Intro and Charlie Haden - OLLI Illinoisolli.illinois.edu/downloads/courses/2017 Fall/21st Century...
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10/4/17 1 SAM REESE, UNIVERSITY OF ILLINOIS Excerpt from La La Land, 2017 Charlie Haden 1937 – 2014 Herbie Hancock b. 1940 Wayne Shorter b. 1933 Tony Bennett b. 1926 Jazz Master – National Endowment for the Arts Downbeat Magazine Hall of Fame Grammy Lifetime Achievement Award Ertugun Hall of Fame – Jazz at Lincoln Center
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Transcript of Intro and Charlie Haden - OLLI Illinoisolli.illinois.edu/downloads/courses/2017 Fall/21st Century...
10/4/17
1
SAM REESE, UNIVERSITY OF ILLINOISExcerpt from La La Land, 2017
Charlie Haden1937 – 2014
Herbie Hancockb. 1940
Wayne Shorterb. 1933
Tony Bennettb. 1926
Jazz Master – National Endowment for the Arts
Downbeat Magazine Hall of Fame
Grammy Lifetime Achievement Award
Ertugun Hall of Fame – Jazz at Lincoln Center
10/4/17
2
Jazz Master – National Endowment for the Arts Downbeat Magazine Hall of Fame
Grammy Lifetime Achievement Award Ertugun Hall of Fame – Jazz at Lincoln Center
Artist No.ofawards
CharlieHaden 3
HerbieHancock 3
WayneShorter 3
TonyBennett 3
ClarkTerry 3
Since 2000
1. To increase your awareness of the vibrancy of jazz in the 21st
Century and how it relates to the jazz that preceded it.
2. To help you notice and understand basic elements and
techniques of jazz style.
3. To encourage you to seek out further experience with jazz being
created in our own time.
4. To encourage you to approach unfamiliar music with an open-
mind and open-heart, in order to grow in ability to experience a
diverse array of music.
Pursuing freedom – with a big heart
Charlie Haden1937 – 2014
Shenandoah, IA
“ … one of the most influential bassists in the history of jazz…”-- Nate Chinen, New York Times
Jimmy Blanton
Wellman Braud
Ray BrownRon Carter
Paul Chambers
Jimmy Garrison
Eddie Gomez
Percy Heath
Milt HintonScott LaFaro
Christian McBride
Charles Mingus
Walter Page
Jaco PastoriusGary Peacock
Arvell Shaw
Reggie WorkmanJohn Pattitucci
Esperanza Spalding
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NEA Jazz Master
Downbeat Hall of Fame
Grammy Lifetime Achievement Award
Three Grammy Awards
Charlie Haden & Gonzalo RubalcabaLand of the Sun
2003
“Fuiste Tu (It Was You)”
NEA Jazz Master
Downbeat Hall of Fame
Grammy Lifetime Achievement Award
Three Grammy Awards
Ornette Coleman1930 - 2015
Stan Getz
Keith Jarrett
Wayne Shorter
BradMehldau
Carla Bley
Hank Jones
Kenny Barron
Chet Baker
Herbie Hancock
Joe Henderson
Lee Konitz
Michael Brecker
Pat Metheny
Laurence Hobgood
John Scofield
Ginger Baker
1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
3. Simultaneously, he broadened the repertoire of jazz to include North and
South American folk and ethnic music traditions.
4. An out-spoken political activist, he believed that music can be a vehicle for
social protest and change.
5. His playing was often melodic - on an instrument that has primarily a
rhythmic and harmonic role.
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Keith Jarrettb. 1945
Jasmine2010
Last Dance2014
“Everything Happens to Me” Kenny Barronb. 1943
“One of the things I loved about Charlie’s playing, in addition to the sound, is he left a lot of space. And his playing was deceptively simple. There was room for you to breathe, and there was interaction, too.”
-- Kenny Barron
The Night and the City1996
Pat Methenyb. 1954
NEA Jazz Master 2018
Beyond the Missouri Sky (short stories)1997
“Our Spanish Love” Metheny finishes soloHaden begins his soloPlays mostly long, chord tones, as Metheny picks rhythmic chordsPlays stepwise melody, rising and fallingReturns to longer, chord tonesPlays stepwise melody againReturns to longer, chord tonesMetheny seems to finish Haden’s solo by playing rhythmic chords with simple melodyMetheny plays head of tune as Haden accompanies with rhythmic chord tones
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1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
1959
Kind of Blue Time Out
Giant Steps The Shape of Jazz to Come
Don Cherrycornet
Billy Higginsdrums
Ornette Colemanalto sax
Charlie Hadenbass
Lonely Woman”1959
“Ain’t She Sweet”Milton Ager
1927
(I) ask you ver - y con- fi- den- tia- ly, ain’t she sweet?
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“Ain’t She Sweet”Milton Ager
1927
C E A A D G C
“Lonely Woman” transcriptionfrom recording
Intro Bridge
Intro Chorus 1 Coda
A A B A A A B A
The drummer (Higgins) begins quietly tapping out a short motive on cymbals.
A B A
Chorus 3
Listening guide adapted from Giddins and Deveaux
Haden joins in with a resonant double stop (playing two strings at the same time).
“Lonely Woman”
Chorus 2 (Coleman solo) Intro Chorus 1 Coda
A A B A A A B A
Higgins switches to a rapid accompaniment.
A B A
Chorus 3
In a slower rhythmic space, Haden simultaneously holds down a pedal tone (drone) with one string while soloing with another.
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
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Intro Chorus 1 Coda
A A B A A A B A
Coleman (sax) and Cherry (cornet) enter, play melody in octaves.
A B A
Chorus 3
Like the bass line, the melody floats rhythmically above the drum accompaniment.
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
Coleman plays a short, plaintive reply.
A B A
Chorus 3
The bass falls to the dominant key.
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
The two horns harmonize in parallel intervals.
A B A
Chorus 3
On the upper string, Haden temporarily changes the harmony from minor to major – changing back to minor when the horns reenter.
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
Coleman and Cherry repeat the melody.
A B A
Chorus 3
As Coleman plays his plaintive reply, Haden doubles him on the bass.
“Lonely Woman”
Coleman rises to a yearning wail.
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
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Intro Chorus 1 Coda
A A B A A A B A
Over a new harmony, Coleman repeats a riff-like phrase.
A B A
Chorus 3
Cherry and Haden creep upward chromatically, . Their line is accented by drum strokes.
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B AA B A
Chorus 3
“Lonely Woman”
Underneath Coleman’s last phrase, the drum plays with richer timbres while the bass shifts to the dominant key.
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
A drum stroke signals the return to the tonic harmony and the free-floating melody
A B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Chorus 2 (Coleman solo) Coda
A A B A A A B A
Coleman plays simple, bluesy phrases, unaffected by the rising chromatic line Haden suggests.
A B A
Chorus 3
As his emotional temperature rises, Coleman’s tone becomes rough and uneven.
“Lonely Woman”
He moves to a harder-swinging rhythmic feeling, evoking a cry of “whoo!” from one of the musicians
Listening guide adapted from Giddins and Deveaux
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Intro Chorus 1 Chorus 2 (Coleman solo) Coda
A A B A A A B A
The bridge is signaled by the return of the rising chromatic line of the trumpet, doubled erratically by the bass
A B A
Chorus 3
At the end of the bridge, the harmony and Coleman’s line focus on the dominant.
“Lonely Woman”
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
With a dramatic return to the tonic, Coleman leads the group back to the A section.
A B A
Chorus 3
Haden, playing double stops, holds the bottom note in a pedal point while moving the upper voice up and down chromatically.
“Lonely Woman”
Chorus 2 (Coleman solo)
Rising in intensity, Coleman’s line reaches its climax.
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B A
The two horns return to the melody in octaves.
A B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B AA B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
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Intro Chorus 1 Coda
A A B A A A B A
Cherry hits high notes, followed by quick descending blurs.
A B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B AA B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
At one point, Cherry hits the wrong pitch.
Listening guide adapted from Giddins and Deveaux
Intro Chorus 1 Coda
A A B A A A B AA B A
Chorus 3
“Lonely Woman”
Chorus 2 (Coleman solo)
The two horns combine to play blues-like wails.
Coleman holds out his last note; underneath, Cherry adds low, breathy comments.
Listening guide adapted from Giddins and Deveaux
Ornette Coleman QuartetFive Spot
1959
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1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
3. Simultaneously, he broadened the repertoire of jazz to include North and
South American folk and ethnic music traditions.
Ornette ColemanChange of the Century
1959
“Old Joe Clark”American folk song
“Ramblin’”
Come Sunday2010
Hank Jones1918 - 2010
“Down By The Riverside”
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Gonzalo Rubalcabab. 1963Havana
Land of the Sun2004
Nocturne2001
“The big idea in Nocturne is the Mexican and Cuban bolero. It is a ballad [where] the singer summons loss or regret. [Haden] takes a reserved, reticent role in the music…”
“Nocturnal”
Egberto GismontiBrazilian guitarist
Dino SaluzziArgentinian bandoneon player
Carlos ParedesPortugese guitarist
Rickie Lee JonesAmerican pop vocalist
Ringo StarrAmerican rock drummer
James CottonAmerican blues harmonicist
Gavin BryarsAmerican classical composer
1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
3. Simultaneously, he broadened the repertoire of jazz to include North and
South American folk and ethnic music traditions.
4. An out-spoken political activist, he believed that music can be a vehicle for
social protest and change.
1969
Ernesto “Ché ” Guevara1928 - 1967
“Song for Ché ”
Carla Bleyb. 1936
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“I always dreamed of a world without cruelty and greed, …of an America worthy of the
dreams of Martin Luther King, and the majesty of the Statue of Liberty...This music is
dedicated to those who still dream of a society with compassion, deep creative
intelligence, and a respect for the preciousness of life—for our children, and for our future.”
Time/Life:Song for the Whales and Other Beings
2016
Liberation Music OrchestraMarciac, France 2004
“Going Home”
Theme from Antonin Dvorak, Largo from Symphony No. 9
“From the New World”
1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
3. Simultaneously, he broadened the repertoire of jazz to include North and
South American folk and ethnic music traditions.
4. An out-spoken political activist, he believed that music can be a vehicle for
social protest and change.
5. His playing was often melodic - on an instrument that has primarily a
rhythmic and harmonic role.
Quartet West
In Angel City1988
Haunted Heart1991
Always Say Goodbye1993
Now Is The Hour1996
The Art of the Song1999
Sophisticated Ladies2010
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Alan Broadbentpiano
Ernie Wattstenor sax
Charlie Hadenbass
Larance Marabledrums
Haunted Heart
“Moonlight Serenade”1939
Glenn Miller /Mitchell Parish
Kurt Elling b. 1967
Flirting with Twilight2001
• Moves stepwise• Balance of long and short notes• Stays in higher range• Coherent phrases
Understand the Night.When she flashes her sparkling eyes at dusk,she flirts with Twilight.When the noise of day dies away,the Night and Twilight stay and stay,making quiet love up high over the town.And the gentle Twilight gives his light,making a queen of Night.
If I could, I would write a sonnet of the night as a remembrance of your eyes.
And, if you'd promise not to tell,I could whisper the words in the dark, like a lover.
1. Haden often played duets, allowing his rich timbre (tone) to emerge and
increasing opportunities for sensitive interaction with another artist.
2. He was an innovator who helped Ornette Coleman initiate a jazz avant-garde.
3. Simultaneously, he broadened the repertoire of jazz to include North and
South American folk and ethnic music traditions.
4. An out-spoken political activist, he believed that music can be a vehicle for
social protest and change.
5. His playing was often melodic - on an instrument that has primarily a
rhythmic and harmonic role.
Pursuing freedom – with a big heart Charlie Haden1937 - 2014
“Charlie had an untouchable, eternal hipness…like a polished diamond, precious to behold…
Other times, like a sand sculpture or mandala—a beauty that is breaking apart and blowing away, disappearing even as you witness it.”
-- Brad Mehldau
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Charlie Haden1937 – 2014
Herbie Hancockb. 1940
Wayne Shorterb. 1933
Tony Bennettb. 1926
