FunkFreak75 If you ever wish to experience musical majesty from two true masters of their craft--and in an album form which never lets one down (though don't be expecting endless noodling, instead be ready for atmospheric paintings that capture the spirit and feel of the Missouri landscapes. Half of the songs are compositions of one of the two performers while the other half are covers of songs by much respected other artists like Jimmy Webb, Ennio and Andrea Morricone, Henry Mancini, Johnny Mandel, and Roy Acuff. The two performers are both iconic, each having earned critical and listener respect and praise from early years and throughout their long and distinguished careers, and I have to say this album may be one of the most satisfying emotional jaunts through nostalgia of the raw beauty of our American landscapes since Ry Kooder's soundtrack to the Wim Wenders film Paris, Texas. Do yourself a huge favor: listen to this album. You can YouTube it while you cook or read or work on a puzzle. It's gorgeous music in the way background music can soothe and heal the soul. (It may not, however, be prog. But, here we are!)

Steve Wyzard THE MOST BEAUTIFUL SOUND...

Whenever anyone brings up the much-discussed subject of the "ECM Sound", the first album I think of is Magico by Egberto Gismonti (guitars/piano), Jan Garbarek (saxophones), and Charlie Haden (bass). This is one of those unlikely "all-star" aggregations ECM Records specialized in during the late 1970s (see also: Abercrombie/Holland/DeJohnette and Rypdal/Vitous/DeJohnette). Released in 1980 to minor acclaim, this album today is seen as a forerunner to what we now refer to as "World Fusion".

Most listeners bring pre-conceptions to a recording like this, so let's deal with them right away. The lack of a drummer/percussionist does not make this a "quiet album", especially with Garbarek's piercing (no flute) tones sprinkled liberally throughout. A close listen also reveals this is not a "loosely structured jam session" as much thought was obviously given to the arrangements and double-tracking (especially Gismonti's intricate solo above his playing on "Magico"). While a previous familiarity with the performers will best prepare one for this aural soundscape, this album remains very accessible and was my first introduction to the music of both Gismonti and Haden over 25 years ago.

So what can one expect? Gismonti is the dominant voice both figuratively and literally: like on most of his recordings, "Bailarina" includes some brief ad-libbed vocals. There are a multitude of versions of Haden's "Silence" on the market, but this album's is the finest: 16 repeated chords on the piano above solos by Garbarek, Haden, Garbarek (again), and Gismonti. Garbarek's "Spor" features some of Haden's darkest arco playing, and Gismonti's "Palhaco" with its gospel-tinged piano is the peaceful closer with its other-worldly, haunted atmosphere.

The masterful performances throughout this album make Magico a true highlight in the voluminous catalogs of all three players. Never before has ECM's original motto "The Most Beautiful Sound Next To Silence" been more appropriate. Let it also be known that this same trio recorded a follow-up album (Folk Songs) 5 months later that is nowhere near as good as Magico. And just what is that artful cover supposed to signify: is it trees behind powerlines, or painted industrial siding super-imposed over trees?

snobb In September 1987 Charlie Haden recorded an excellent piano trio album with pianist Geri Allen and drummer Paul Motian called "Etudes". Released the following year on the Italian Soul Note label, it opened with Ornette Coleman's "Lonely Woman" and continued with mostly originals by the band members, all boppish and swinging.

Three months after the "Etudes" sessions, Haden recorded more material in a Roman studio, but with a very different team this time. Billy Higgins replaces Paul Motian, lyrical Italian pianist Enrico Pieranunzi replaces Geri Allen, and even more, now there is a trumpeter on board, none other than Chet Baker. The end results became the album "Silence".

As one can expect, the music on "Silence" is different from "Etudes". With full respect to Baker's early albums, his participation on jazz albums in the 80s hardly adds a lot of pluses. His name and his voice can still attract nostalgic listeners, but his trumpet playing is hardly competitive compared with the artists he is working with. Even worse, there seems to be a rather pointless and commercial attempt to exploit Baker's past, you can't return the atmosphere back to the cool jazz era in the late 80s, added with Pieranunzi's melancholic mainstream slick piano sounds, its all quite artificial, out of time and place, a not too successful imitation.

This is still a product of classy musicians, so maybe it could attract fans of sentimental Italian jazz from the 70s, which, with varying success tried to combine American jazz traditions with Italian melodic lyricism and sentimentality.

snobb Ornette Coleman and Keith Jarrett's bassist for decades, and one of the last living "jazz golden age" legends, Charlie Haden passed away two weeks ago. Besides countless collaborative works, he left numerous collections of his own albums. For decades, his projects such as the Liberation Music Orchestra or Quartet West were among the most popular on the international jazz scene.

Besides the aforementioned groups, Haden also released a series of duets, which even if they were not so well-known, often contain a lot of interesting material. Haden's first duet sessions took place in early '76, when four compositions were recorded. The first four songs (duets with Keith Jarrett, Paul Motian, Ornette Coleman and Alice Coltrane) were released that same year as "Closeness" on the tiny Horizon Records And Tapes label. A year later, Horizon released the rest of the material (the choice of compositions for the former release is a bit strange since the outtakes, released later, are quite often stronger than what was released first).

So, the album of four "outtakes", each contains a Haden duet with either Don Cherry, Archie Shepp, Ornette Coleman or pianist Hampton Haves. What a great time it was, when such compositions were counted as "outtakes", for the coming decades, even leading jazz albums will hardly contain such material!

"The Golden Number" opens with Haden's tuneful composition (all but one song on this album are Haden's, the other one - Coleman's) on which Cherry's trumpet flies over Charlie's almost lazy bass. Cherry's trumpet solo is quite lyrical and with no doubt one of his most beautiful ever played (he plays flute on this song as well).

The second and final composition on side A is a duet with tenor Archie Shepp - and it's a bomb. Twelve minutes long, this song is driven by Shepp's soulful and bopish sax from the very first seconds. In the mid-70s Archie Shepp was in transition leaving his early explosive free sax attacks and searching for new ground. Similarly, with his own albums of that period, he plays something between free-bop and balladry, still quite free though. On this duet, Haden is obviously on back-up, supporting Shepp's speech-like sax soloing.

"Turnaround" is originally an Ornette Coleman composition, but here it is played by Haden and pianist Hampton Hawes. Hampton Hawes is a great pianist, but the more traditional of all the collaborators on this album, so the whole thing sounds really nice, but a bit out of place between the others. Haden demonstrates his hard-bop abilities (Hawes is the obvious leader anyway). After "Golden Number", Haden's next release will be a collection of duets with Hampton Hawes, which sounds better all in one place (probably because the music on this next album is more homogeneous, not contrasting as on here).

The closer is the almost thirteen minutes long title composition, the duet with Ornette Coleman. Surprisingly, it's very tuneful and lyrical, even sentimental, not what you usually can expect from Coleman. Having been collaborators for years, Coleman and Haden demonstrate excellent communication and rare emotional relations, making this song an excellent final for this great (if too short) album.

Charlie Haden's fame comes not from his formidable technique, but from his tunes, collaborations, and the variety of collectives he founded and led, from the emotional atmosphere of his music and his naively optimistic political manifests. "The Golden Number" may not be Haden's best record, but it may be the right candidate to listen to now, just for remembering Charlie, because of its intimate atmosphere and bare-naked simplicity, which is so close to greatness.

All eight duets, recorded in 1976, and released originally on two Horizon vinyls, were later re-released on one CD, which is probably the easiest way to listen to this music.

Amilisom The interesting thing about this album is the lack of a drummer. But despite this, Charlie Haden and Kenny Barron together keep time really well.

Throughout this live performance Barron and Haden play the tunes and trade solos that distinctly contrast from each other. Charlie Haden plays primarily slow lyrical lines when Kenny Barron plays faster and longer licks that seem to be partially Oscar Peterson inspired. Although I am impressed with this piano player and his ideas, there's nothing special on this album that really seems unique to me. For that I'd say it's a good, enjoyable listen, but not essential.