“Silence” is one of Charlie’s most enduring compositions. It first appeared on Keith Jarrett’s 1978 LP Bop-Be, featuring, in addition to Keith and Charlie, saxophonist Dewey Redman, and drummer Paul Motian.
The song is based around a deceptively simple, descending 16-chord round. It works just as well for solo instrument as for large ensemble. Here’s Charlie Haden Liberation Music Orchestra’s version from their 1983 LP Ballad Of The Fallen.
To my father, empty space was always just as important in music as any played musical notes. Seeing a well-read copy of John Cage’s Silence: Lectures and Writings (1966, MIT) in Charlie’s collection makes me question whether the song may have been partly a critical response to Cage’s “4’33””, the elaborate philosophy behind which is enunciated on the cover. I don’t think so, but maybe.
Here are Books Pts. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11.
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All books pictured below are from the collection of Charlie Haden. Solid, Jackson.
Front cover. John Cage, Silence: Lectures And Writings. First paperback edition.1966, MIT. USA. From the collection of Charlie Haden.
Front cover. David Raskin Remembers His Colleagues: Hollywood Composers. Pamphlet. 1995, Stanford Theatre Foundation. USA. From the collection of Charlie Haden.
Front cover. Jerry Coker, Improvising Jazz. 1964, Spectrum. USA. From the collection of Charlie Haden.
Front cover. Police Against Black People. 1979, Institute of Race Relations. UK. From the collection of Charlie Haden.
Front cover. Leroi Jones, Black Music. 1967, Wm. Morrow Apollo Editions. USA. From the collection of Charlie Haden.
Front cover. Frank Kofsky, Black Nationalism and the Revolution in Music. 1970, Pathfinder. USA. From the collection of Charlie Haden.
Title page. Frank Kofsky, Black Nationalism and the Revolution in Music. 1970, Pathfinder. USA. Inscribed to Charlie Haden by Frank Kofsky, 1973. From the collection of Charlie Haden.
Front cover. Mervyn Cooke, Jazz. 1998, Thames & Hudson. UK. From the collection of Charlie Haden.
Interior page. Mervyn Cooke, Jazz. 1998, Thames & Hudson. UK. From the collection of Charlie Haden.
Front cover. Charles L. Robinson, Jazz Idiom: Blueprints, Stills and Frames. First edition. Softcover. 2008, Baytree. USA. From the collection of Charlie Haden.
Interior page. Charles L. Robinson, Jazz Idiom: Blueprints, Stills and Frames. First edition. Softcover. 2008, Baytree. USA. From the collection of Charlie Haden.
Interior page. Charles L. Robinson, Jazz Idiom: Blueprints, Stills and Frames. First edition. Softcover. 2008, Baytree. USA. From the collection of Charlie Haden.
Front cover. Roy Pellett, ed., The Best of Jazz Score. 1992, BBC Publications. UK. From the collection of Charlie Haden.
Flyleaf. Roy Pellett, ed., The Best of Jazz Score. 1992, BBC Publications. UK. Inscribed to Charlie Haden by musician and jazz critic George Melly, undated. From the collection of Charlie Haden.
Front cover. Bill Amatneek, Acoustic Stories. 2003, Vineyards Press. USA. From the collection of Charlie Haden.
Title page.. Bill Amatneek, Acoustic Stories. 2003, Vineyards Press. USA. Inscribed to Charlie Haden by Bill Amatneek, undated. From the collection of Charlie Haden.
Front cover. Enrico Pieranunzi, Bill Evans. 2001(?), Stampa Alternativa. Italy. From the collection of Charlie Haden.
Note from Enrico Pieranunzi to Charlie Haden. 2001. Found in Bill Evans. From the collection of Charlie Haden.
Front cover. Amy C. Beal, Carla Bley. 2011, University Of Illinois Press. USA. From the collection of Charlie Haden,
Title page. Amy C. Beal, Carla Bley. 2011, University Of Illinois Press. USA. Inscribed to Charlie Haden by Amy Beal, 2011. From the collection of Charlie Haden,
Front cover. Jeroen de Valk, Chet Baker. 1991, Oreos. Germany. From the collection of Charlie Haden.
Interior page.. Jeroen de Valk, Chet Baker. 1991, Oreos. Germany. Inscribed to Charlie Haden by Jeroen de Valk, undated. From the collection of Charlie Haden.
Interior page. Jeroen de Valk, Chet Baker. 1991, Oreos. Germany. (l-r) Jim Hall, Charlie Haden, circa 1972. From the collection of Charlie Haden.
Front cover. Uwe Andresen, Keith Jarrett. No publishing date listed, Oreos. Germany. From the collection of Charlie Haden.
Interior page. Uwe Andresen, Keith Jarrett. No publishing date listed, Oreos. Germany. Photo of Charlie Haden, no date. From the collection of Charlie Haden.
Front cover. Ian Carr, Keith Jarrett: The Man and His Music. 1992, Da Capo. USA. From the collection of Charlie Haden.
Front cover. Dan Ouellette, Ron Carter: Finding the Right Notes. 2008, ArtistShare. USA. From the collection of Charlie Haden.
Front cover. Paul Bley with David Lee, Stopping Time. 1999, Vehicule Press. Canada. From the collection of Charlie Haden.
Title page. Paul Bley with David Lee, Stopping Time. 1999, Vehicule Press. Canada. Inscribed by Paul Bley. From the collection of Charlie Haden.
Interior page. Paul Bley with David Lee, Stopping Time. 1999, Vehicule Press. Canada. From the collection of Charlie Haden.
Interior page. Paul Bley with David Lee, Stopping Time. 1999, Vehicule Press. Canada. From the collection of Charlie Haden.
Front cover. Norman Meehan, Time Will Tell: Conversations With Paul Bley. 2003, Berkeley Hills. USA. From the collection of Charlie Haden.
Front cover. Norman Meehan, Time Will Tell: Conversations With Paul Bley. 2003, Berkeley Hills. USA. Inscribed by Paul Bley. From the collection of Charlie Haden.
Front cover. David Meltzer, Harps. 1975. USA. From the collection of Charlie Haden.
Flyleaf. David Meltzer, Harps. 1975. USA. Inscribed to Charlie Haden by David Meltzer, 1982. From the collection of Charlie Haden.
Front cover. Lisa Lieberman Doctor, The Deflowering of Rhona Lipshitz. 2004, Elderberry Press. USA. From the collection of Charlie Haden.
Title page. Lisa Lieberman Doctor, The Deflowering of Rhona Lipshitz. 2004, Elderberry Press. USA. Inscribed to Charlie Haden & Ruth Cameron by Lisa Lieberman Doctor, undated. From the collection of Charlie Haden.
Front cover. Akiko Kitami. 2000, Walter Wickiser Gallery. Pamphlet. USA. From the collection of Charlie Haden.
Thanks--always a favorite Charlie composition go-to in its various forms. I didn't know about (or had forgotten) the Jarrett Quartet version so as soon as I finish typing I'll head there.
Thanks, Josh. I periodically listen to the Music Liberation Orchestra version of this composition, which I love, but I’ve forgotten the Keith Jarrett Quartet version of it, which is also exquisite. TY!
Thanks--always a favorite Charlie composition go-to in its various forms. I didn't know about (or had forgotten) the Jarrett Quartet version so as soon as I finish typing I'll head there.
Thanks, Josh. I periodically listen to the Music Liberation Orchestra version of this composition, which I love, but I’ve forgotten the Keith Jarrett Quartet version of it, which is also exquisite. TY!