Archive for the Charlie HADEN Category

Geri ALLEN, Charlie HADEN, Paul MOTIAN – In The Year Of The Dragon 1989

Posted in Charlie HADEN, Geri ALLEN, JAZZ, Paul MOTIAN on December 25, 2010 by whoisthemonk

Geri ALLEN, Charlie HADEN, Paul MOTIAN – In The Year Of The Dragon 1989

Jazz

Geri Allen’s sixth recording, and a reprise of her 1987 Soul Note recording Etudes, has her again in the mighty company of bassist Charlie Haden and drummer Paul Motian, a dream team for any modern jazz pianist. Certainly up for the challenge, Allen fits right in beautifully, and inspires Haden and Motian to energize their personal styles. They collectively dive into the deft harmonic and melodic trappings of the leader, though all certainly adopt a pure sense of democracy and understand their shared values with this heady brand of progressive music. Everyone contributes compositions, and they play revisions of standards with a common thread among their past associations. Bud Powell’s “Oblivion” is taken at an animated, maddeningly fast tempo, but the trio drops not one beat or note. Ornette Coleman’s tricky post-bop icon “The Invisible” is also played to absolute perfection, and these tracks mark the utter maturation of Allen’s immense talent. The epitome of the trio’s convergence as a unit is manifested during “No More Mr. Nice Guy” (not the Alice Cooper tune), a slightly macabre tune that expresses darkness through light from a startlingly subtle and heavy salvo of sunrise tones, bass into ringing chords, a march interlude, and semi-bop starts and stops in a totally compelling construct bearing many repeat listenings. Haden’s placid “First Song” dips deeply into an emotional well, while “See You at Per Tutti’s” conversely exudes an easy bluesy vintage swing. Motian’s pieces “Last Call” and the title track move between a free, gospel-tinged turnaround and a mysterious implied melody accented by Allen’s signature chordal motifs, respectively. Allen also contributes this yin and yang philosophy on her arrangement of the traditional Juan Lazaro Mendolas piece “Rollano,” with Mendolas on the quena/wood flute, and the very slow Thelonious Monk-like heartfelt tribute “For John Malachi,” dedicated to her mentor at Howard University. Fully realized, diverse, and balanced, this piano-bass-drums trio recording is one of the very best of its late-’80s era, loaded with great musicianship, surprises, and an accurate representation of these genius musicians’ personalities and individualism blended into a complete whole. In the Year of the Dragon is highly recommended to all who appreciate superb musicianship coming together.
By Michael G. Nastos, All Music Guide.
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Bass- Charlie Haden
Drums- Paul Motian
Piano- Geri Allen
**
01. Oblivion  3:17
Written-By – Bud Powell
02. For John Malachi  3:30
Written-By – Geri Allen
03. Rollano  4:10
Arranged By – Geri Allen
Flute [Quena] – Juan Lazaro Mendolas
Written-By – Juan Lazaro Mendolas
04. See You At Per Tutti’s  5:55
Written-By – Charlie Haden
05. Last Call  5:10
Written-By – Paul Motian
06. No More Mr. Nice Guy  7:01
Written-By – Geri Allen
07. Invisible  4:34
Written-By – Ornette Coleman
08. First Song  5:38
Written-By – Charlie Haden
09. In The Year Of The Dragon  7:55
Written-By – Paul Motian
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Charlie HADEN & Antonio FORCINE – Heartplay 2006

Posted in Antonio FORCINE, Charlie HADEN, JAZZ on November 23, 2010 by whoisthemonk

Charlie HADEN & Antonio FORCINE – Heartplay 2006

Jazz

Veteran bassist Charlie Haden’s long had an affection for the duo format and has recorded with partners as diverse as Ornette Coleman, John Taylor, Egberto Gismonti and Alice Coltrane. Here he’s paired with Antonio Forcione, an Italian acoustic guitarist who’s made his name on the British jazz circuit through appearances with Andy Shepperd, Trilok Gurtu and others.

Forcione’s flamboyant, sometimes flamenco tinged expressionism is a good match for Haden’s stately, resonant bass lines. The material is mainly geared towards the introspective, with a particularly beautiful take on Fred Hersch’s sprightly “Child Song” being one of the few exceptions. But even then, it’s hardly rocking out. Comparisons are bound to be drawn with Haden’s collaboration with Pat Metheny, but there’s more of an edge to this pairing. That’s partly due to Forcione’s slightly grittier approach and the unfussy, warm live recording (no ECM style reverb here).

Forcione provides four of the eight pieces, with the remaining three coming from the usual stable of Haden tunes that the bassist seems to bring to every session he does: “Las Pasionaria” and “Silence” and “For Turiya”. Haden’s solos are models of economy, completely devoid of pyrotechnics but stuffed with melody. His tone here is particularly sumptuous here as he weaves his way through Forcione’s plangent chords.

Intimate, emotive music from an eminently well suited duo. More please…
By Peter Marsh.
**
This is thoughtful, melodic stuff, in the format of guitar and acoustic bass duets. Charlie Haden has rarely been better recorded; Forcione’s records are praised highly by various high end stereophile reviewers. This is lovely non-mainstream jazz which may appeal to those who think they aren’t interested in this style of music.
By Robert M. Baird.
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Charlie Haden- DoubleBass
Antonio Forcione- Guitar
**
01. Anna (Forcione)  3:55
02. If… (Forcione) 2:54
03. La Pasionara (Haden) 8:18
04. Snow (Forcione) 5:59
05. Silence (Haden) 6:20
06. Child’s Song (Fred Hersch) 8:02
07. Nocturne (Forcione) 2:35
08. For Turiya (Haden) 11:13
** Continue reading