10/4/17. Jazz Master National Endowment for the Arts. Downbeat Magazine Hall of Fame. Grammy Lifetime Achievement Award

Transcription

1 SAM REESE, UNIVERSITY OF ILLINOIS Excerpt from La La Land, 2017 Jazz Master National Endowment for the Arts Downbeat Magazine Hall of Fame Charlie Haden Tony Bennett b Grammy Lifetime Achievement Award Herbie Hancock b Wayne Shorter b Ertugun Hall of Fame Jazz at Lincoln Center 1

2 Jazz Master National Endowment for the Arts Downbeat Magazine Hall of Fame 1. To increase your awareness of the vibrancy of jazz in the 21 st Century and how it relates to the jazz that preceded it. Since 2000 Artist No. of awards Charlie Haden 3 Herbie Hancock 3 Wayne Shorter 3 Tony Bennett 3 Clark Terry 3 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 openmind and open-heart, in order to grow in ability to experience a diverse array of music. Grammy Lifetime Achievement Award Ertugun Hall of Fame Jazz at Lincoln Center Charlie Haden Shenandoah, IA Pursuing freedom with a big heart one of the most influential bassists in the history of jazz -- Nate Chinen, New York Times Jimmy Blanton Percy Heath Wellman Braud Paul Chambers Charles Mingus Ray Brown Esperanza Spalding Ron Carter Jimmy Garrison Walter Page Arvell Shaw Eddie Gomez Milt Hinton Scott LaFaro Jaco Pastorius Gary Peacock Christian McBride John Pattitucci Reggie Workman 2

3 NEA Jazz Master Downbeat Hall of Fame NEA Jazz Master Downbeat Hall of Fame Grammy Lifetime Achievement Award Three Grammy Awards Grammy Lifetime Achievement Award Three Grammy Awards Charlie Haden & Gonzalo Rubalcaba Land of the Sun 2003 Fuiste Tu (It Was You) Stan Getz Keith Jarrett Wayne Shorter Michael Brecker Pat Metheny Laurence Hobgood 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. Brad Mehldau Carla Bley John Scofield Ginger Baker 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 Hank Jones Herbie Hancock social protest and change. Ornette Coleman Kenny Barron Chet Baker Joe Henderson Lee Konitz 5. His playing was often melodic - on an instrument that has primarily a rhythmic and harmonic role. 3

4 Jasmine 2010 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 Last Dance 2014 Everything Happens to Me Keith Jarrett b Kenny Barron b The Night and the City 1996 Beyond the Missouri Sky (short stories) 1997 Pat Metheny b NEA Jazz Master 2018 Our Spanish Love Metheny finishes solo Haden begins his solo Plays mostly long, chord tones, as Metheny picks rhythmic chords Plays stepwise melody, rising and falling Returns to longer, chord tones Plays stepwise melody again Returns to longer, chord tones Metheny seems to finish Haden s solo by playing rhythmic chords with simple melody Metheny plays head of tune as Haden accompanies with rhythmic chord tones 4

5 1. Haden often played duets, allowing his rich timbre (tone) to emerge and increasing opportunities for sensitive interaction with another artist He was an innovator who helped Ornette Coleman initiate a jazz avant-garde. Kind of Blue Time Out Giant Steps The Shape of Jazz to Come Ain t She Sweet Milton Ager 1927 Billy Higgins drums (I) ask you ver - y con- fi- den- tia- ly, ain t she sweet? Don Cherry cornet Lonely Woman 1959 Ornette Coleman alto sax Charlie Haden bass 5

6 Ain t She Sweet Milton Ager 1927 transcription from recording C E A A D G C Intro Bridge The drummer (Higgins) begins quietly tapping out a short motive on cymbals. Higgins switches to a rapid accompaniment. Haden joins in with a resonant double stop (playing two strings at the same time). In a slower rhythmic space, Haden simultaneously holds down a pedal tone (drone) with one string while soloing with another. 6

7 Coleman (sax) and Cherry (cornet) enter, play melody in octaves. Coleman plays a short, plaintive reply. Like the bass line, the melody floats rhythmically above the drum accompaniment. The bass falls to the dominant key. The two horns harmonize in parallel intervals. Coleman and Cherry repeat the melody. On the upper string, Haden temporarily changes the harmony from minor to major changing back to minor when the horns reenter. As Coleman plays his plaintive reply, Haden doubles him on the bass. Coleman rises to a yearning wail. 7

8 Over a new harmony, Coleman repeats a riff-like phrase. Cherry and Haden creep upward chromatically,. Their line is accented by drum strokes. Underneath Coleman s last phrase, the drum plays with richer timbres while the bass shifts to the dominant key. A drum stroke signals the return to the tonic harmony and the free-floating melody Coleman plays simple, bluesy phrases, unaffected by the rising chromatic line Haden suggests. As his emotional temperature rises, Coleman s tone becomes rough and uneven. He moves to a harder-swinging rhythmic feeling, evoking a cry of whoo! from one of the musicians 8

9 The bridge is signaled by the return of the rising chromatic line of the trumpet, doubled erratically by the bass At the end of the bridge, the harmony and Coleman s line focus on the dominant. With a dramatic return to the tonic, Coleman leads the group back to the A section. Haden, playing double stops, holds the bottom note in a pedal point while moving the upper voice up and down chromatically. Rising in intensity, Coleman s line reaches its climax. The two horns return to the melody in octaves. 9

10 Cherry hits high notes, followed by quick descending blurs. At one point, Cherry hits the wrong pitch. The two horns combine to play blues-like wails. Coleman holds out his last note; underneath, Cherry adds low, breathy comments. Ornette Coleman Quartet Five Spot

11 1. Haden often played duets, allowing his rich timbre (tone) to emerge and increasing opportunities for sensitive interaction with another artist. Old Joe Clark American folk song 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 Coleman Change of the Century 1959 Ramblin Down By The Riverside Come Sunday 2010 Hank Jones

12 Egberto Gismonti Brazilian guitarist Gavin Bryars American classical composer Nocturnal Rickie Lee Jones American pop vocalist Carlos Paredes Portugese guitarist Nocturne 2001 Gonzalo Rubalcaba b Havana 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 Land of the Sun 2004 James Cotton American blues harmonicist Ringo Starr American rock drummer Dino Saluzzi Argentinian bandoneon player 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. Ernesto Ché Guevara Song for Ché 1969 Carla Bley b

13 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 Orchestra Marciac, France 2004 Going Home Theme from Antonin Dvorak, Largo from Symphony No. 9 From the New World Quartet West 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. In Angel City 1988 Haunted Heart 1991 Always Say Goodbye 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. Now Is The Hour 1996 The Art of the Song 1999 Sophisticated Ladies

14 Moonlight Serenade 1939 Glenn Miller /Mitchell Parish Haunted Heart 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. Alan Broadbent piano Ernie Watts tenor sax Charlie Haden bass Larance Marable drums Moves stepwise Balance of long and short notes Stays in higher range Coherent phrases Flirting with Twilight 2001 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. Kurt Elling b Pursuing freedom with a big heart 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. 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 Charlie Haden

15 Charlie Haden Tony Bennett b Herbie Hancock b Wayne Shorter b