01. En La Orilla Del Mundo (9:04)
02. My Love And I (11:54)
03. When Will The Blues Leave (8:29)
04. Sandino (5:47)
05. Solamente Una Vez (You Belong To My Heart) (9:11)
06. Transparence (7:18)

Bass – Charlie Haden
Piano – Gonzalo Rubalcaba

The world will never see another man like Charlie Haden. Musicians who claim with a sense of eclecticism and nuance might arrive by the score but no one could possibly play with his sense of restraint or march through time with his sense of social justice and dedication to right. Can you get a sense of one’s character by the notes he does or doesn’t play? Listening to this 2005 performance from Haden and pianist Gonzalo Rubalcaba, you would honestly think so. His presence is understated, he is almost a ghost, who enters in those shadowy spaces where Rubalcaba’s piano figures become a wisp of fog and Haden’s lines a bright beacon.

Perhaps those words don’t do the experience of hearing these two justice and perhaps nothing could but somehow it seems appropriate that this record should come along a year after Haden’s death as it serves as a kind of unexpected requiem and, alternately, a celebration of the man’s spirit and generosity. The story goes, of course, that Haden, never one to obey laws he deemed unjust, and that went for adhering to the strictures of genre or expected musical roles. His sense of justice is evident here as allows his duet partner to shine brightly via a gorgeous 12-minute take on “My Love and I”, or as Rubalcaba creates the meditative, autumnal framework of the breathtaking opener, “En La Orilla Del Mundo”.

Knowing the history of first-rate recordings these two shared—including the classic 2001 release Nocturne—it’s not hard to imagine that this Tokyo date would also yield great results. Their conversation on “When Will the Blues Leave” is often funny and just as often groundbreaking as they weave around each other, bounding and leaping through phrases at times while taking long, leisurely strolls at others.

As fun as those playful moments are they are not competition for the more somber elements of the record and those, thankfully, prevail. You can hear the tug of those two emotions, on “Sandino”, which arrives near the midway point of the record, and you can hear the return to home in the spirited reading of “Solamente Un Vez (You Belong to Me)”, which works perfectly alongside the album closer, “Transparence”, a fitting final moment for this pair as the notes of that long-ago evening come to a close. But if it’s the solemn and somber that takes over here it’s not what the listener has to take away.

In the end, we hear the true poetry of playing between these two—and Rubalcaba is never less than stunning here—and the connection between this and the spirit world made through these six compositions.

As it all winds to a close you can’t help but turn the record over one more time in your mind, retrace your steps back to the beginning where the notes and the journey all started. It all makes you thankful that this record happened and that there were once men like Charlie Haden to walk the earth. We will all pale in comparison from here on out but at least we have memories like this from a time when this musical and spiritual giant roamed the earth. ---Jedd Beaudoin, popmatters.com

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1 	If I'm Lucky (Vocals – Melody Gardot)	5:41
2 	Sophisticated Lady	4:28
3 	All Wind    (Vocals – Norah Jones)	4:25
4 	Today I Am A Man	5:23
5 	My Love And I    (Vocals – Cassandra Wilson)	4:14
6 	Theme From "Markham"	4:40
7 	Let's Call It A Day    (Vocals – Ruth Cameron)	5:52
8 	Angel Face		4:08
9 	A Love Like This    (Vocals – Renée Fleming)	5:13
10 	My Old Flame	5:35
11 	Goodbye    (Vocals – Diana Krall)	5:48
12 	Wahoo	4:52

Double Bass, Arranged By [Quartet], Producer – Charlie Haden 
Drums – Rodney Green 
Piano, Arranged By [String Orchestra], Conductor [String Orchestra] – Alan Broadbent 
Tenor Saxophone – Ernie Watts 

Bassist extraordinaire Charlie Haden has always prized diversity in his music, whether reaching for the outer limits with Ornette Coleman a half-century ago, leading his own experimental Liberation Music Orchestra or, in 2008, celebrating his roots in what's now called Americana on Rambling Boy, a Grammy-nominated album that featured contributions from Elvis Costello, Béla Fleck, and others. As they mark their 25th year together, Haden's Quartet West -- not so much a side trip at this point as a comfy base to occasionally return to -- offers up Sophisticated Ladies, a collection split between collaborations with superstar female vocalists and rich instrumentals, nearly all of it heavily orchestrated. The set expands upon the concept Haden first explored in 1999 on The Art of the Song, which utilized vocalists Shirley Horn and Bill Henderson on various film songs and standards. This time, with tenor saxophonist Ernie Watts, pianist/arranger Alan Broadbent (both mainstays of the quartet), and drummer Rodney Green, Haden goes for a lush, all-embracing sound that suggests a warm, cozy mood that reflects a time -- which may or may not ever have existed -- when life was much less hectic. The recording largely pays tribute to the romantic balladry of the mid-20th century, and Haden's choices of both material and guest artists allow him to bring that concept to fruition gloriously. Diana Krall, leading the back-to-back "Goodbye" and "Wahoo," closes out the album: the first is a whispery take on the Gordon Jenkins number that served as Benny Goodman's theme song, and the latter an uptempo swinger written by Benny Harris. Norah Jones was a natural pick for a set that values classiness and sensuality, and her "Ill Wind," penned by Harold Arlen and Ted Koehler and arranged by Haden, exudes a smoky nightclub ambience, Broadbent's piano lending a blues touch to Jones' soothing delivery. Cassandra Wilson is another inspired pick, and her interpretation of Johnny Mercer's "My Love and I," bathed in strings and elegance, is a highlight of the set. The album's other vocal performances -- by Melody Gardot, Renée Fleming, and Ruth Cameron -- are also memorable, but not to be overlooked are the non-vocal tracks. Hank Jones' bluesy "Angel Face" is simultaneously sweet and melancholy, while Steve Khun's fiery "Today I Am a Man" is the swingingest number here. And of course, Haden couldn't very well title his album Sophisticated Ladies without including Duke Ellington's "Sophisticated Lady," which matches Watts' bold saxophone licks to another luxuriant orchestration. Sophisticated Ladies does fall just short at times of mimicking a brand of saccharine faux-post-big-band jazz that flourished in the '50s and early '60s, but Haden and his team are too masterful to allow their tribute to lose its stylishness and, of course, its sophistication. ---Jeff Tamarkin, AllMusic Review

Recepta na taki album jest prosta : bierzemy standardowy kwartet jazzowy, dokładamy sekcję smyczków oraz subtelne, popularne wokalistki. Można by i tak spojrzeć na najnowszy album jazowego kontrabasisty Charliego Hadena gdyby nie jego absolutny perfekcjonizm w realizacji nawet najbardziej ( muzycznie i stylistycznie ) karkołomnych pomysłów. Z jednej strony mamy awangardzistę z jazzowej orkiestry Carli Bley – JCOA, z drugiej jego modern –jazzowe dekady z najważniejszymi jazzu, ale także muzyczne ucieczki w stronę country ( album „ Rambling Boy” ) czy pieczołowicie pielęgnowany, wieloletni (założony w 1987 roku ) projekt Quartet West. Dla Hadena jazz nie jest awangardowym monolitem, stąd coraz częściej porusza się w rejony akustycznego brzmienia oraz eksperymentów w najróżniejszych stylistykach. Albumy z Quartet West, są tego najdoskonalszymi przykładami. To właśnie z tym zespołem ( saksofonista Ernie Watts, pianista Alan Broadbent i perkusista Rodney Green) basista proponuje zestaw, jaki powinien być obowiązkowym nagraniem dla tych wszystkich, dla których jazz jest nie do zaakceptowania. Kwartet Hadena znany jest z romantycznego i pełnego uroku podejścia do muzyki synkopowanej a sam basista uznawany jest za mistrza kontrabasu i za jednego z najważniejszych muzyków i kompozytorów jazzowych. Na najnowszej płycie pojawiają się znamienite wokalistki : Cassandra Wilson, Diana Krall, Melody Gardot, Norah Jones, Renee Fleming oraz żona Charliego – Ruth Cameron.

Album „ Sophisticated Ladies ” to balsam na uszy i zawirowany świat, to zestaw przepięknych brzmień jazzowego kwartetu wzbogacony subtelnościami orkiestry smyczkowej. Jeśli do tego dodać przepiękne standardy, z gracją i miłością wyśpiewane przez najpopularniejsze i najważniejsze wokalistki dzisiejszego jazzu to mamy zestaw, jaki staje się obowiązkowym w naszych płytotekach. ---Dionizy Prątkowski, jazz.pl

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01 Pat’s Blues
02 Radio Dialog
03 The Bat
04 Radio Dialog
05 The Calling Part 1
06 The Calling Part 2
07 Radio Dialog
08 Segment

Musicians:
Charlie Haden – bass
Jack DeJohnette – drums
Pat Metheny - guitar

Recorded live at the Festival International de Jazz de Montréal on July 5, 1989
Copy of a Radio Broadcasting of Radio Canada

Charlie Haden Biography Born in Shenandoah, Iowa, Charlie Haden began his life in music almost immediately, singing on his parents' country & western radio show at the tender age of 22 months. He started playing bass in his early teens and in 1957, left America's heartland for Los Angeles, where he met and played with such legends as Art Pepper, Hampton Hawes, and Dexter Gordon. In 1959, Haden teamed up with Ornette Coleman to form the saxophonist's pioneering quartet (alongside trumpeter Don Cherry and drummer Billy Higgins). In addition to his still-influential work with Coleman, Haden also collaborated with a number of adventurous jazz giants, including John Coltrane, Archie Shepp, Keith Jarrett, and Pat Metheny. In 1969, Haden joined forces with pianist/composer Carla Bley, founding the Liberation Music Orchestra. The group's self-titled debut is a true milestone of modern music, blending experimental big band jazz with the folk songs of the Spanish Civil War to create a powerfully original work of musical/political activism. After 2 further recordings he reconvened the Liberation Music Orchestra in 2005, with largely new members, for the album 'Not In Our Name'. This recording dealt primarily with the contemporary political situation in the United States. An acoustic bassist of extraordinary gifts, Haden's talents as a musician have been in constant demand by his fellow artists. As a result, he has collaborated with a genuinely stunning array of musicians, including Hank Jones, Don Cherry, Dewey Redman, Paul Motian, Jack DeJohnette, Michael Brecker, Kenny Barron, and Pat Metheny (with whom Haden shared a 1997 "Best Jazz Instrumental Individual/Small Group" Grammy® Award for their 'Beyond the Missouri Sky' album) . Haden's love of world music has also seen him teaming with a variety of diverse international players, including Brazilian guitarist Egberto Gismonti, Argentinean bandoneon master Dino Saluzzi, and Portuguese guitar giant Carlos Paredes.

In addition, Haden has explored diverse streams of American popular music with both his acclaimed Quartet West, as well as on such collections as 2002's inventive alliance with Michael Brecker, "American Dreams." Charlie Haden who was invited to establish the jazz studies program at California Institute of the Arts in 1982, has earned countless honours from around the globe, including the Los Angeles Jazz Society prize for "Jazz Educator of the Year", three Grammy Awards (alongside a multitude of nominations), myriad Down Beat readers and critics poll winners, a Guggenheim fellowship, four NEA grants for composition, France's Grand Prix Du Disque Award, Japan's SWING Journal Gold, Silver and Bronze awards. As well as the Montreal Jazz Festival's Miles Davis Award for a lifetime of contributing to improvised music. The genesis of his 2008 release 'Rambling Boy' dates back more than two decades. In the late 1980's Charlie and his wife Ruth Cameron packed up all the kids to see their Grandmother in Missouri to celebrate her 80th birthday. "Ruth got all of us to sing together and before you knew it, the kids were all singing harmony with my brothers and sisters and they all blended so well. It was just such a natural event and it felt so good and sounded so good that I knew in my heart that one day we'd all sing together. Charlie Haden Family & Friends: Rambling Boy brings the artist's personal history full circle and presents a new generation of the Haden Family - a legendary Midwest music institution in the 1930s and 1940s, now reborn in the 21st century. 2010 saw the release of the ECM recording 'Jasmine', Keith Jarrett's first recorded collaboration in decades other than with his standards trio, and reunites him with the great bassist Charlie Haden, a close partner until the mid-seventies. Intimate, spontaneous and warm, this album of love songs recorded at Jarrett's home, has affinities, in its unaffected directness, with many of the works of both artists.

Founded in the mid-Eighties by bassist Charlie Haden, Quartet West was and still is, undisputedly, one of the most elegant and coherent small-groups in contemporary jazz. Together with Ernie Watts on tenor saxophone, Alan Broadbent on piano and Larance Marable on drums, Haden resuscitated and modernized a typically Californian way of playing the "jazz game", one made of softness, sophistication and sensual clarity. The quartets six recordings - "Quartet West" (1987), "In Angel City" (1988), "Haunted Heart" (1992), "Always say Goodbye" (1994), "Now Is the Hour" (1996) and "The Art Of Song" (1999) -can all be read as autobiographical, melancholy plunges into the intimate recesses of the bassist's imagination: as many chapters of some dreamlike auto-fiction that multiplies the connexions and relations between Californian jazz of the immediate post-war period, and Hollywood during the same era, which was marked notably by the deadly sophistication of the great noir films. This is a sensual, nostalgic drift through the subconscious of one of the greatest musicians in contemporary jazz. The new release by Quartet West 'Sophisticated Ladies' not only finds the group with a new drummer (Rodney Green), but as well in the company of some of the greatest female vocalists of our time - Cassandra Wilson, Diana Krall, Melody Gardot, Norah Jones, Renee Fleming and Charlie's wife, Ruth Cameron. With a tour for the Quartet West being booked for late 2010 and early 2011 and further recordings already done and planned with various collaborators, the musical adventures of Charlie Haden are continuing ... ---amazon.com

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1 En La Orilla Del Mundo (At The Edge Of The World) 	5:14 	
2 Noche De Ronda (Night Of Wandering) 	5:44 	
3 Nocturnal 	6:55 	
4 Moonlight (Claro De Luna) 	5:37 	
5 Yo Sin Ti (Me Without You) 	6:01 	
6 No Te Empeñes Mas (Don't Try Anymore) 	5:30 	
7 Transparence 	6:11 	
8 El Ciego (The Blind) 	5:57 	
9 Nightfall 	6:39 	
10 Tres Palabras (Three Words) 	6:18 	
11 Contigo En La Distancia / En Nosotros (With You In The Distance / In Us) 	6:32 	

Personnel: 
Charlie Haden (bass);
Joe Lovano, David Sanchez (tenor saxophone); 
Federico Britos Ruiz (violin); 
Gonzalo Rubalcaba (piano); 
Pat Metheny (acoustic guitar); 
Ignacio Berroa (drums, percussion).

Charlie Haden teams up once more with the young Cuban pianist Gonzalo Rubalcaba for this melancholy, soothing album. Ignacio Berroa, on drums and percussion, completes the core trio. Special guests include tenor saxophonists Joe Lovano and David Sanchez, violinist Federico Britos Ruiz, and guitarist Pat Metheny (one track only). Rubalcaba contributes orchestrations on two cuts, both of which omit drums and percussion. Haden's intention is to explore the bolero, a distinctive Latin dance rhythm that Ignacio Berroa accents with a soft, subtle snare drum roll, played with brushes, beginning on the "and" of the first beat of the bar and ending on the second. This rhythm is perfect for a slow dance, and indeed, the entire album is highly romantic, with bittersweet melodies and lilting cadences. The only problem is that Berroa's bolero figure anchors nearly every track -- perhaps what one should expect from a bolero album, but there's no getting around the fact that the music sounds pretty much the same throughout. (To be fair, Berroa isn't solely to blame for the sameness.) Most of the songs, save for two originals by Haden and one by Rubalcaba, are Cuban and Mexican standards, and they're beauties. Haden's reluctance to mess with them is understandable. But the unvaryingly straightforward arrangements fade too easily into the background. Nocturne may well be the best candlelight dinner music ever, but Haden and his guests are capable of more. --- David R. Adler, Rovi

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