Blindfold test with Charlie Haden, 1991
Charlie Haden Snap Judgment (1991)
Charlie Haden Snap Judgment (1991)
Every once in a while, Haden used to show up on KCRWs Morning Becomes Eclectic radio program with Tom Schnabel. Haden would bring in music he liked, play it and talk about it, This is different: We play music for him, and he talks about it. Its like Downbeats Blindfold Test, except were not trying to stump him, just get his reactions to various sounds that seem to have something to do with him musically or politically.
"Free Jazz," Written by Omette Coleman, performed in 1960 by Omette Coleman, Eric Dolphy, Don Cherry, Freddie Hubbard, Billy Higgins, Ed Blackwell, Scott LaFaro and Charlie Haden. From the Omette Coleman album FreeJazz (Atlantic).
"I made this record date with a borrowed bass. My bass was in the pawnshop. It was a very difficult instrument to play, but I tried to do the best I could. The feeling there was tremendous."
"Bemsha Swing." Written by Thelonious Monk, performed in 1960 by John Coltrane, Don Cherry, Ed Blackwell and Percy Heath (only track on the Coltrane/Cherry album The Avant-Garde on which Haden didnt play).
"Thats Cherry. Thats Blackwell, isnt it? And is that Percy Heath? Thats Coltrane! This is The AvantGarde! I thought it was great, because it was a chance to play with Coltrane I used to listen to him with Miles when they came to LA They played at this place called Jazz City, at Hollywood and Western. Coltrane and Miles and Paul Chambers and Philly Joe and Red Garland were at Jazz City, and I used to go and sit in the front row and listen to every note they played. And I was always too shy to go up and talk to them, until we got to the Five Spot, and Coltrane used to come into the club every night to listen to us, and stay all night. Hed wait until we finished, and then hed grab Ornette by the arm and theyd go out and talk, hang out. And when he called me to do this record, I was real happy."
"Song for Che." Written by Charlie Haden, recorded in 1970 by the Liberation Music Orchestra. From the Charlie Haden album Liberation Music Orchestra (Impulse ).
"When I was arrested in Portugal for dedicating this song to the black liberation movements in Mozambique and Angola, in 71, the guys who arrested me were just like these guys [in the Rodney King beating].
"Now that N . . . Bush . . . I almost said Nixon it was no accident that these three [Liberation Music] albums came out in Republican administrations. Now that Bush has public-relationed his way with this war into having 86 percent in the polls, hes implementing all these fascist policies that he wants to do. Hes gonna get away with it."
"Threnody for the Victims of Hiroshima." Written in 1960 by Krzysztof Penderecki, performed by 52 strings. From the 1967 album The New Music (RCA).
"Usually Im more attracted to the Romantics and beautiful chords and voicings of string sections, but this composer uses dissonance and abstractness in a way that really is meaningful. And now that you tell me the title, I understand it much more."
"La Paloma." Written by S. de Yradier, performed in 1947 by Claude Thornhill and His Orchestra. Arranged by Gil Evans. From the CD The Jazz Arranger, Volume II (Columbia).
"Mm! Thats fantastic. I was going to say Stan Kenton, but the trumpets theres too much vibrato. This has gotta be in the early 40s sometime. So I betcha its gotta be . . . is it Claude Thornhill? This motherfucker was bad, Jim. Gil Evans. Yeah, man. Unbelievable. People dont realize how far ahead of the times they were, especially when Gil Evans was writing."
"Ida Lupino." Written by Carla BIey, performed in 1966 by Paul Bley, Steve Swallow and Barry Altschul. From the Paul Bley Trio album Closer (ESP).
"I used to sit with Carla, and shed be sitting at the piano writing, and she always felt insecure about having people play her pieces, and she was writing all this great music. Shes a perfect composer, and the way she voices things, its so . . . oh, man. Thats gotta be Paul Bley and Steve Swallow. Carlas one of the only people that I know can compose a song just the way I want it for my orchestra. When she says, Im gonna write a piece for your orchestra, Im so happy, because I know its gonna be great."
"Demolition House." Written and performed in 1989 by Tackhead (Bernard Fowler, Keith Leblanc, Skip McDonald, Doug Wimbush and Adrian Sherwood). From the CD Friendly As a Hand Grenade (TVT).
"Turn this down a little bit. The thing that prevents me from hearing the essence of whats going on is the drum synthesizer. It reminds me of a gigantic washing machine, the kind that has the window you can see inside, and the clothes are going back and forth, and it just never stops. Its like a machine. I dont really feel close to it."
"Reek of Putrefaction." Written and performed in 1989 by Carcass. From the CD Symphonies of Sickness (Combat/Earache ).
"Theres enough dismemberment going on in the world without writing music about it."
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