Charlie Haden: Nocturne

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Track List

Album Remarks & Appraisals:

"Charlie Haden - bass; Gonzalo Rubalcaba - piano, arranger; Ignacio Berroa - drums; David Sanchez - tenor saxophone; Federico Britos Ruiz - violin.

Charlie Haden's latest project: Cuban love songs with a jazz feel, but light and melodic--not as repetitive as most "Latin Jazz." Haden appeared in the role of sponsor and ensemble bassist with pianist Gonzalo Rubalcaba assuming the lead. Rubalcaba contributed the arrangements and the most evolved solos.

Tempos were mostly slow, but they varied from tune to tune. That they did not drag was largely due to Ignacio Berroa's masterly brushes on snares. Violinist Federico Britos Ruiz favored high harmonics and ahead-of-the-beat accenting. He was controlled (though not unemotional) and leaned toward melodic variation (not improvisation)--he played with a traditional Cuban feel. Britos Ruiz and Rubalcaba combined for a lovely conversation on "El Ciego."

"Transparence," the most advanced piece of the evening, featured Sanchez. For this concert he altered his approach to get a "legitimate" sound (without his usual vibrato) and came off as competent but not personally involved. Rubalcaba took a short solo with a nod in the direction of Keith Jarrett spirituality.

Rubalcaba lifted the mandatory "Tres Palabras" with his superb rhythmic accents and some Bill Evans-voiced accompanying. Sanchez cut loose with a funky back beat solo. Violin and tenor alternated on most tunes, but they both played on the encore "Contigo en la Distancia" (I think), a bolero with hints of "Feelings" and "What a Difference a Day Made." The piece included Haden's only solo and a three-way dialog between violin, tenor, and piano." -AllAboutJazz

"Charlie Haden - bass; Gonzalo Rubalcaba - piano, arranger; Ignacio Berroa - drums; David Sanchez - tenor saxophone; Federico Britos Ruiz - violin.

Charlie Haden's latest project: Cuban love songs with a jazz feel, but light and melodic--not as repetitive as most "Latin Jazz." Haden appeared in the role of sponsor and ensemble bassist with pianist Gonzalo Rubalcaba assuming the lead. Rubalcaba contributed the arrangements and the most evolved solos.

Tempos were mostly slow, but they varied from tune to tune. That they did not drag was largely due to Ignacio Berroa's masterly brushes on snares. Violinist Federico Britos Ruiz favored high harmonics and ahead-of-the-beat accenting. He was controlled (though not unemotional) and leaned toward melodic variation (not improvisation)--he played with a traditional Cuban feel. Britos Ruiz and Rubalcaba combined for a lovely conversation on "El Ciego."

"Transparence," the most advanced piece of the evening, featured Sanchez. For this concert he altered his approach to get a "legitimate" sound (without his usual vibrato) and came off as competent but not personally involved. Rubalcaba took a short solo with a nod in the direction of Keith Jarrett spirituality.

Rubalcaba lifted the mandatory "Tres Palabras" with his superb rhythmic accents and some Bill Evans-voiced accompanying. Sanchez cut loose with a funky back beat solo. Violin and tenor alternated on most tunes, but they both played on the encore "Contigo en la Distancia" (I think), a bolero with hints of "Feelings" and "What a Difference a Day Made." The piece included Haden's only solo and a three-way dialog between violin, tenor, and piano." -AllAboutJazz

Album Reviews:

Entertainment Weekly (5/11/01, p.81) - "...A lovely, low-key program of Latin-tinged ballads and mood pieces....an unexpected charmer..." - Rating: B+

Q (7/01, p.111) - 3 stars out of 5 - "...This kind of sustained subtlety is rare in contemporary jazz....music rich enough to satisfy without the fiery seasoning."

Uncut (11/01, p.109) - 5 stars out of 5 - "...Few albums emerge as near-perfect as NOCTURNE..."

Down Beat (10/01, pp.70-1) - 3 stars out of 5 - "...Lovingly realized music..."

JazzTimes (9/01, pp.96-7) - "...A great intro to the bolero...and an excellent addition to the library of fans who already love it..."

Album Notes

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).

Producers: Charlie Haden, Gonzalo Rubalcaba.

Recorded at Criteria and The Hit Factory, Miami, Florida from August 27-31, 2000. Includes liner notes by Leonardo Acosta, Charlie Haden & Gonzalo Rubalcaba.

NOCTURNE won the 2002 Grammy Award for Best Latin Jazz Album.

Charlie Haden has a longstanding interest in Cuban and Central American music (most notably expressed on his LIBERATION MUSIC ORCHESTRA albums). Here, in the company of Cuban pianist Gonzalo Rubalcaba, he explores the lush, romantic aspects of the Cuban sound. A bracing and delicious sort of melancholy runs through these quiet pieces, calling the listener in ever closer. Half the set features Cuban ballads, the rest being a mix of originals (two by Haden, one by Rubalcaba) and four pieces of Mexican origin.

The perfectly matched Haden and Rubalcaba are joined on NOCTURNE by drummer Ignacio Berroa. Guest appearances by tenor saxophonists Joe Lovano and David Sanchez, guitarist Pat Metheny, and violinist Federico Britas Ruiz add additional shadings that underscore the strong melodic sensibilities of this music. NOCTURNE combines the gentle, late-night moods of Haden's Quartet West with the Spanish derivations that have informed the bassist's vision over the course of his exhilarating career.

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