Customer Reviews

Liberation Music Orchestra

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4 star:		(1)
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A superb, classic work of musical art bringing into collaboration & communion members of the Jazz Composer's Orchestra & guests for a project dear to Charlie Haden's heart. Weaves together the open, free directions of Ornette with songs written or adapted for use by the anti-facists of the Spanish Civil War. Gato Barbieri's shrieks have rarely sounded more suited to a context. Haden, Don Cherry, Paul Motian, Sam Brown (flamenco guitar) & Roswell Rudd are all standouts, as are Carla Bley's amazing arrangements. A very exciting & moving album, one of the very best of the Sixties. <br
Bob Rixon, WFMU

A legendary album and rightfully so, Charlie Haden's 1969 protest piece, "Liberation Music Orchestra", is one of the essential pieces of music of his era. Assembling an extended cast of musicians to support the music with arrangements by the versatile Carla Bley, the music blends free jazz with folk traditions from the United States and Europe. Along the way, a series of fantastic individual performances underscore just how brilliant the record is.

The record, as all LPs were, was originally two sides, and Bley took advantage of this in the arranging, with the two sides being very different-- opening with a passionate theme (titled just "The Introduction") featuring superb alto playing from Dewey Redman-- this quickly descends into the first folk piece, the Eastern European "Song of the United Front" before moving into a medley of Spanish folk forms. Standout performances from guitarist Sam Brown (who is positively brilliant throuhgout the extended suite) and Don Cherry (whose cornet solo is totally brilliant) threaten to hide the brilliant arrangement-- Bley cleverly interweaves Spanish themes over an "oom-pa-pa" beat implying an Eastern European waltz in the middle of the piece-- the effect is nothing short of stunning. Eventually, her introduction is reprised, again performed with enormous passion and power, leaving one having experienced something stunning and noteworthy.

The second side isn't quite as good, admittedly-- without a unified sound, its more of a straight jazz performance-- with two originals by Haden ("Song for Che" and bass feature "Circus 68 69") surrounding an Ornette Coleman composition ("War Orphans") and an interlude composed by Bley. Don't get me wrong-- the performances are great, its just that the first side is so stunning in its genre blending that with the second side being more or less straight free jazz (if such a thing makes sense), its not quite as exciting. Still, standout solos from tenorman Gato Barbieri and Haden himself highlight the Haden originals. "Summer '68 '69" is interesting in that it quotes a couple patriotic pieces throughout while tenorman Gato Barbieri wails away recklessly, Bley slyly phrases "We Shall Overcome" on organ, hinting at the closer. A stunning performance of that folk theme with trombonist Roswell Rudd positively overwhelming, it really is something to hear.

When it's over, you feel like you've experienced something. Not many records can say that. If you don't have this one and you're reading this, you probably should. Essential listening.

This April 1969 session is the first of the Liberation Music Orchestra.Gato Barbieri,Dewey Redman,Don Cherry,Andrew Cyrille,Paul Motian are there,with Carla Bley,Sam Brown,Howard Johnson,Roswell Rudd,Mike Mantler,Perry Robinson and Bob Nothern.Three tunes were written by Carla: "the introduction","the ending to the first side","the interlude";two by Charlie: "circus '68 '69" and "song for Che",dedicated to Che Guevarra;"song of the united front" is a Hans Eisler's song with words by Bertold Brecht;"we shall overcome" has not to be presented,"war orphans" is by Ornette,and the three remaining tracks,"el quinto regimiento","los cuatro generales" and "viva la quince brigada" are songs from the spanish civil war.In fact,they are old spanish folk songs with lyrics added during the war.This record is as essential as the 1982 "ballad of the fallen" or the 1990 "dream keeper".I had the opportunity of seeing the Liberation Music Orchestra during a concert in France,in the past years, and it will be one of my greatest memories in music.There is a lot of sincerity and humanity in this music, which fights,in his own way, against fascism,and racism,and all kinds of injustice.The Liberation Music Orchestra is one of free jazz's most precious children, and his music will never grow old,because its purpose is sadly always existing.

It's hard for me to think of an album that moves as fluidly from some very structured moments (arranged by Carla Bley) to what sounds to me to be more-or-less completely free group improvisation. This is music that really travels to some different places, and for what Charlie Haden is doing here he has assembled just about the perfect cast of players, which includes Don Cherry, Gato Barbieri, Dewey Redman, and Paul Motian, just to name a few. But the player who really brings this album together for me is a one I know little about - Sam Brown - on guitar. He plays in a flamenco (and jazz) style that works very well in the context of this incredibly intense music.

The melodies are based on folk songs from the Spanish civil war, and, as explained in the liner notes, the group was assembled in 1970 to protest the Vietnam War. Such a explicitly political message is, I think, rare in jazz, but this music is so powerful it just works. Charlie Haden writes in the liner notes, "The music in this album is dedicated to creating a better world; a world without war and killing, without poverty and exploitation; a world where men of all governments realize the vital importance of life and strive to protect rather than destroy it." It's good to see that Charlie Haden has brought together a new incarnation of this group to protest the foreign policy of George W. Bush. The Liberation Music Orchestra create then and now important music with a timeless message that exists outside mainstream commercial concerns.

This is great, post-avant gaurd Impulse jazz from Charlie Haden, who was one of Ornette Coleman's bass players.

Though on Impulse and containing free jazz elements, this is from 1969, when a lot of free jazz musicians started intigratinng the form with other styles of music.

This album contains a Spanish feel, with spanish guitar, and lots of Iberian flavored horns. Don Cherry, Carla Bley, Roswell Rudd, many top, second wave avant musicians are on this album.

Free Jazz fans will like this, but the real grabber is the Spanish spice.

Viva Charlie for standing up to the Portugese dictatorship ...not too long ago !!!!

This recording is so relevant... it was a melting pot of talents working on a vision, in wich the most sincere artistic interest was present to document with notes, chords and beats a statement that's is very big and influencial, yet never pretensious or susceptible of becoming dated or even imitated.

This was really a labor of love in wich one can easily forget the pure energy and magnitude of the performances, the meticulous selection of the material and the beautiful balance between structure and improvisation... very few times as flawless, pure and easy to listen as this.

Haden provides here glimpses of a brilliant band leader, where it is evident the genius that touched this group of brilliant performers to produce such powerful work on an unlikely huge tapestry of concept.

This is a true jazz concept album... if the term was commonplace.

but with no nonsense, no gimmicks, but a lot of concept to it.

Freedom music at it's best.

The sample segments on the website are misleading. Virtually every cut on the CD is very dissonant... not what I would have expected from the website sampler.