Conversations with Charlie Haden edition by Josef Woodward Charlie Haden Arts Photography eBooks
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Charlie Haden (1937–2014) was the rare sort of musician who transcended easy categorization—other than to say that his uniquely elegant and eloquent bass playing, with its readily recognizable sound, defined a certain pinnacle of musical communication in beautiful, spontaneous, and intensely emotional ways. Throughout his career, he worked with and influenced many of the most interesting musicians of the second half of the twentieth century, including Ornette Coleman, Don Cherry, Paul Bley, Carla Bley, Keith Jarrett, Billy Higgins, Paul Motion, Dewey Redman, Pat Metheny, Egberto Gismonti, Gavin Bryars, Geri Allen, Brad Mehldau, Gonzalo Rubalcaba, and literally hundreds of others.
In Conversations, Haden discusses his life and politics and music and aesthetics in a series of candid interviews conducted over two decades. While parts of this collection have appeared in various periodicals, much of it is in print here for the first time.
Forewords by Bill Frisell and Alan Broadbent
Conversations with Charlie Haden edition by Josef Woodward Charlie Haden Arts Photography eBooks
Conversations is a collection of the interviews conducted between 1988 and 2008 with the great jazz bassist Charlie Haden (1937-2014) by veteran jazz critic and journalist Josef Woodard. To the good in this book is immediacy: the chance to hear Haden directly, unmediated by anyone else’s text. Good also is what it shows of Haden’s character: sunny, thoughtful, open to experience but not Pollyannesque about it, deeply concerned about global issues like oppression, poverty, inequality. He comes across as lovable, the type of colleague and friend you’d savor spending time with. One of the charms of the interviews is to listen to his running account of work just done and obligated to in the months ahead. What a busy schedule he maintained! Among friends and colleagues, Ornette Coleman (whom he clearly thought the greatest and most influential musician of their age), Keith Jarrett and Pat Metheny get particular praise, as does the Cuban pianist Gonzalo Rubalcabo with whom Haden recorded and played late in his career. A partial list of fellow musicians he praises includes: Hampton Hawes (when Haden moved to LA to study and play at the age of 17, it was Hawes he wanted to play with), Elmo Hope and Sonny Clark, Dewey Redman and Joe Henderson, Egberto Gismonti, Al Foster, Miles (he adored Miles), Mingus, Paul Motian, Paul Bley and Carla Bley, John Scofield, Kenny Baron, Don Cherry, Billy Higgins, C&W great Hank Garland. (Haden sang on radio in his family’s C&W/bluegrass group from the age of 22 months until he turned fifteen and contracted polio which froze part of his vocal cords, ending his singing career.) He loved Latin music, wasn’t crazy about rap and hip hop but not because of the music as the preaching of violence: but he admired the early rap group, The Watts Prophets. On a Blindfold Test for Downbeat magazine, he praised the cut by Coleman Hawkins; ditto, the Dave Holland quintet with Kenny Wheeler, Steve Coleman and Marvin ‘Smitty’ Smith; loved, absolutely loved the cut by pop singer Jo Stafford; was ambivalent about a group led by flautist Gary Thomas, with Pat Metheny playing weirdly synthesized guitar; hated John Zorn’s Ornette Coleman album, Spy vs. Spy, indeed admitted to not liking Zorn’s music, period; enjoyed a C&W swing band from 1950 led by steel guitarist Leon McAuliffe; was down on a vocal-bass duet by Nancy King and Glen Moore; really liked an experimental piece by Henry Threadgill pieces (“reminds me of an old European band … the two tubas playing a little bit out of tune… I love circus bands”); liked Neil Hefty’s “Splanky” with bassists Milt Hinton, Christian McBride and Ray Brown all playing together; was okay with a Peter Erskine-Palle Danielsen-John Taylor trio cut; could have lived without ever listening to rapper MC Solaar and bassist Ron Carter’s performance of “Un ange en danger,” although he liked Carter’s bass solo; and flipped out on the last record played, a cut of Billie singing. That’s what’s good about this collection: a window into Haden’s persona: his ebullience and openness, his obvious intelligence and big, big ears; but also a sense of how busy his life was and how, even in the midst of constant movement, the shuffling from gig to gig, he maintained his friendships with the people he’d played with. What’s not good about the book? Repetition: the same questions posed to Haden time and again as Woodard interviewed him for different magazines, an awful lot of overlap. On balance, this collection is worth it because Haden is worth it, but it doesn’t have the depth of two other collections of interviews I have read dealing with Lee Konitz and Steve Lacy.Product details
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Conversations with Charlie Haden edition by Josef Woodward Charlie Haden Arts Photography eBooks Reviews
Very interesting book, and I learned a lot from it, but the completeness results in continuous repitition that makes the reading less satisfying.
God Bless Charlie!
Charlie Haden was not only a singular musician, he was also inspiring and articulate, a generous spirit. These interviews were conducted over a period of 20 years and range from musings on Ornette & Quartet West to encounters/collaborations with Ginger Baker. Deep gratitude goes to Josef Woodard for both conducting this extended dialogue and releasing these brilliant conversations in a single volume.
Charlie Haden is one of the most important musicians to me and my favorite bass player. I was excited when I heard this was coming out. There is a lot interview material but unfortunately it's really repetitive. There are times when you're reading the same story almost word for word from 3 other previous chapters. Maybe that's just Charlie, maybe he was tired of being interviewed..I think a lot of things could have been edited out. Interview excerpts would have been fine. Maybe Woodard could have asked some different more interesting questions or if there was more obscure material and discussions of lesser known musicians, albums etc that was edited from the original published interviews - that could have been included. The book made me feel like I was reading the same Downbeat or Jazztimes article I read 25 years ago. Save your money. Buy an old back issue of a jazz magazine, read one interview and go buy some Charlie Haden sides. You'll learn a lot more about Charlie from his music.
Conversations is a collection of the interviews conducted between 1988 and 2008 with the great jazz bassist Charlie Haden (1937-2014) by veteran jazz critic and journalist Josef Woodard. To the good in this book is immediacy the chance to hear Haden directly, unmediated by anyone else’s text. Good also is what it shows of Haden’s character sunny, thoughtful, open to experience but not Pollyannesque about it, deeply concerned about global issues like oppression, poverty, inequality. He comes across as lovable, the type of colleague and friend you’d savor spending time with. One of the charms of the interviews is to listen to his running account of work just done and obligated to in the months ahead. What a busy schedule he maintained! Among friends and colleagues, Ornette Coleman (whom he clearly thought the greatest and most influential musician of their age), Keith Jarrett and Pat Metheny get particular praise, as does the Cuban pianist Gonzalo Rubalcabo with whom Haden recorded and played late in his career. A partial list of fellow musicians he praises includes Hampton Hawes (when Haden moved to LA to study and play at the age of 17, it was Hawes he wanted to play with), Elmo Hope and Sonny Clark, Dewey Redman and Joe Henderson, Egberto Gismonti, Al Foster, Miles (he adored Miles), Mingus, Paul Motian, Paul Bley and Carla Bley, John Scofield, Kenny Baron, Don Cherry, Billy Higgins, C&W great Hank Garland. (Haden sang on radio in his family’s C&W/bluegrass group from the age of 22 months until he turned fifteen and contracted polio which froze part of his vocal cords, ending his singing career.) He loved Latin music, wasn’t crazy about rap and hip hop but not because of the music as the preaching of violence but he admired the early rap group, The Watts Prophets. On a Blindfold Test for Downbeat magazine, he praised the cut by Coleman Hawkins; ditto, the Dave Holland quintet with Kenny Wheeler, Steve Coleman and Marvin ‘Smitty’ Smith; loved, absolutely loved the cut by pop singer Jo Stafford; was ambivalent about a group led by flautist Gary Thomas, with Pat Metheny playing weirdly synthesized guitar; hated John Zorn’s Ornette Coleman album, Spy vs. Spy, indeed admitted to not liking Zorn’s music, period; enjoyed a C&W swing band from 1950 led by steel guitarist Leon McAuliffe; was down on a vocal-bass duet by Nancy King and Glen Moore; really liked an experimental piece by Henry Threadgill pieces (“reminds me of an old European band … the two tubas playing a little bit out of tune… I love circus bands”); liked Neil Hefty’s “Splanky” with bassists Milt Hinton, Christian McBride and Ray Brown all playing together; was okay with a Peter Erskine-Palle Danielsen-John Taylor trio cut; could have lived without ever listening to rapper MC Solaar and bassist Ron Carter’s performance of “Un ange en danger,” although he liked Carter’s bass solo; and flipped out on the last record played, a cut of Billie singing. That’s what’s good about this collection a window into Haden’s persona his ebullience and openness, his obvious intelligence and big, big ears; but also a sense of how busy his life was and how, even in the midst of constant movement, the shuffling from gig to gig, he maintained his friendships with the people he’d played with. What’s not good about the book? Repetition the same questions posed to Haden time and again as Woodard interviewed him for different magazines, an awful lot of overlap. On balance, this collection is worth it because Haden is worth it, but it doesn’t have the depth of two other collections of interviews I have read dealing with Lee Konitz and Steve Lacy.
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