Q&A: (Charlie Haden)

Mark Twain, writer of the great American novel, was once quoted as writing, “Patriotism is supporting your country all the time, and your government when it deserves it.”

If Twain’s sentiments could be translated into musical terms, chances are it would sound very much like bassist Charlie Haden’s recent album entitled “Not in Our Name” - a truly original and American work that hints at all the beauty and rich history of a country in how it has evolved, where it is at present and what it can become in the future if given the chance.

The new record out on Verve Records is the fourth in a series of recordings by the Liberation Music Orchestra. The first album, “Liberation Music Orchestra,” was created in 1968 during the Vietnam War and the bombing of Cambodia. The second came in 1981 entitled “The Ballad of the Fallen” on ECM Records and the third in 1991 was “Dream Keeper” on Blue Note Records.

“Not in Our Name” features songs all written by American composers such as a medley of “America the Beautiful” and “Amazing Grace.” The orchestra also performs the title track, a Haden original, not to mention Ornette Coleman’s “Skies of America” and a song scored for the film “The Falcon and the Snowman” written by Pat Metheny, Lyle Mays and David Bowie called “This is Not America.”

Carla Bley, a notable composer and pianist, arranged and conducted all of the songs for “Not in Our Name,” and is reunited with Haden as she has worked on all four of the Liberation Music Orchestra projects. Bley also wrote the song “Blue Anthem” for the work and her prodigy is especially recognized on “This is Not America” with clever excerpts from three quintessential American songs - “Dixie,” “The Star Spangled Banner” and “Battle Hymn of the Republic.” The orchestra recorded the work in Rome last summer at the end of a European tour.

Bley, who makes good use of minor keys and symphonic dissonance in her arrangements, ironically underscores the opinion held by many that America has reached an all-new low thanks to the current Bush administration, but has the potential to regain its once-respectable reputation if under new leadership.

Several years ago, Haden also felt compelled to record songs for the album “American Dreams” following Sept. 11, 2001, as a way to offer up to his listeners a musical healing in the wake of such tragedy.

“I always dreamed of a world without cruelty and greed, of a humanity with the same creative brilliance of our solar system, of an America worthy of the dreams of Martin Luther King, and the majesty of the Statue of Liberty,” wrote Haden in the album’s liner notes. “…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.”

Haden was born in Iowa in 1937 and began playing the bass when he was a teenager. He left the Midwest for Los Angeles in 1956. Haden began playing with legends like sax men Art Pepper, Dexter Gordon and pianist Paul Bley (Carla’s husband). Haden eventually became a member of a band with Coleman, trumpeter Don Cherry and drummer Billy Higgins. In 1959, the quartet moved to New York City, and became pioneers in and synonymous with the free jazz movement. The quartet recorded one of the first avant garde albums ever with Coleman’s release of “The Shape of Jazz to Come.” Haden has also worked as a sideman to Cream drummer Ginger Baker and collaborates quite often with guitarist Metheny that includes their 1996 work “Beyond the Missouri Sky.”

Haden eventually moved back to the West Coast and in 1982 established the jazz studies program at the California Institute of the Arts.

Over his career, Haden has collaborated or worked with numerous artists from John Coltrane and Alice Coltrane to Brad Mehldau and John Scofield to Beck, Bill Frisell, Joe Lovano and Ringo Starr. The Liberation Music Orchestra has garnered numerous music awards and nominations, and has won three Grammys.

The Beach Reporter sat down with Haden this week to talk about his new work and the inspiration behind it.
The Beach Reporter: At first listen without reading the liner notes, the theme of this album seems to me to kind of represent an America of today but in a slight way compared to what it used to be.

Haden: Yeah, I actually say in my liner notes in a previous album, “American Dreams,” that was recorded right after 9/11. I talk about the America that should be and that could be and what’s supposed to be. If that was what was existing here, we would be seen differently throughout the world and 9/11 may have never happened, but that’s not the way it is. I feel a need every now and then to voice my concerns about what’s going on, and that’s what I do. I’m not a politician, I’m a musician, so the only way I can feel like I’m doing something about what I’m concerned about is by making a recording.

How did you form this orchestra?

Well, each orchestra was formed at the time with the musicians that I heard playing the music in my mind and they are all close friends. On the first recording are Don Cherry, Dewey Redman and a lot of great musicians from New York. Actually, the orchestra mostly has musicians who live in New York, and I lived in New York 20 years. The first two recordings of this series were made while I was living there. This new recording includes all New York musicians besides me. So, yeah, these are all great young musicians who live in New York City.

Do the players in a sense share the same kind of political views on the world and within this country?

I think most people who are sensitive to life and have compassion for life feel the way I do, whether they are artists or whether they are just people going to work. I think anyone who really values life and justice in the world feels that way. All the musicians I chose for this recording feel the way I do.

I really feel that this album is a real tribute to America not only from the songs ‘America the Beautiful’ to ‘Amazing Grace’ but to little things like the little lines in ‘This is Not America.’ It seems like this band really went into this project with the same mind-set. Did you talk to the band members about what you wanted for the project beforehand?

Well, we did a tour in the summer of 2004 and the musicians that I usually chose to make a recording with me I don’t have to tell them anything, they know what do to.

In touring cities outside the United States and meeting so many people from other countries, do you think you’ve really gotten a feel about the general sentiment toward Americans?

Well, a lot of people in Europe do not like the Bush Administration, that’s for sure. They don’t agree with what’s going on. The name of the album, “Not in Our Name,” I saw on banners unfurled from balconies in Spain and Italy and other places in Europe when I was over there with Pat Metheny right after Iraq was invaded. The saying “not in our name” was everywhere. So they feel very strongly about it and they also love great music.

What is the biggest lesson music has taught you over the years?

Well, I think it teaches you to remember to be humble, to strive to be a good human being, to be appreciative, to try to be positive and give to others.