Charlie Haden Music

After you will lissen this cd, the music not be tha same.
MUST HAVE!!!

Ok c'est arrivé en bon état. Délai d'attente un peu long mais c'est loin l'Amérique!

This might be a five star disc except that the producer, Hal Willner, had already created Lost in the Stars, with some of the same people (Lou Reed, Charlie Haden). This follow-up is a little less adventurous, and the choices are more obvious. Basically, this is a soundtrack from a film project, and camera presence was a factor in choosing singers. Elvis Costello is remarkable on the song 'Lost in the Stars' and the gospel arrangement of 'Oh, Heavenly Salvation' also stands out. Lou Reed does the same song that he did on the earlier disc ('September Song') but this second take on it isn't as moving.

Go ahead and buy this if you can't get the other one, but this is the second choice.

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

I ordered this CD and found it to be defective - track 5 skipped at the end and track six skipped all the way through. I sent it back to Amazon for replacement and the replacement did the same thing (tried on 2 different players and 2 computers). Best stay away from this one. I only gave it one star because the Amazon system insisted on at least 1.

The album title says it all-this album does sound at times like the 3 participants are not listening to each other. This is a live recording from December 96.Haden(bass),Konitz(alto) and Mehldau(piano) work through 6 standards at the Jazz Bakery in L.A. . Konitz alone or with Haden is everything you would expect.He has no fear of taking risks,turning the tune inside-out and searching all over for the beauty in the interplay.It is often calm and unrushed- just riveting music by two absolutely top-class players.The music only heats up and swings in the conventional sense when piano and bass take off together.It jars a bit in this context and sounds like Brad Mehldau has been noodling away in the background waiting to be let off the leash.And away he goes at double quick time but it is not really a development on what went before. When all 3 play together the result is strange-Mehldau is languid and unable to get into the exchanges.Konitz and Haden bounce ideas off each other but Mehldau is somewhere else. Still, it is a fine record .Konitz on the tightrope again and perfectly balanced throughout in spite of all the leaps and jumps of his adventurous playing. Some sets at the Jazz Bakery were played by the Konitz /Haden duo and the results are on "Sweet &Lovely" on King Records.

Six standards that have been touchstones of Konitz's career, recorded by a quiet and intimate trio (Konitz, Charlie Haden and the pianist Brad Mehldau). Konitz's improvisations here are as focused and closely-thought-out as ever; equally a delight are his thoughtful renditions of the melodies. Check out "Round Midnight", where the tune is only present as the familiar phrase-rhythms, while Konitz fills them with new lines. Konitz was once quoted in an interview as to his concept of "levels" in improvisation--ranging from the pure statement of a melody to elaborations on it to making up new melodies--and that he felt all were equally valid. This recording is a particularly clear example of this credo.

So why just 4 stars? First: four of the improvisations get truncated by an artificial fadeout. One can't blame stupid producers for this decision: Haden & Konitz produced the album themselves. This feature is particularly irritating on "What is this Thing..." where Konitz's own composition written on its changes, "Subconscious-Lee", gets cut off as he states it.

Second: Brad Mehldau is, to my ears, grossly inappropriate for this album. His solos are all of a piece: instantly doubletimed, with call-and-response patterns built up between both hands with maddening predictability from a repeated phrase. This does little besides showing one that Mehldau is adept at transposition and has little sense of when to stop. Konitz has a knack for fitting in in the most unexpected of contexts--he's performed with Derek Bailey and Ornette Coleman--but it looks like Mehldau needs to learn this trick too.

These flaws are not serious enough to detract from a fine Konitz performance, however. Recommended.

I bought this cd and got pretty much what i expected. It is not a telepathic trio cd where like minds communicate so well they finish each other's musical thoughts. It's more like a jam session with two old people and one young one. The two old people have made a lot of moves in jazz. Lee Konitz, as the liner notes so obsequiously state, has done a little of everything in jazz, including being there for the beginnings of free jazz with Lennie Tristano. Charlie Haden was one of Ornette's original soul brothers, and has now graduated to playing cds full of ballads and chilled foreign standards. Both of these musicians' playing is spare but very distinctive and inventive. I am not too well versed with either of them, but I have heard enough to know what they sound like, and this is pretty much what they sound like here. Konitz doesn't play anything cliche the entire time, just to the left of blowing over the changes of these well worn standards. A lot of the time Haden plays next to nothing, and usually pretty quietly too. He and Konitz sound like two old jazz legends with a lot to say and nothing to prove.

Brad Mehldau, on the other hand, is part of the current generation, and sets out to prove himself on every solo. When he is not soloing, he plays his role with reverent sparsity that he does not sound particularly comfortable with. I always thought he sounded best by himself, and when he is not by himself, he might as well be the only one playing, even with his own trio, because, as a particularly maximalist soloist, he insists on playing everything at once. He has striking and insightful harmonic and rhythmic dialogue with himself, with the almost jarring enthusiasm in which he immediately launches himself into double time on most solos. Haden doesn't always go with him; neither of the other musicians is in any hurry.

Although this trio does not necessarily fit together that well, or, rather, Brad Mehldau does not fit into the trio that well, everyone plays like you would expect them to. There is the mature aging pioneers, who play with measured but fresh eloquence, and then there is chops mcgee with all his cool hip licks and ideas, all three playing together on tunes they have probably played ten billion times. What did you think was going to happen?

"Lee Konitz? Mehldau? Charlie Haden? This is gonna KILL!" These were my words when I learned of this record's existence. I couldn't wait to hear these three independent minds find common ground on what looked from the back cover to be unique explorations of the American songbook.

"Lee Konitz, Mehldau, and Haden? THIS?"
These were my words after I listened, a few times over, I might mention, to this outing. Let me be straight here: I am a huge Lee Konitz fan. I'm an even bigger Mehldau fan, and how could you not appreciate Charlie Haden, the really first avant-bassist in the music? But what I found with this record is, to me, a half-assed run-through of standards by guys who would rather be doing something else.

I am not here to trash these musicians, but to warn you out there: don't be fooled by the cover. This should not have been recorded, it just wasn't the right day. Konitz's work to me is the least inspired of the bunch: safe, predictable and tired. His sound is strikingly stark, as always, and he displays his uniqueness in every note, but the notes themselves...leave alot to be desired. Konitz's solos seem to be the weight, the heaviness that pulls Mehldau and Haden down to their least-inspired accompaniments heard to date. Instead of giving these standards an entirely new spin together, they opt for the easy way out (especially Konitz), and the audience responds accordingly, with half-hearted enthusiasm.

Honestly the parts of the record that bear repeated listening are Mehldau's fascinating forays into solo piano virtuosity of the highest caliber. From the first note of his solos, the difference in creativity and energy between him and Konitz (who is inevitably the first soloist on EVERY track) is striking. Every solo is constructed perfectly and to the highest level of his genius, as if reacting to the sleepy atmosphere in a burst of everything he's got. And how could you blame him?

Haden's stoic bass solos are sublime, of course, but even he never lets loose with the kind of gutsy abandon he's capable of. And what's with the amp? I mean I know it was the mid-'90s but good God! Turn down! I want to hear the bass not the Gallien-Krueger!

Again, I didn't come here to bash anyone. Don't buy this album unless it's to transcribe or behold in awed silence the genius of Brad Mehldau's solos. Trust me on this one, there are better examples of EVERYONE to check out.

Evocative arrangements, wonderfully played by brilliant musicians.

Similar to his earlier outing with the Quartet West, "Haunted Heart", Charlie Haden again imagines a score for a film noir that doesn't exist. What a stellar effort.

First of all, let's address the fact that he intersperses the album with recordings from Coleman Hawkins, Django Reinhardt, Duke Ellington, Jo Stafford, and Chet Baker. That might sound like a gimmick and, if not carefully produced, it would be. But it's pulled off perfectly here, sounding like a natural continuous piece from start to finish.

This is one of those rare recordings that never flags, despite it's 70 minute length. I first listened to it in my car, driving late at night from Washington to Raleigh. It made me feel like I was in a film noir movie.

If you're tired of modern jazz recordings that are more about technique than listening pleasure, this is your antidote. If you have any affinity for jazz at all, this is a must have.

Charlie Hayden's reputation as a terrific risk taking cat was cemented no later than his stint as the bass player for Ornette Coleman,when he took 'free jazz' into orbit.And here's another terrific experiment that Haden pulls off,which I would recommend for anybody who digs the private eye theme to 'Laura',even if they aren't generally big on music 'gimmicks;the gimmicks here involve beginning and ending the cd with music and dialogue from 'The Big Sleep'-and bringing in other recordings to
give the album a haunting private eye quality.Forget about quitting while ahead,here. Haden's terrificly controlled accompanists-Ernie Watts on tenor sax,Alan Broadbent on piano and Larance Marable on drums-don't really need any help. But the recordings here add to the timelessness of the cd-even when I'm not crazy about the recording itself-as is the case of Chet Baker,who I love on trumpet-but don't care for his voice,sings 'Everything Happens To Me' here,Coleman Hawkins plays a beautiful solo on 'My Love And I',big band singer Jo Stafford sings 'Alone Together' with Paul Weston's orchestra in 1944,Ray Nance with Duke Ellington,plays a beautiful violin solo
on 'Low Key Lightly' and Stefan Grapelli plays 'Where Are You,My Love' with the Charlie Haden quartet,then plays a 1949 recording of it with his legendary partner,Gypsy guitarist Django Reinhart.
First thing manana,they should remake 'The Big Sleep';just make sure these cats are in it.

When I used to make tapes for friends that didn't know or like jazz music and I wanted to introduce them to jazz, I started the tape with the intro and the first cut on this album. Need I say more? It's a wonderful album with original versions beautifully interwoven with the band's playing of the same tune. I just love the "movie" concept of the album. It starts as a movie and finishes as a movie. If you want someone to get to like jazz, buy this album for them.

Although this is my 150th review for Amazon.com, I used to buy my c.d.'s from the local "mom and pop" store, Soundwaves C.D.'s of Reno. It cost a few bucks more that way; but not only did the money stay in the local economy, but more importantly, ordering and purchasing c.d.'s that way gave me the chance to talk about jazz, music and life with Richard, the store's proprietor. The experience was worth the extra money, and then some.

Last week I went to order the newest from Karrin Allyson and Jackie Allen, and lo and behold, Soundwaves is going out of business. "Yeah," said Richard. "They wanted a 5-year lease; hell, in 5 years nobody may buy music via. c.d.'s. We may be one giant nation of MP-3's."

So, as a tribute to my long-time friend and fellow vocal jazz aficionado, I decided to buy one last c.d. And in looking in the "half-off" bin, I found this treasure, which I had purchased on audio casette when it came out in 1993 and loved, and bought it for $5.00.

Listening to this transports me back in time. I don't mean 1993; and I don't even mean the '40's, which is what this album intends to evoke. Here's what I mean:

As you now know (if you didn't before), the Quartet West--consisting of Ernie Watts (ten sax), Alan Broadbent (p), Laurence Marable (d) and the legendary Charlie Haden (b)--intended a "movie track for the mind", based loosely on "The Big Sleep". Haden and co-producer, Hans Wendl, interspliced old recordings of sorts into this album, starting with the opening scene of "The Big Sleep", ending with the romantic last scene, and in between, Jo Stafford with the Paul Weston Orchestra on "Alone Together", Ray Nance with the Duke Ellington Orchestra on "Low Key Lightly" (which technically was lifted from "Anatomy of a Murder"), Chet Baker singing "Everything Happens to Me" from the '50's, and the incomparable Stephane Grappelli and Django Reinhardt on "Where Are You, My Love".

What a program! Although the Quartet West as a whole is sensational, this is Ernie Watts' album if it's anybody's. His tenor sax on "My Love and I" and on the title track sears through your mind like a Siberian wind. He sets the tone of the entire album, which is a bittersweet nostalgia. But it's even more than that:

Was there ever anyone as romantic as Bogey and Bacall? Goodbye to them.

Did any musicians ever play with more "gypsy" in their souls than Django and Stephane? Goodbye to them.

Was there ever a violin as sweet as Ray Nance's? Goodbye, Ray. Goodbye, Duke.

Did anyone ever sound more plaintive than Jo Stafford, or Chet Baker singing "Everything Happens to Me?" Farewell.

And was there ever as wonderful, as uniquely American, as a mom-and-pop store who genuinely cared about what it was selling to its customers?

That's life, I guess. It's about always saying goodbye....RC

I don't know how to explain this except to say that I was looking for new music and when I heard the title track
"American Dreams" I was immediately transfixed. Artistic Eloquence of this nature is far and few between for me. It's like a joyful day, the perfect lover or the ideal Sunday Afternoon. Not to say that I don't enjoy Charlie Haden's other albums, I do. But there are certain ones that "Do it" to me and this is one of them. The feeling is the same everytime: Timeless. The hour streteches, the day lingers and there's this sense of dreaminess. I'm addicted to this sensation and I can never get enough of this type of music. If you're looking for that quality in music. This is it.

This is one of the most bland and pointless albums I have heard in a long time. However, the title is entirely appropriate because it will put you asleep. It amazes me that despite the caliber of musicians enlisted for the project, they have managed to make an hour of music with not one inspired moment. How Charlie Haden managed to make Michael Brecker and Brad Mehldau play like they were hired for the retirement home chili cook-off instead of the consummate musicians they are, some of the best ever on their respective instruments, is beyond me. Do not buy this album, unless you need a cure for insomnia or need an $18 coaster.

Charlie Haden is my favorite Jazz Bass Player, starting out as the youngest member of the 1960ish extreme Avant Guard Jazz group Ornette Coleman, to mellowing out during the 1980's & 1990's with Quartet West intermixing famous jazz ballads with modern production. Lately Charlie Haden as been playing interpret settings with the newest generation of young jazz players, coming full circle where he is the old man of the duet, first with Pat Metheny & then Kenny Barron. This CD with his newest Quartet with Michael Brecker, Brian Blade, & Brad Mehldau, returns to the sound of Quartet West string section but with the freshness of his duets. At times the Jazz will get off the beat & sound rather abstract, but not as wild as Be-Bop. Other times the music gets a little too sugary, specially "America the Beautiful" which I heard twice & plan to skip at next listen. Other than that, this CD is well produced & plays clear & tight.

In short, this CD moves me every time I listen to it. I find it amateurish to call this CD "shallow," assumably because there aren't 1000 occurances of a Dominant7#9b13 chord in every tune, or Michael Brecker's melodic waves don't meander through Phrygian modes every 4 bars.

Negating the beauty of a musical work like this is both ignorant and egocentric; rather, this CD is, at times, nothing short of heavenly. The beautifully sparse chords that Brad plays over "American Dreams," supported by Brian's sustained cymbals and a hauntingly smooth orchestral foundation, keep bringing me back to listen again and again, never growing tired.

It's also refreshing to hear an a capella, jazzy version of "It Had to Be You" as Michael plays his usual melodic lines that slur up to the very high notes, reminescent of, of course, Coletrane. I especially love Brad's solo over "Travels" -- very different than Lyle Mays' solos, with a laid back, bluesy timbre.

For those seeking a more challenging tune in typical Brad form, you'll enjoy "Prism." And, although "America the Beautiful" is one of those tunes that has historically been played everywhere from a kindergarten play to an A&E documentary, this wonderful arrangement, coupled with Charlie's tear-jerking bass solo and Michael's sad, soulful, melancholy melodies unquestionably reinvent the tune.

Did I mention this CD is a must for every long drive????

I came to love Charlie Haden's work when listening to his collaboration with Pat Methany on "Beyond the Missouri Sky". Unlike the vast openness evoked by that offering, "American Dream" nonetheless creates some similarly intimate moments. Several of the songs are somewhat too shallow in interpretation. However, I didn't realize that for a long time because I couldn't seem to get past the title song. What lushness! How achingly beautiful are the strings with the bass, creating such a mood of mellow, it's ridiculous. After a constant diet of trak #1 for a week, I moved on to discover that traks 4 and 6 also held my attention for a long time. All in all, the cd is worth having in one's collection. Don't make the mistake of comparing it with some of Haden's earlier work, just take it for what it is, and be content to go along for the ride -- just don't expect any revelations. :)

Anyone familiar with Charlie Haden's duo or trio work might be dissapointed by American Dream. Haden has always managed to express sentiment without added sweetner but this recording is over the top on production and orchestration. Think of a jazz version of the abysmal Elvis Costello/Bert Bacharach outing.

Some of the best contemporary American jazz musicians, Haden, Keith Jarrett, Pat Metheny, etc. have kept their distance from the easy listening and retro styles that dominate "popular" jazz radio while still creating accessable music, moody, thoughful and often beautiful. They share that ECM avant-garde edge with European counterparts like Tomasz Stanko, Bobo Stenson, Tord Gustavsen and Keitel Bjornstad. Unfortunately, American Dreams is a lot closer to Yanni than to The Liberation Orchestra.