Whilst I am a big fan of Charlie Haden’s playing, I must confess that my initial reaction to news of the release of Tokyo Adagio was one of cynicism. After all, the bass player clearly relished the intimacy of the duo format, and we have so many recordings of him playing this way – the most recent being Last Dance (2014), recorded with Keith Jarrett, and the posthumously released Charlie Haden and Jim Hall, which was also released last year. And whilst I admire the playing of the Cuban pianist, Gonzalo Rubalcaba, there are numerous recordings of the two of them playing together, including The Montreal Tapes and Land Of The Sun. I’m pleased to say that my cynicism was entirely misplaced, and this is another welcome addition to Haden’s long discography.
Haden first met the twenty-three year old Rubalcaba at EGREM, the national record label of Cuba, back in 1986. Rubalcaba had heard Haden’s playing on the radio, and they formed a bond that went beyond music. “Our connection was about love, for the music and for our families, and for each other,” the pianist fondly recalled.
In the years that followed, Haden took the younger musician under his wing, encouraging the late Bruce Lundvall to sign him to Blue Note Records. The two musicians recorded for the first time at the Montreal Jazz Festival in 1989, although the album was not released for several years, and again at the Montreux Jazz Festival the following year, where they were accompanied by drummer Paul Motian. The latter was released under Rubalcaba’s name as Discovery, and was hailed by the All Music Guide as one of the most exciting major label debuts of the era.
America’s embargo on Cuba limited the number of times they could work together, but they teamed up again for both Nocturne (2001) and Land Of The Sun (2004), both of which won Grammy Awards. Tokyo Adagio was recorded at the famous Blue Note Club in Tokyo at a four-night residency in March 2005. Haden was suffering from aspiration pneumonia at this time, which plagued him in later years, and limited his travel. Nevertheless, he was keen to reunite with his protégé, and continue to explore music with him in such an intimate setting. The CD was named by Haden’s widow, Ruth Cameron, who also co-produced the album. In the liner notes, she reveals that title came from her husband’s love of the slow movements in classical music.
The album opens with the yearning En La Orilla Del Mundo (The Edge Of The World), a romantic ballad composed by Rojas Martin that originally appeared on Nocturne. This is followed by My Love And I, a David Raksin tune from the movie The Apache. This tune was also recorded by Coleman Hawkins, and was one of Haden’s favourite tunes, appearing on two of his Quartet West albums, Always Say Goodbye and Sophisticated Ladies. The tempo is raised slightly for When Will The Blues Leave, an Ornette Coleman tune that appeared on Something Else, which features an elegant solo by Haden. Sandino featured on the Liberation Music Orchestra album, Dream Keeper, and sees Rubalcaba’s delicate touch underpinned by a steady pulse from Haden.
The delicate Solamente Una Vez (You Belong To My Heart), from Land Of The Sun, is quite exquisite, before the duo close with Transparence, again from Nocturne.
The title Tokyo Adagio seems appropriate, as this album leans heavily on ballads, but it never feels one-paced. Rather one is grateful for the opportunity to listen to two old friends catching up in the hushed intimacy of the Blue Note in Tokyo, the scene of so many wonderful concerts over the years. Indeed, this recording may well be their finest collaboration we have yet heard. Now I find myself cynically hoping there’s a second volume of recordings scheduled for release in the near future.
