Ein ganz anderes Duo, zupackender, weniger intim, aber ebenfalls wundervoll. Die beiden spielen Originals von Hawes („Rain Forest“ klingt wie ein adaptiertes Pop- oder Film-Stück, eine Passage des Themas klingt fast wie „Suicide Is Painless“ aus M.A.S.H.), Ornettes Turnaround und Jule Styne/Sammy Cahns Titelstück, dann folgen zwei Improvisationen. Von Hawes‘ Opener „Irene“ sowie den Stücken von Ornette und Styne gibt es auf der CD jeweils noch Alternate Takes. Die Take-Nummer sind übrigens angegeben, interessant: „This Is Called Love“ und „Hello/Goodbye“, die beiden Improvisationen sind First Takes, „Turnaround“ und „As Long As There’s Music“ zweite (die Alts jeweils die ersten), bei „Irene“ ist der Master der zweite, der Alternate der vierte Take, bei „Rain Forest“ brauchte es drei Anläufe, um zum Master zu kommen – aber ich nehme mal an, keiner der ersten beiden gedieh sehr weit, sonst wäre er wohl auch noch auf die CD gepackt worden.
Aus Hadens Liner Notes zur Erstveröffentlichung auf dem Label Artists House (datiert 28. Dezember 1977, San Francisco):
Hampton Hawes and I have played music together off an on sinde 1957. When Hamp an I recorded this album in January and August of 1976, I didn’t know that it would be the last time we would play music together. Hampton Hawes died of a cerebral hemorrhage in May 1977. His death still doesn’t seem real to me. I feel that I should be able to pick up the telephone, as I have done so many times, and call him in Los Angeles to say that I am flying out for a concert and we should try and get together while I’m in town. In early 1976 I phoned Hamp from New York to ask him if he could record some duets with me for a new album. We had talked about recording duets before and now it would become a reality. This album includes most of the msuic recorded on those days in January and August. Hamp brought some original compositions to the sessions, „Irene“ and „Rain Forest,“ two beautiful songs I had never heard before. We both decided on a favorite standard, „As Long As There’s Music.“ And Hamp expressed a desire to play several pieces entirely improvised to which I have given the titles, „Hello/Goodbye“ and „This Is Called Love“ (based on the chord changes of „What Is This Thing Called Love?“). Most of the music was done in one or two takes. Every time I think back to the recording sessions I get a good feeling inside. Hamp played so beautifully. […] Hamp’s dedication to life and to music had a way of alleviating most of the pressure that one would ordinarily feel in a recording studio. The natural power of his playing made everything so much easier. We were both very happy with the final tapes. […]
Hampton Hawes‘ music will always touch people’s lives. He spoke in very meaningful language, in words as well as music. His aura was one of creative brilliance. And this I do know, his friendship and his music touched my life.
Hawes und Haden hatten sich einige Monate zuvor bei den Sessions zu Art Peppers „Living Legend“ wieder getroffen – und obwohl sie seit Jahren nicht mehr zusammen gespielt hatten, war sofort klar, dass da eine besondere musikalische Verwandtschaft bestand. Doug Ramsey schreib in seinen Liner Notes (es gibt auch einen kurzen Text von Hawes und einen von Ornette Coleman):
These entire sessions, although it produced moments of unalloyed excitement, has the relaxed air only master improvisers can bring to a jazz performance. And the album, like all records of worthwhile music, reveals more with each listening.
[…]
Hawes, after a life packed with disastrous personal low point and glorious artistic peaks, is gone. He never made the charts of popular best sellers, and he was probably discouraged to the point of pain that he was not materially rewarded in proportion to what he knew to be the size of his musical contribution. His legacy in in the music that remains so fresh and alive in the best of his recordings, and in the influence his playing has had upon a generation of musicians. As the years go by, it will become increasingly clear that Hampton Hawes was a major contributor to the jazz tradition.
Ein frommer Wunsch – der wohl leider nie in Erfüllung ging. Eher dünkt mich, Hawes sei beinah völlig vergessen. Sehr schade!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #164: Neuheiten aus dem Archiv, 10.6., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba