(the following is an interview/article I did with Charlie Haden just a few months before his untimely death last year)
There is one thing we all learn about life as we get older: we make certain plans in our lives, but we always feel like we never have the last word. As the proverb says, “The plans of the heart belong to man, but the answer of the tongue is from the Lord.” This comes to mind as we reflect the career and present state of iconic bass player Charlie Haden, who has been on some of the most important jazz sessions since his days with the groundbreaking Ornette Coleman quartet some 50+ years ago up to his own Liberation Orchestra and current Haunted Heart recordings that capture some of the most beautiful as well as socially conscious music around. His latest effort, Come Sunday, is an encore session with the late Hank Jones (his own last recording before going to meet his eternal reward) of one of his most surprising releases, the 1994 Steal Away, a collection of Christian spirituals played in a manner that could only be achieved by men who have had the music running through his veins.
As with most of us, we’d prefer the bad news first, so the bad news is that Haden states, “I have post polio syndrome. I have it in my throat. I can’t eat or swallow.” The situation has been quite challenging for the gentle bass giant, as any type of therapeutic care has been difficult to find. “There’s nobody here in Southern California that knows anything about it,” he points out. The problem with a condition like this is that it can be quite an aggressive problem, potentially taking over your life.” “It’s been getting worse. I can’t talk. I can’t eat. I’m being fed through a tube. It’s been going on for about six months. I hadn’t had the syndrome until then”
The recent problem just recently propped up its evil head, but its genesis started a long time ago. “I had polio when I was 15. That’s why I started playing: I couldn’t sing, so I started playing.”Nowadays, the effects of the syndrome are slowly turning into a potentially career and life threatening condition. “ I now weight 141, I used to weigh 165. I’m still losing weight. I haven’t dealt with it with travelling, as I’ve only had if for less than a year. “
As with his Haunted Heart recordings, as well as his much lauded bluegrass sessions, the collection of church songs is a reflection of Haden’s upbringing. He recalls, “I started singing on the radio with my parents when I was 22 months old. Once in awhile we would go and do revivals. We sang them on our radio show when I was growing up. They were people getting saved. They were in churches and county fairs. People liked the music. I listened to a lot of different groups that did spirituals.” As with many jazz artists, from Dave Brubeck to even Hank Jones, who’s father was a church deacon, the church and its music, as well as its worldview and teachings and a large impact on Haden’s bent.
For Haden, however, it was mostly the gospel music imbibed from his mother that intrigued him. He explains, “My mother would go to church. I didn’t play in church. I didn’t have a church upbringing.” The allure of the songs like “Go Down Moses” and “Wade In the Water” was very simple; “Because I liked the music. My mom used to go to a Methodist or Baptist church, and she’d sing the songs and play the records at home.” For Haden, it’s always been the simple beauty of sound that is his allure to whatever he desires to perform. “I just love to play beautiful music.”
The concept for the first collection of spirituals came fairly spontaneously, as Haden recalls, “I’ve known Hank for a long time. We played many times, and I heard him play “Sweet Hour of Prayer” one time, and liked it so much I asked him if he would like to do some spirituals with me some time. He said he’d really love to, and that’s how we did it.” He wasn’t taken aback by the initial critical and commercial support of the disc, as his reputation as an artist carries with it an immediate endorsement, “No, I wasn’t surprised by the reaction, because I have a lot of fans.”
It took over 15 years for the encore disc to take place, but it had always been on both artists’ minds since the initial session. “There were a lot of songs that we wanted to do for the first album that we didn’t get a chance to do, so we did them this time.” Interestingly, the latest disc even has a couple of Christmas carols (“It Came Upon A Midnight Clear” and “God Rest Ye Merry Gentlemen”) that surprisingly fit in cohesively with material like “Precious Lord” and Duke Ellington’s “Come Sunday.” Haden simply observes the musical and not seasonal significance of each melody. “They were just songs that came to us that fit in, even though they are usually played at Christmas.”
While not a churchgoer himself (he uses his “My relationship with the universe” for inspiration), Haden is still deeply affected by the lyrics of tunes such as “The Old Rugged Cross” and “Nearer My God To Thee.” Haden exudes “ They are very deep and meaningful.” And how could they not be otherwise? These songs from the likes of Thomas Dorsey and Fanny Crosby reflect the eternal pilgrimage we all take when trying to come to peace, and finally do so, with our Creator and God.
Unbeknownst to either venerable musician at the time, this ecclesiastic session would be Hank Jones’ last recording, which in retrospect was a surprise to the bassist, “ Hank was feeling pretty good when we played, and he was 91.” As again a reminder, we never know when our time here on earth is through. Each day, no matter how old or young we are, surprises everyone around us when it turns out to be our last. “Do not boast about tomorrow, for you do not know what a day may bring forth.” Looking back at the session, Haden is touched an honored to be at the master pianists final opus, stating “I’m glad that I was able to play on his last recording. He was a wonderful human being.”
The duo was able to deliver a handful of concert performances as well. “We’ve never played it in LA, but we have played it in New York and different jazz festivals. The response was great.” When he listens to these two sessions with his late spiritual friend, one simple reflection comes to his mind. “It makes me think about how beautiful this music is, and how people should be listening to this type of beautiful music.”
The question of whether the master of the bass can keep performing for his many fans is another question. He’s still adamant about his ability to perform, as he points out “I just won the Jazz Masters Award. You have to still be playing to win that! I don’t play in LA very often. I still play with jazz festivals all over the world. “ However, the toll of the potentially debilitating disease wears heavy on the musical giant. “I can’t really sleep at night. I can still go for walks with my wife and dog, but I have no energy. They discourage me from doing any exercises, as it uses up the nerves that were debilitated during polio. I only have a few of those left, so I should save them. I’d sure like to find a solution.”
If there’s anyone out there that knows of a doctor who specializes in Post Polio Syndrome, please contact this journal, as any information would be helpful. Until then, as Mr. Haden plays on his collection of spirituals, “Nobody Knows The Troubles I’ve Seen.”