Charlie Haden

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Charlie Haden, 2007

Charles Edward "Charlie" Haden (* 6. August 1937 in Shenandoah , Iowa , † 11 July 2014 in Los Angeles , California ) was an American jazz - double bass player , composer and bandleader . He is considered one of the most influential representatives of free jazz . On the fundamental album Free Jazz: A Collective Improvisation he was a member of Ornette Coleman's double quartet in 1960 . A few years later, Haden belonged to the first trio of pianist Keith Jarrett and began to form groups of his own, some of which proved to be very long-lived. A characteristic, emphatically simple way of playing and a distinctive sound made him a style-defining representative of his instrument in contemporary jazz. Haden was considered a decidedly “political” artist and regularly took a public position on social problems.

Life

Origin, youth and early career

Haden's origins from the Midwest - he spent his childhood and youth in the small town of Forsyth (Missouri)  - had an early and lasting influence on him. The parents' family put on a regular program on a local radio station, the Haden Family Radio Show , in which the young Charlie appeared as a singer at the age of 22 months. Around the middle of the 20th century - especially in the "provincial" areas of the USA - such an early entry into the musical career was less unusual than it might seem from the perspective of a European today. For example, Hadens - from an Indian reservation in Oklahoma - bassist colleague Oscar Pettiford began his career in a similar way. The Haden family band mainly interpreted country & western songs; Haden used the musical material of this style throughout his life. However, by the age of 14, Haden contracted a mild form of poliomyelitis that permanently damaged his larynx and vocal cords . The loose structure of the family band allowed him to experiment with various musical instruments as a possible alternative to singing, but it was not until the age of 19 that he decided to use the double bass as the main instrument.

To receive formal training on his instrument, Haden moved to Los Angeles in 1957. Since he was already intensively involved with contemporary improvised music at that time, the move to the southern Californian metropolis with its then lively jazz scene was an obvious choice. In addition to studying instrumental at Westlake College , Haden also received private lessons from Red Mitchell , who at the time was considered one of the most renowned bass soloists on the American west coast.

Scott LaFaro , with whom Haden shared an apartment for a few months, also studied at Westlake and with Mitchell . Haden and LaFaro are considered, albeit in very different ways, to be important pioneers of the "emancipation of jazz bass" in the 1960s, which was perceived as musically revolutionary.

Breakthrough with the Ornette Coleman Quartet

Although he was still at the beginning as a bass player, Haden was able to establish himself on the Los Angeles scene with relatively no problems because, thanks to his long professional experience, he already had a keen sense of melody and great rhythmic security. Within a few months he got engagements with renowned jazz greats on the west coast, including Dexter Gordon , Hampton Hawes and Art Pepper . The Sunday jam sessions at the Hillcrest Club   , during which Haden got to know the members of the future Ornette Coleman Quartet for the first time, namely the trumpeter Don Cherry and the drummer Billy Higgins , turned out to be particularly important for his future . While these two, like Haden himself, were viewed as up-and-coming newcomers, the Californian scene met the saxophonist Ornette Coleman, who had arrived from Fort Worth , with great reservations due to his unconventional, technically unconvincing playing. Nevertheless, the four musicians regularly rehearsed together; in addition, Lester Koenig , the head of Contemporary Records , was persuaded by Red Mitchell to make recordings with Coleman, but without or only with parts of the rehearsed quartet. However, it was precisely the absence of a suitable bass player to which Coleman attributed the lack of artistic success of these first productions. This only changed when the Coleman Quartet appeared on the east coast in 1959 and the bandleader enforced that the still little-known Charlie Haden was also considered for the studio recordings at Atlantic Records . The consequences for the sounding result turned out to be drastic:

“As Leonard Feather notes, Haden is more of a 'participating than accompanying' bass player. It follows the lines of the wind instruments regardless of functional harmonic aspects and provides them - preferably playing in the lower registers - a basis that allows the improvisers a free line, but at the same time serves as a center and frame of reference. The records The Shape of Jazz to Come and Change of the Century , recorded with Haden and Higgins […], are among the most musically coherent that the quartet […] recorded. "

Coleman himself was clearly aware of the importance of Haden for an adequate implementation of his sound concept; Apart from the great freedom he gave his bass player anyway, he dedicated a feature number to him on the aforementioned Change of the Century record entitled The Face of the Bass and comments on it in the accompanying liner notes with the words:

"It is unusual to come across someone as young as he is and find that he has such a complete grasp of the 'modern' bass: melodically independent and non-chordal."

"It is unusual to meet someone who at such a young age already has such a strong understanding of 'modern' bass playing: melodically independent and not related to chords."

The sudden onset of success of the quartet, however, took a considerable psychological toll. With the exception of Coleman himself, all of the band members struggled with drug problems. As a result, the group was able to reliably fulfill its concert engagements less and less until it finally fell apart in the course of 1961/62. Charlie Haden went to therapy facilities several times - partly under pressure from his leader - but had to largely withdraw from the scene for a few years. He was not to play music again with Ornette Coleman until 1968.

Start of political and social engagement in the late 1960s

After finally successful withdrawal, Haden settled in New York in 1966 . In the metropolis of jazz, the aesthetic specifications had changed drastically in the meantime: Free jazz was the music of the day, to which, in addition to the majority of young musicians (such as Archie Shepp and Albert Ayler ), many established musicians also professed. The tenor saxophonist John Coltrane , whose bassist Jimmy Garrison had developed a style that has remarkable parallels to Hadens , acted as an integrating figure between the older mainstream and the avant-garde . Since Coltrane died in the summer of 1967, Haden found little opportunity to play with him. However, after the death of her husband, “Trane” widow, the pianist and harpist Alice Coltrane , commissioned Haden to overdub new bass parts on some of his late recordings . Titles like Peace on Earth testify to the spiritually searching character of the last creative phase in Coltrane's life's work, by which Haden - like so many musicians of this generation - was influenced.

In the months after Coltrane's death, the small subculture of the New York jazz avant-garde took on a far more extroverted, rebellious gesture. Political statements and demands for social change found their way increasingly into the musical work of the young artists; there was solidarity everywhere with the more radical groups of the civil rights movement and the foreign policy of the US government, particularly in Vietnam and Latin America, was criticized . The Liberation Music Orchestra , founded by Haden together with the pianist Carla Bley in 1969, has existed to this day and since then has been formulating musical protest against grievances in the USA with changing line-ups and different stylistic orientations. His composition Song for Che , which was included on the orchestra's first album , was also played by Haden in 1971 during a guest performance in Portugal . In his announcement, the bassist dedicated the piece to the opponents of the dictatorial regime of Marcelo Caetano , whereupon he was immediately arrested and interrogated by the DGS secret police .

However, he was not only moved by the “big” political issues of the time; Haden also excelled as a musical advocate for animal welfare : in 1979 he recorded Old and New Dreams, a composition by his daughter Petra, Song for the Whales . Out of personal concern, he initiated a project to research and treat tinnitus .

The 1970s and 1980s

Charlie Haden (1981)

During this period, Haden recorded regularly, especially for the Munich record label ECM by producer Manfred Eicher, who also played double bass . Since then he has also started to work increasingly with European musicians, above all the Norwegian saxophonist Jan Garbarek . 1979 Haden left New York and took up residence again in Los Angeles, where he met his future (second) wife Ruth Cameron. He dedicated a number of compositions to her, most of which he regularly reinterpreted First Song . He has also referred to the city of Los Angeles itself several times as an important musical inspiration, referring above all to the "Angel City" that he got to know in his youth and how it is - also often glorifying - in the novels of Raymond Chandler . is portrayed. The 1980s finally brought Haden's musical recognition far beyond the field of avant-garde jazz, for example in productions with musicians such as Michael Brecker , John Scofield , Chet Baker or Dino Saluzzi .

The Montreal International Jazz Festival honored the bassist in a special way in 1989: every night of the festival he performed with a different line-up, and his musical partners included many old companions over the course of that week. The concerts were all recorded and are now available as The Montreal Tapes (Verve) and In Montreal (ECM).

Since 1990

Charlie Haden Quartet West at the Blue Note Jazz Festival, Ghent, 2007

Since the 1990s at the latest, Haden's artistic work had been shaped by the difficulties he had with his tinnitus . He experimented with specially made earplugs that suppress certain sensitive frequencies in the listening area , as well as with sound-absorbing partitions made of Plexiglas , behind which he tried to protect himself at concerts with large and noisy groups.

The tendency towards reduced, introverted musical statements was recognizable earlier in Haden and a general characteristic of his mature style, which was fully developed by 1990 at the latest. In 2008 Reto Caduff released a documentary about his life and music entitled "Charlie Haden Rambling Boy" on the occasion of his 70th birthday. Haden had suffered from post-polio syndrome since the end of 2010 , which made him severely weakened and at times could barely swallow. He died in Los Angeles in July 2014 at the age of 76.

Important band projects

The first Keith Jarrett Trio

In 1968, the first trio of pianist Keith Jarrett was a meeting of three musicians who had all played in bands that were extremely important for jazz in the 1960s. Haden was known for playing with Coleman, Paul Motian was the drummer of the Bill Evans Trio , and the band leader Jarrett himself had caused a sensation two years earlier in the band of saxophonist Charles Lloyd with his early form of ethno jazz . The trio was characterized by a decidedly aesthetic eclecticism , which was to shape all musicians involved in their future. The group's repertoire, which was unusual for a jazz band at the time, included, for example, interpretations of Bob Dylan songs ( My Back Pages , Lay Lady Lay ). The trio existed until the mid-1970s, when Jarrett began to devote himself more to his work as a soloist and to his “European” quartet (with Jan Garbarek , Jon Christensen and Palle Danielsson ). Other musicians were often brought in to the regular line-up, among them particularly often (on Haden's recommendation) the saxophonist Dewey Redman , with whom the broad-based Survivors' Suite was created in 1976 as the last joint studio album .

Liberation Music Orchestra

Liberation Music Orchestra was the programmatic name that the collective of initially 13 free musicians gave themselves when it was founded in 1969: A large part of the repertoire, which was essentially compiled by Haden and arranged by Carla Bley, were “liberation songs” from different countries and epochs. The group pursues this musical approach with changing line-ups and without overly fixed stylistic determination up to the present day. With the Liberation Music Orchestra, Haden took on the challenge of playing in a large ensemble for the first time. It was also new that he was working here for the first time with recordings and transitions from tape recordings by other musicians (for example in Song for Che and Circus '68 / '69 ). He was to come back to working with this collage technique again and again later, in some studio productions by the Quartet West ( Haunted Heart , 1991), the cross-fades ultimately form a key stylistic element of the “cinematic” soundscape.

Old and New Dreams

Old and New Dreams was formed in the mid-1970s as a quartet of musicians who all felt particularly committed to Ornette Coleman's early work: Haden, Don Cherry and drummer Ed Blackwell had all played in the Coleman Quartet before 1960. Dewey Redman, who, like Coleman, came fromFort Worth, Texas , had been a second saxophonist alongside Coleman in one of his later bands since 1968.

Pat Metheny

In contrast to Charlie Haden, the guitarist Pat Metheny first became known through music that was perceived by critics and audiences as extremely conciliatory and accessible - and also highly virtuoso on a technical level. The deeper similarities between the two apparently so contrary types of musicians only became apparent over time. The guitarist had already paid tribute to Ornette Coleman's music on his first LP under his own name ( Bright Size Life , 1976). In the course of the next few years Metheny regularly recorded interpretations of Coleman's music (in 1985 finally with the participation of the old master himself) and on these occasions made sure that Haden could participate. Both musicians also refer to their common homeland Missouri as the reason for the profound aesthetic agreement that prevails between them. The 1997 duo CD Beyond the Missouri Sky , which reflects the spirit of the music of rural America, is considered a particularly successful musical product of this collaboration, which also received an unusually great commercial success and almost unanimous approval from the critics .

Quartet West

At the suggestion of Haden's wife and producer Ruth Cameron, the Quartet West was created in the mid-80s, and the album of the same name in 1986 . As the name suggests, the original motivation was to have a band of top-class musicians who, like Haden, were based in California, on the west coast. The founding members include New Zealand pianist Alan Broadbent (who is also responsible for the arrangements) and tenor saxophonist Ernie Watts , who are still part of the band today. Billy Higgins, who was originally on drums, was replaced by Larance Marable in 1988 . The Quartet West is committed to a balanced, “classical” sound in its music-making ideal, which has made this band particularly attractive to the general public. The quartet's productions offer numerous references (including sound collages) to films, literature and the jazz scene of the past mid-century, some of which have extra-musical implications that tend towards program music.

Small occupations

Along with Ron Carter and Red Mitchell, Haden was one of the bassists who preferred the challenge and chamber music intimacy of duo playing . The 1976 album Closeness features duo recordings with some of Haden's most important partners at the time (Jarrett, Motian, Coleman and Alice Coltrane). The recordings with Denny Zeitlin and Kenny Barron are also considered particularly successful . In addition to more conventional trio line-ups like the band with pianist Geri Allen and Paul Motian, saxophonists like Joe Henderson and Lee Konitz or Pat Metheny on the guitar, Haden also worked with more unusual combinations. The cooperation with Jan Garbarek and the Brazilian multi-instrumentalist Egberto Gismonti was especially popular in Europe . Since the 1990s, Haden has been working with musicians such as Gonzalo Rubalcaba and David Sánchez to develop an independent variety of Latin jazz that is also strongly influenced by chamber music .

stylistics

General characteristics

Charlie Haden at the Pescara Jazz Festival in 1990

Charlie Haden's style of playing was characterized by extraordinary understatement: he almost never put his instrumental technique - if not highly virtuoso, at least solid - in the foreground. On the contrary, he tended to find the simplest possible solution for any given musical situation. In this way, he was in clear contrast to the customary practices in the jazz scene, where the manual mastery of the instrument is often applied as a disproportionately important yardstick. Similar to the pianist Thelonious Monk, however, Haden earned himself great respect through his “technical refusal”: “Charlie is one of those who sometimes a single note is enough to make music sound” ( Ed Schuller ). In the variety of free jazz, as it was developed in Ornette Coleman's environment, the avant-garde sound impression often arose from this drastic simplification of musical means. Haden's melody was therefore less aimed at suggesting as many harmonic implications as possible in a musical context, as was common practice in bebop , but rather at maintaining a once established “tonal center” for as long as possible. In terms of rhythm, its lines are usually also reduced, but through the clever placement of note values ​​they create the acoustic illusion of a permanent, moving event. In his accompaniment, he often renounced the four quarter notes of the classic walking bass , which he played through constantly, but marked the rhythmic basic pulse all the more with the now “broken up” material.

Stylistic influences

Starting with the country music of his childhood years, Charlie Haden combined various influences into a distinct personal style in his long career. He got to know jazz in the varieties that were presented in Los Angeles in the late 1950s, i.e. bebop , hard bop and cool jazz . He himself played a key role in the development of the important jazz styles of the 1960s and 1970s. His interest in folk music in general and his political and cultural commitment to Latin America in particular ultimately helped him to gain recognition as a creative musician in the genre of Latin jazz. Music colleagues, however, repeatedly emphasize that all these disparate elements are ultimately always combined into a completely independent whole:

“Charlie is this very interesting figure in the panorama of all musicians because he's so many things to so many different people, and yet, at the same time, his thing is so singular. It's not like somebody who […] has all kinds of musical personas that they can put on. He's kind of that one thing - it just fits with so many different things. "

“Charlie is an interesting figure in the panorama of the music scene because he embodies so many different things for so many people and yet always remains very unique. He's not like someone who can put on all kinds of musical masks. He's exactly that one thing that just goes with so many other things. "

The "self-quotation" as a stylistic device

Although belonging to the founding generation of free jazz, Charlie Haden's style was characterized by a high degree of calculated internal structure. Once he found musical solutions, he "recycled" - especially in his solo performance - sometimes in new ways over decades. In principle, this is nothing unusual in jazz: The German jazz critic Joachim-Ernst Berendt coined the term “he-improvised” for such musical processes that have evolved over the course of time, are neither completely conceived nor completely invented from scratch. However, this way of working is so clearly audible with few other musicians, so extensively documented and traceable over such long periods of time as with Charlie Haden. The listener recognizes that his solos, in particular, rely to a large extent on material that has already been tried and tested by the sometimes true-to-note repetition of passages at very different points in this musician's extensive record oeuvre. Haden supported his method of the conceptualized solo by keeping certain favorite pieces in the repertoire for a long time and recording them with very different line-ups in studio productions. In the early years of his career, these preferred "vehicles" included his own compositions Song For Che and Silence , which were replaced in later years by other original works ( First Song , Waltz for Ruth ), but increasingly also by classical jazz standards ( Body and Soul ) . Even if commercial considerations ( royalties ) and the taste of the audience may have played a role in the frequent recourse to the preferred own compositions , the analysis of such recordings in chronological order provides a very good insight into Haden's musical thinking.

Technical details

The two double basses on which Haden played for many years are models of French violin makers (a Jean-Baptiste Vuillaume from the 1840s and a contemporary work by Jean Auray based on the style of the older master ). On both instruments he used D and G strings made from natural gut. The resulting "warm", "woody" sound of the instrument places special demands on the electroacoustic amplification, as is common in many areas of modern music. A bass strung with gut strings needs reinforcement all the more, since the instrument with this "setup" is generally less successful than when using the more modern, more aggressive sounding steel strings. Since the 1980s, some manufacturers for pickups and amplifiers have taken these special requirements into account and - partly in direct cooperation with Haden - developed the devices that were previously not of suitable quality.

Haden's playing technique was characterized by its great economy; Even in the solo, he only left the deep, sonorous registers of his instrument sporadically. The pizzicato technique of his right hand largely corresponded to the style of playing common among jazz bassists. In contrast, the technique of his left hand (with which he grips the notes on the fingerboard) seemed downright “archaic”. Since folk and country bassists still play in this way to this day, it can be assumed that Haden used this fingering from the very beginning on the instrument . Even if this technique may look a bit awkward compared to the “classic” fingering, Haden achieved a great wealth of subtle tonal nuances and embellishments with it . Typical of Haden's style is his pronounced predilection for double stops , which he often used - again mostly in the lower registers - when he was playing completely unaccompanied or when the chordal instrument, if any, was suspended (see below the excerpt from Ramblin ') -Solo).

Solo performance

On the basis of the solo over segment (contained on the Quartet West CD Haunted Heart , 1991), some essential characteristics of Haden's bass soloing can be clearly demonstrated. As already mentioned, in Haden's case the term improvisation should only be used with reservations. Segment is a bebop head penned by Charlie Parker , who recorded it on May 5, 1949 for Verve - the same label that was to publish Haden's version over four decades later. The piece is composed of a chord progression in minor that is popular with the beboppers and called Minor Rhythm Changes .

Audio file / audio sample Haden's bass solo over segment ? / i . The notated chords are not played during the solo, but are only implied in accordance with the previous sequence of the piece.

Haden now simplifies the piece in his typical way. First of all, the version of the Quartet West was transposed from the original Bb minor (which is a somewhat “ungrateful” key on the double bass ) into the much more favorable G minor , and the Haden band also chooses a somewhat more moderate tempo than Parker's Quartet. In contrast to Parker's view, who used to expand such pieces with numerous (implied or played out) substitute and passage chords, Haden initially treats the piece as if it consisted only of a G minor tonic chord . Since pianist Alan Broadbent pauses for the 32 bars of the bass solo, the impression of a modal passage (in Doric or Aeolian ) is indirectly reinforced. Haden creates musical intensity primarily by means of rhythm: What begins as a continuation of the conventional walking bass (which Haden only hinted at in the previous piano solo ), it varies first with a figure in quarter triplets and then with increasingly offbeat-oriented rhythmic ideas. The deviations in related chords (the subdominant C minor and the major parallel Bb major ), as required by the chord scheme of Segment , are realized in a very simple and clear way by Haden playing the arpeggios of these sounds. The last six bars of the solo, which quote and vary another famous number by Charlie Parker (with the title Bebop, which later became famous as a style name ), bring an encoded musical homage to the composer of the piece . Another typical feature of the bassist's melodic and harmonic conception is the way he deliberately sets "wrong", that is, particularly dissonant, tones in the course of the solo, increasingly and in rhythmically exposed places . As in many other solos, Haden relies on the particularly tense intervals of the minor ninth as well as the diminished and excessive fifth (based on the main key). He likes to set such tones "uncommented", that is, without mediating or playing around melodic material, which particularly emphasizes the sound character, which is actually in need of resolution.

Musical effect

Within the jazz scene

At the beginning of the 1960s, the overwhelming majority of bassists welcomed the new possibilities for stringing and reinforcement at the time, as they were primarily interested in a fluid, virtuoso playing style that wanted to imitate guitarists and wind players in terms of flexibility. They accepted the “metallic”, somewhat meager sound, which is suitable for the double bass in its high registers anyway and which was even more evident through thinner strings and electrical amplification, as a characteristic of contemporary bass playing. Haden, although at the forefront of the musical emancipation of the jazz bass, took up a position in this movement that, compared to the playing of Scott LaFaro, Eddie Gomez , Ron Carter or Niels-Henning Ørsted Pedersen, was technically unspectacular and rhythmically and melodically conservative worked. It wasn't until the end of the 1970s that a new generation of bass players, for whom technical fluency as an end in itself was no longer attractive, began to fall back on Charlie Haden as a role model, including Ed Schuller and Larry Grenadier . Haden's ability to “laconic” representation of actually complex musical situations in a few, carefully placed notes is particularly admired by younger musicians. In the last few decades, double bass players have increasingly resorted to the delightful sound of gut strings, even if this makes certain technical escapades of the older virtuosos almost impossible.

In rock and pop

Until the 1970s, Haden was often heard with critical to disrespectful remarks about the developments in rock and pop music, while critics mocked him conversely (with regard to his socially critical pose) as "the changing conscience of free jazz". In contrast, a number of American and British rock musicians (including Iggy Pop and John Martyn ) showed some lively interest in Haden's music. While Haden's reaction to such "advances" was initially strongly negative - for example, he is said to have considered taking legal action against a version of his Song for Che recorded by Robert Wyatt in 1975 - he approached popular music some time later with fewer reservations. It may play a role here that his four children have started their own musical careers, albeit less in the jazz sector than in styles such as punk , folk and the like.

The English singer Ian Dury explicitly referred to Haden's music as inspiration : he developed the well-known riff from Sex and Drugs and Rock and Roll in 1977 from a solo by Charlie Haden. The passage in question can be found on the aforementioned Ornette Coleman LP Change of the Century . Haden ends his bass solo on the piece Ramblin ' with a concise eight-bar figure (on the recording in about twenty seconds from 4:39 to 4:59), which is all the more catchy due to its practically exact repetition:

Audio file / audio sample The last 16 bars of Haden's solo on Ramblin ' ? / i

The lick appears again and again in this form or variations of it in Haden's music, notably mainly in pieces in which the musician refers to his country roots, such as the piece dedicated to his parents and titled after Taney County in Missouri Quartet West's first LP (1987) and several times on Beyond the Missouri Sky (1997). This figure in G major lies very gratefully on the double bass. Dury transposes the melody so that it corresponds to a rock-typical pentatonic scale in E (with passage tones), i.e. practically "under the fingers" on the guitar . The character of the original figure is already clearly alienated by a continuation that sounds more like minor or blues and the completely different rhythmic conception, and in the further course of the song new musical ideas are introduced that have nothing in common with the recording of the Coleman Quartet.

Audio file / audio sample Riff from Ian Dury's Sex and Drugs and Rock'n'Roll ? / i

From the 1980s onwards, Haden himself sought to collaborate on a larger scale with singer-songwriters close to jazz, such as Rickie Lee Jones or Bruce Hornsby, and took part in concerts and studio recordings of these musicians.

Awards

  • Haden received three Grammy Awards for his work , namely in 1998 together with Pat Metheny for the CD Beyond the Missouri Sky as the best jazz production of the year and - surprisingly - twice in the Latin Jazz category (in 2001 and 2004). Many more of his recordings have been nominated for the award over the past decades.
  • The Quartet West won, among other things, the “Readers' Poll” of Down Beat magazine as “Best Band of 1994”. In the critics' poll of the same magazine, the CD Always Say Goodbye was named "Album of the Year 1993".
  • In the regular votes among critics and fans, which is customary in the leading jazz magazines, Haden has inevitably held top positions in the “double bass player” category for many years.
  • In 1982 Haden was entrusted with the establishment of a jazz course at the California Institute of the Arts in Los Angeles, where he had been teaching from 1975.
  • Haden received four composition commissions from the National Endowment for the Arts , a Guggenheim Fellowship, and was honored by the Los Angeles Jazz Society for his services to music education.
  • The musician has received international awards including the French Grand Prix du Disque and the Miles Davis Award from the Montreal Jazz Festival. The renowned Japanese Swing Journal has also recognized Haden's services with several awards.
  • In 2011 he received the Jazz Masters Fellowship from the state NEA Foundation .
  • In 2012 he received the Grammy for his life's work.

Discography (selection)

Sources and Notes

  1. ^ RIP, Charlie Haden
  2. ↑ Andreas Potzel: Jazz musician Charlie Haden died . ( Memento of the original from July 18, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: Musikmarkt , July 14, 2014 @1@ 2Template: Webachiv / IABot / www.musikmarkt.de
  3. ↑ according to the presentation of the musician's website ( memento of July 3, 2009 in the Internet Archive )
  4. ↑ Kunzler, Vol. I, p. 478
  5. ↑ Berendt, p. 161 ff.
  6. ↑ Some private tape recordings of such informal concerts from the summer of 1958 give a certain impression of how the quartet - expanded by the nominally leading pianist Paul Bley - sounded in the early phase of its existence.
  7. ↑ Jost: Free Jazz , p. 34.
  8. ^ Cover text for Change of the Century , Atlantic 1327, June 1960
  9. ↑ Kunzler, p. 478
  10. ↑ Filtgen / Auserbauer, p. 212
  11. ↑ Haden also gives a lecture on this problem in the context of his teaching ( Memento from March 19, 2012 in the Internet Archive ) (PDF) and in various Internet forums
  12. ^ Howard Reich: Jazz bass legend Charlie Haden yearns to perform again. In: Chicago Tribune. January 29, 2013, accessed July 13, 2014 .
  13. ↑ for example Metheny: Late Bassist Charlie Haden Honored by Pat Metheny, Richard Lewis, More at New York Memorial. Obituary for Charlie Haden, Billboard.com, January 14, 2017.
  14. ↑ cit. according to Kunzler, p. 478
  15. ↑ Pat Metheny in the above. Television interview
  16. ↑ Berendt, p. 32
  17. ↑ Steve Lake. In: That's Jazz , p. 255
  18. ^ Lake, p. 283
  19. ↑ Richard Balls: Ian Dury: Sex & Drugs & Rock'n'Roll . Omnibus, London 2000, ISBN 0-7119-7721-6
  20. ↑ according to the official Grammy website
  21. ↑ Jeff Tamarkin: Charlie Haden to Receive Lifetime Achievement Grammy (2012) in JazzTimes

literature

Web links

Commons : Charlie Haden  - album with pictures, videos and audio files
This article was added to the list of excellent articles on January 28, 2007 in this version .
personal data
SURNAME Haden, Charlie
ALTERNATIVE NAMES Haden, Charles Edward (full name)
BRIEF DESCRIPTION American jazz bassist
DATE OF BIRTH August 6, 1937
PLACE OF BIRTH Shenandoah , Iowa, USA
DATE OF DEATH July 11, 2014
Place of death Los Angeles , California, USA