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| 4.250 Ft
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| 1. | Chairman Mao
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| 2. | Bird Food
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| 3. | As Long As There's Music
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| 4. | Time Remembers One Time Once
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| 5. | Love For Sale
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| 6. | Ellen David
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| 7. | Satellite
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| 8. | How High The Moon
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| 9. | The Dolphin
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Jazz / Post-Bop, Hard Bop
Recorded July 1981
Denny Zeitlin - piano
Charlie Haden - bass
Bob Shumaker Engineer
Josephine Zeitlin Photography
Manfred Eicher Producer
Martin Wieland Mixing Engineer, Mixing
Ralph Quinke Photography
Sascha Kleis Layout Design, Photography, Cover Photo
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 up-tempo 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 and this CD should be essential for fans of either Denny Zeitlin and/or Charlie Haden. ~ Ken Dryden, All Music Guide
Denny Zeitlin
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Apr 10, 1938 in Chicago, IL
Genre: Jazz
Styles: Post-Bop, Hard Bop
Zeitlin has one of the more unusual "day gigs" for a jazz musician: he's a psychiatrist. Zeitlin's parents were involved in both music and medicine. They started him on the piano at age two; he continued to study classical music while in elementary school, then began playing jazz in high school. Zeitlin began playing professionally in and around his hometown of Chicago as a teenager. In college, he studied composition and theory with George Russell, Alexander Tcherepnin, and Robert Muczynski while simultaneously pursuing studies in medicine. While a student at Columbia University in New York City, Zeitlin auditioned for the legendary producer/talent scout John Hammond; Hammond was sufficiently impressed to produce several records by Zeitlin in the '60s.
After receiving his M.D. from Johns Hopkins University in 1964, Zeitlin relocated to the San Francisco Bay Area, where he worked as both a psychiatrist and musician; one of his trios in the mid-'60s included the bassist Charlie Haden. Zeitlin began experimenting with the prepared piano in the late '60s, which led to an interest in electronic keyboards. He quit playing in public for a time while developing his music further, re-emerging in the '70s playing a style that combined electronics with elements of jazz, classical, and rock. Zeitlin would go on to compose for film and television. His most notable soundtrack was written for director Philip Kaufman's 1978 remake of the sci-fi classic, Invasion of the Body Snatchers; he's also written original music for the children's program Sesame Street. Zeitlin has played with a great many prominent musicians, including Herbie Hancock, Pat Metheny, David Grisman, Paul Winter, and Joe Henderson. Zeitlin has recorded for Concord Records as part of their Live at Maybeck Recital Hall series of solo and duo performances. His albums are also available on the Intuition and Summit labels. Zeitlin has combined his professional interests in the form of a lecture-demonstration entitled "Unlocking the Creative Impulse: the Psychology of Improvisation," which he's presented across the U.S. and Europe.
---Chris Kelsey, All Music Guide
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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