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| 1. | En la Orilla del Mundo (At the Edge of the World)
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| 2. | Noche de Ronda (Nigth of Wandering)
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| 3. | Nocturnal
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| 4. | Moonlight (Claro de Luna)
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| 5. | Yo Sin Ti (Me Without You)
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| 6. | No Te Empenes Mas (Don't Try Anymore)
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| 7. | Transparence
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| 8. | El Ciego (The Blind)
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| 9. | Nightfall
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| 10. | Tres Palabras (Three Words)
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| 11. | Contigo en la Distancia (With You in the Distance)
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Nocturne was the winner of the Best Latin Jazz Album GRAMMY at the 2002 GRAMMY AWARDS.
Jazz / Latin jazz; Post-Bop
Recorded: Aug 27-31, 2000, Criteria/The Hit Factory Studios, Miami, Los Angeles, New York City
Charlie Haden - Acoustic Bass, Producer
Gonzalo Rubalcaba - Piano, Producer
Ignacio Berroa - Drums, Percussion
Joe Lovano - Tenor Saxophone
David Sanchez - Tenor Saxophone
Pat Metheny - Acoustic Guitar
Frederico Britos Ruiz - Violin
Produced by Charlie Haden & Gonzalo Rubulcaba
Associate Producer: Ruth Cameron
Executive Producer: Daniel Richard
Recorded, mixed, and mastered by Jay Newland
Assistant recording engineer: Chris Caroll
Assistant mixing engineer: Jimmy Hoyson
Mixed October 27-31, 2000 at Capitol Studios, Los Angeles, CA and December 9, 2000 at BMG studios, NY
Mastered January 19, 2001 at River Music, Rowayton, CT
Bassist extraordinaire, composer, bandleader, teacher, and GRAMMY Award-winner Charlie Haden is no stranger to Latin music. It was Haden who, in 1969, founded the Liberation Music Orchestra, a visionary outfit that combined avant-garde jazz with both Spanish and Cuban influences. His new Verve release Nocturne demonstrates that the veteran acoustic bassist is capable of finding new things to say in the Latin realm. Produced with the acclaimed Cuban-born pianist Gonzalo Rubalcaba, Nocturne marks the first time that Haden has devoted an entire album to boleros-the sensuous, romantic ballads that have moved Latin America for generations. When Haden first started making plans to record Nocturne, he envisioned an album of American and Cuban ballads. The boleros of great Latino composers like Arturo Castro, Cesar Portillo de La Luz, Marta Valdes, Martin Rojas, and Maria Teresa Lara would be heard alongside the songs of George Gershwin, Cole Porter, Irving Berlin and other great American composers. But it occurred to Haden that, while those composers are famous in Latin America, they aren't as well known in the U.S. as they deserve to be-and he saw Nocturne as an opportunity to show non-Latin listeners how great their songs are. So on Nocturne, you won't hear anything by Jerome Kern or Gershwin, but you will hear Haden and Rubalcaba offering lush interpretations of Castro's "Yo Sin Ti" and Rojas' "En la Orilla del Mundo." You will hear guest Pat Metheny taking an acoustic guitar solo on Lara's "Noche de Ronda" and tenor saxophonist David Sanchez being featured on Valdes' "No Te Empenes" and Osvaldo Farres' "Tres Palabras."
Haden, who lives in Los Angeles with his wife, singer Ruth Cameron, explains: "I love boleros, and Gonzalo loves American standards, but there were so many beautiful Cuban ballads we wanted to record that we ended up concentrating on boleros exclusively."
Nocturne's original compositions-two Haden pieces ("Moonlight" and "Nightfall") and Rubalcaba's "Transparence"-are perfectly at home with the time-honored Cuban and Mexican boleros that the jazzmen interpret.
When Haden and Rubalcaba produced Nocturne, they carefully selected musicians who have both jazz and Latin credentials, including drummer/percussionist Ignacio Berroa, violinist Federico Britos Ruiz, and saxophonist David Sanchez (a hard bopper who is well versed in both Cuban and Puerto Rican rhythms). Featured on Lara's "Noche de Ronda," guitarist Pat Metheny's love of Brazilian music is well known. And the eclectic Joe Lovano-a broad-minded saxman who has never shied away from a musical challenge-brings his distinctive tenor sax to Rojas' "En la Orilla del Mundo" as well as "Moonlight," "Transparence," and a medley that combines Cesar Portillo de La Luz's "Contigo en la Distancia"with Tania Castellanos' "En Nosotros."
For Haden and Rubalcaba, Nocturne is the latest chapter in an enduring friendship. Born in Havana, Cuba on May 27, 1963, Rubalcaba was only 23 when he first met Haden. The bassist recalls: "In 1986, my Liberation Music Orchestra was invited to play at the Jazz Plaza Festival in Havana. One of the bands that was playing was called Grupo Proyecto; Gonzalo was the pianist, and when he took a solo, my wife Ruth and I almost fell off our chairs. I met Gonzalo backstage, and we became very close friends. I wanted to bring him to the United States to play with me, although I couldn't at the time because of the embargo."
Haden quickly became one of Rubalcaba's strongest supporters, helping arrange an appearance at the Montreal Jazz Festival in Canada in 1989. Haden sang the pianist's praises to Blue Note Records, where Rubalcaba signed in the early 1990s. In 1990 Haden produced Rubalcaba's first CD, Discovery: Live at the Montreaux Jazz Festival. Not surprisingly, Haden was Rubalcaba's first choice when, in 1991, he needed a bassist for his first Blue Note studio date, The Blessing.
In 2001, Rubalcaba turns 38. But the acclaimed pianist wasn't even born when Haden first made his mark in the jazz world. Born in Shenandoah, Iowa on August 6, 1937, Haden moved to Los Angeles in the mid-1950s, and before long, was employed as a sideman by such West Coast heavyweights as saxophonist Art Pepper and pianist Hampton Hawes. It was in 1959 that he joined forces with one of jazz's most innovative-and controversial-musicians: alto saxophonist Ornette Coleman. From 1959-1961, Haden was a member of the trailblazing Ornette Coleman Quartet (which also included drummer Billy Higgins and trumpeter Don Cherry), where he revolutionized the concept of the modern bass.
Haden's work with Coleman was an inspiration to avant-garde musicians, yet he was never one to be categorized. A highly versatile improviser, Haden is as comfortable with swinging hard bop and romantic ballads as he is with cutting-edge musical experiments. One of Haden's most ambitious undertakings was the very political Liberation Music Orchestra, which in 1970 recorded arrangements of songs from the Spanish Civil War as well as "Song for Che," an ode to the late Cuban revolutionary Che Guevara. Haden's acclaimed recordings with Egberto Gismonti from Brazil, Dino Saluzzi from Argentina, and Carlos Paredes from Portugal have also extended his work into the annals of Latin and Portugese music.
Haden's romantic side asserted itself in 1986, when he formed Quartet West-a unique bop group that has celebrated the films, music, and sounds of the 1940s. Between songs, Quartet West often provides snippets of old 1940s recordings and creates a very nostalgic atmosphere. The group's original lineup included half of Ornette Coleman's 1959-1961 quartet; Haden and drummer Higgins (later replaced by Larance Marable) were joined by pianist Alan Broadbent and tenor saxophonist Ernie Watts. Quartet West's lyrical, atmospheric romanticism was most recently showcased on their beautiful 1999 Verve release The Art of the Song. And with Nocturne, Haden is once again showing us his romantic side-this time from a Latin perspective.
"I really hope everyone loves this album because I enjoy bringing something new to audiences," Haden asserts. He continues: "Here in the United States, a lot of people who listen to jazz haven't heard these beautiful boleros-and I love being able to help people discover something they might not know about. I don't like putting music in categories; it's all about beauty."
Charlie Haden
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 06, 1937 in Shenandoah, IA
Genre: Jazz
As a member of saxophonist Ornette Coleman's early bands, bassist Charlie Haden became known as one of free jazz's founding fathers. Haden has never settled into any of jazz's many stylistic niches, however. Certainly he's played his share of dissonant music -- in the '60 and '70s, as a sideman with Coleman and Keith Jarrett, and as a leader of the Liberation Music Orchestra, for instance -- but for the most part, he seems drawn to consonance. Witness his trio with saxophonist Jan Garbarek and guitarist Egberto Gismonti, whose ECM album Silence epitomized a profoundly lyrical and harmonically simple aesthetic, or his duo with guitarist Pat Metheny, which has as much to do with American folk traditions as with jazz. There's a soulful reserve to Haden's art. Never does he play two notes when one (or none) will do. Not a flashy player along the lines of a Scott LaFaro (who also played with Coleman), Haden's facility may be limited, but his sound and intensity of expression are as deep as any jazz bassist's. Rather than concentrate on speed and agility, Haden subtly explores his instrument's timbral possibilities with a sure hand and sensitive ear.
Haden's childhood was musical. His family was a self-contained country & western act along the lines of the more famous Carter Family, with whom they were friends. They played revival meetings and county fairs in the Midwest and, in the late '30s, had their own radio show that was broadcast twice daily from a 50,000-watt station in Shenandoah, IA (Haden's birthplace). Haden debuted on the family program at the tender age of 22 months, after his mother noticed him humming along to her lullabies. The family moved to Springfield, MO, and began a show there. Haden sang with the family group until contracting polio at the age of 15. The disease weakened the nerves in his face and throat, thereby ending his singing career. In 1955, Haden played bass on a network television show produced in Springfield, hosted by the popular country singer Red Foley. Haden moved to Los Angeles and by 1957 had begun playing jazz with pianists Elmo Hope and Hampton Hawes and saxophonist Art Pepper.
Beginning in 1957, he began an extended engagement with pianist Paul Bley at the Hillcrest Club. It was around then that Haden heard Coleman play for the first time, when the saxophonist sat in with Gerry Mulligan's band in another L.A. nightclub. Coleman was quickly dismissed from the bandstand, but Haden was impressed. They met and developed a friendship and musical partnership, which led to Coleman and trumpeter Don Cherry joining Bley's Hillcrest group in 1958. In 1959, Haden moved with Coleman to New York; that year, Coleman's group with Haden, Cherry, and drummer Billy Higgins played a celebrated engagement at the Five Spot, and began recording a series of influential albums, including The Shape of Jazz to Come and Change of the Century. In addition to his work with Coleman, the '60s saw Haden play with pianist Denny Zeitlin, saxophonist Archie Shepp, and trombonist Roswell Rudd. He formed his own big band, the Liberation Music Orchestra, which championed leftist causes. The band made a celebrated eponymously titled album in 1969 for Impulse!
In 1976, Haden joined with fellow Coleman alumni Cherry, Dewey Redman, and Ed Blackwell to form Old and New Dreams. Also that year, he recorded a series of duets with Hawes, Coleman, Shepp, and Cherry, which was released as The Golden Number (A&M). In 1982, a re-formed Liberation Music Orchestra released The Ballad of the Fallen (ECM). Haden helped found a university-level jazz education program at CalArts in the '80s. He continued to perform, both as a leader and sideman. In the '90s, his primary performing unit became the bop-oriented Quartet West, with tenor saxophonist Ernie Watts, pianist Alan Broadbent, and drummer Larance Marable. He would also reconstitute the Liberation Music Orchestra for occasional gigs. In 2000, Haden reunited with Coleman for a performance at the Bell Atlantic Jazz Festival in New York City. Throughout the 2000s, Haden remained prolific, working with Gonzalo Rubalcaba on Nocturne and Egberto Gismonti on In Montreal in 2001; collaborating with Brad Mehldau, Michael Brecker and Brian Blade on the following year's American Dreams and John Taylor on 2004's Nightfall. That year, Haden returned to Montreal for the Joe Henderson tribute The Montreal Tapes with Henderson and Joe Foster and teamed up with Rubalcaba again for Land of the Sun. The Liberation Orchestra reunited for 2005's Not in Our Name, which was arranged and conducted by Carla Bley, and Haden celebrated his 70th birthday with Heartplay, a date with guitarist Antonio Forcione. Helium Tears, a 1988 session with Jerry Granelli, Robben Ford and Ralph Towner, was released in 2006. In 2008, Haden revisited his country roots with the Decca album Family and Friends: Rambling Boy. Late that year, the album's "Is That America (Katrina 2005)" earned a Grammy nomination for Best Country Instrumental Performance.
---Chris Kelsey, All Music Guide |
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