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  • The Montreal Tapes with the Liberation Music Orchestra
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The Montreal Tapes with the Liberation Music Orchestra

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Audio CD, April 27, 1999
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Charlie Haden Biography Born in Shenandoah, Iowa, Charlie Haden began his life in music almost immediately, singing on his parents' country & western radio show at the tender age of 22 months. He started playing bass in his early teens and in 1957, left America's heartland for Los Angeles, where he met and played with such legends as Art Pepper, Hampton Hawes, and Dexter Gordon. In ... Read more in Amazon's Charlie Haden Store

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Product Details

  • Audio CD (April 27, 1999)
  • Original Release Date: April 27, 1999
  • Number of Discs: 1
  • Label: Polygram Records
  • ASIN: B00000ILX5
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #145,467 in Music (See Top 100 in Music)

1. La Pasionaria
2. Silence
3. Sandino
4. We Shall Overcome

Editorial Reviews

Product Description

Almost three decades separate the release of Charlie Haden's Liberation Music Orchestra debut and this set from an almost entirely different band. In truth, however, much of the lineup on this recording dates back to the time Haden recorded Dream Keeper. Recorded in 1989 as part of an eight-day tribute to Haden held at the Festival International de Jazz de Montréal, this hour of music centers on two long suites, "We Shall Overcome" from Dream Keeper, and the more cohesive "La Pasionaria" from Ballad of the Fallen. With Joe Lovano and trumpeters Stanton Davis and Tom Harrell taking either leading melodic roles or remarkable solos, the band isn't wanting for topnotch talent. But once you get to "We Shall Overcome," its loose-formed melange of jazz styles--spread over 37 minutes--comes off a little too cavalierly. It's a party on the stage, to be sure, as you can hear band members reveling in the folksy root melody and the scrappy quote-rich tour of jazz history. It's still a rare treat to hear this band at work, and Haden's solos are in their usually imaginative form. --Andrew Bartlett

Customer Reviews

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Most Helpful Customer Reviews

4 of 5 people found the following review helpful By "jboxer2000" on January 6, 2001
Format: Audio CD
It is clear from the first listening of this album that the reunion of these musicians brought them quite a bit of joy, and that joy sounds off clearly on the tracks of "la passionara" and "We shall overcome". LMO purists will undoubtably remain loyal to the original recordings, but Joe Lavano solo's with passion and Charlie Haden holds court. Seeing that a previous review on this site noted distracting crowd noise, I'd like to comment that the interaction of the crowd adds to the texture of the music. This is definately a reunion concert, and the band holds true to what a reunion should be, a celebration of musical colaberation. This music is both passionate and uplifting, it goes deep, but retains it's effervescence.
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4 of 7 people found the following review helpful By A Customer on January 11, 2000
Format: Audio CD
What happened here? The first two Liberation Music records are excellent, and the rest of the Montreal Tapes series is superb, and there must have been more than one CDs worth of music from this particular gig. If what's on here is the best of the lot, that's a sad commentary.
There are many problems with this record. The band's playing is sloppy and sounds seriously under-rehearsed. The quality of expression in the ensemble and solos is dull for the most part, and, bizarrely enough, the selections have nowhere near the excitement found on the original studio recordings. The best musical moments come on the final jam on "We Shall Overcome," but this also lays the fault of the record bare - other than the social-consciousness title, there seems no reason for selecting that song, since once the melody is played, a long blues jam ensues which has nothing to do with the tune itself, and the good playing here, especially a brilliant solo by Joe Lovano, is constantly interrupted by an overenthusiastic fan too close to the mike who whoops it up, literally, over virtually every note and banal, throwaway gesture. It's irritating enough to make it unlistenable.
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