miguel Zenon – alto saxophone;  Michael Rodriquez – trumpet, flugelhorn;  Oriente Lopez – flute;  Larry Koonse – guitar;  Lionel Loueke – guitar;  Juan De La Cruz – percussion

Land of the Sun

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Joe Henderson - The Elements

Styles: Saxophone And Flute Jazz
Year: 1974
File: MP3@320K/s
Time: 41:52
Size: 97,0 MB
Art: Front

(11:07)  1. Fire
( 9:58)  2. Air
( 7:32)  3. Water
(13:13)  4. Earth

This is one of the odder Joe Henderson recordings. The four lengthy selections not only feature the great tenor-saxophonist but the piano and harp of Alice Coltrane (during one of her rare appearances as a sideman), violinist Michael White, bassist Charlie Haden, percussionist Kenneth Nash and Baba Duru Oshun on tablas. The somewhat spiritual nature of the music (Henderson's compositions are titled "Fire," "Air," "Water" and "Earth") and the presence of Alice Coltrane makes these Eastern-flavored performances rather unique if not all that essential: an early example of world music in jazz. This recording has been reissued as part of Henderson's eight-CD Milestone box set. ~ Scott Yanow https://www.allmusic.com/album/the-elements-mw0000087334 

Personnel:  Joe Henderson - tenor sax, flute, alto flute;  Alice Coltrane - piano, harp, Tambura, harmonium;  Charlie Haden - bass;  Leon "Ndugu" Chancler - drums (1, 4);  Kenneth Nash - narrator (4), flute (3), congas, North African Sakara Drum, bells, gong, percussion;  Baba Duru Oshun - percussion, Tabla;  Michael White - violin

The Elements

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Ruth Cameron - First Songs

Bitrate: MP3@320K/s
Time: 26:10
Size: 59.9 MB
Styles: Vocal jazz
Year: 1998
Art: Front

[3:24] 1. Bird Alone
[2:17] 2. On A Slow Boat To China
[4:13] 3. Young And Foolish
[3:46] 4. He's Funny That Way
[3:07] 5. The Night We Called It A Day
[3:44] 6. The Moon Is A Harsh Mistress
[5:37] 7. First Song

On her debut recording, Cameron (influenced by Jeri Southern and coached by Sue Raney) sports a thin, wispy vocal quality that recalls Blossom Dearie. On this set of five standards and two originals by Abbey Lincoln -- mainly ballads -- she's backed by husband/bassist Charlie Haden, drummer Larance Marable, and pianist Chris Dawson. Except for the more uptempo, kitschy "Slow Boat to China," the fare is slow and easy -- a mix of positive and regretful love songs more than downtrodden blues. Her mid-range voice is most effective on "He's Funny That Way," and the only substantive solo is Haden's on "First Song" with Lincoln's "deep-as-the-sea, like you and me" poetic lyrics and Cameron cooing at the coda. A lugubriously slow "Young & Foolish" as well as "The Night We Called It a Day" and "The Moon Is a Harsh Mistress" are also in patient, measured form. The singer's mellow tones reflect joy and pain in an intimate way, but she will appeal only to specialized tastes of the aforementioned vocalists. Buyers should notice the CD (more like an EP) does not even hit 27 minutes total time, less than even the quickest running vinyl LP. Hopefully this short stack is not a reflection of limited repertoire. Nonetheless, this recording should be bought at a budget price. One should expect more, especially instrumentally. ~Michael G. Nastos

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Charlie Haden Quartet West - Haunted Heart

Bitrate: MP3@320K/s
Time: 65:44
Size: 150.5 MB
Styles: Neo bop, Standards
Year: 1992
Art: Front

[0:38] 1. Introduction
[6:47] 2. Hello My Lovely
[9:14] 3. Haunted Heart
[3:53] 4. Dance Of The Infidels
[6:04] 5. The Long Goodbye
[9:11] 6. Moonlight Serenade
[5:16] 7. Lennie's Pennies
[4:18] 8. Ev'ry Time We Say Goodbye
[6:11] 9. Lady In The Lake
[5:32] 10. Segment
[2:27] 11. The Bad And The Beautiful
[6:07] 12. Deep Song

Charlie Haden loves film as much as music, combining both loves on the critically acclaimed Haunted Heart. Haden led his tremendous group Quartet West through 12 numbers, several, like Cole Porter's "Every Time We Say Goodbye," and Alan Broadbent's "Lady In The Lake," Arthur Schwartz and Howard Dietz's "Haunted Heart," and even the short introduction, with film ties and/or links. Haden transferred vocals on some numbers from Jeri Southern, Billie Holiday and Jo Stafford into the mix without disrupting or disturbing the group framework. Quartet West has emerged as a premier small combo, and Haden nicely paid tribute to the past without being held hostage to it. ~Ron Wynn

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