{"id":8354,"date":"2017-05-02T17:47:48","date_gmt":"2017-05-03T00:47:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8354"},"modified":"2017-05-02T17:47:48","modified_gmt":"2017-05-03T00:47:48","slug":"charlie-haden-on-first-song","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/05\/charlie-haden-on-first-song\/","title":{"rendered":"Charlie Haden On &#8220;First Song&#8221;"},"content":{"rendered":"<p>To follow yesterday\u00e2\u20ac\u2122s recommendation, here is Charlie Haden with his Quartet West and his composition \u00e2\u20ac\u0153First Song.\u00e2\u20ac\u009d The pianist is Alan Broadbent, the tenor saxophonist Gary Foster, the drummer Larance Marable, the bassist\u00e2\u20ac\u201dof course\u00e2\u20ac\u201dHaden.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/mJGY-LV1fZ8\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">From the Haden-Josef Woodard book (see the previous post), Haden explains to Woodard how \u00e2\u20ac\u0153First Song\u00e2\u20ac\u009d came about.<\/p>\n<blockquote>\n<p style=\"text-align: left;\">So whenever I pick up my instrument, I always try to put myself in that place that nobody\u00e2\u20ac\u2122s ever been: \u00e2\u20ac\u009dIve never heard music before, and this is what it is.\u00e2\u20ac\u009d<\/p>\n<p style=\"text-align: left;\"><strong>Does that idea relate to your song \u00e2\u20ac\u0153First Song?\u00e2\u20ac\u009d<\/strong><\/p>\n<p style=\"text-align: left;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8355\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Charlie-Ruth-Haden.jpg\" alt=\"\" width=\"177\" height=\"200\" \/>Not really. It could, but the title refers to the fact that it was the first song I wrote for my wife, Ruth. That was first recorded on [Quartet West\u00e2\u20ac\u2122s] <a href=\"http:\/\/amzn.to\/2p6qfGf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>In Angel City<\/em><\/a> in 1988. I feel lucky that other people like that song. Stan Getz not only liked the song, but he really liked Ruth, and I cried when I heard it on <a href=\"http:\/\/amzn.to\/2p3EjzG\" target=\"_blank\" rel=\"noopener noreferrer\">his last record<\/a>. You could really feel that he was playing it for her, and for me, too.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>To follow yesterday\u00e2\u20ac\u2122s recommendation, here is Charlie Haden with his Quartet West and his composition \u00e2\u20ac\u0153First Song.\u00e2\u20ac\u009d The pianist is Alan Broadbent, the tenor saxophonist Gary Foster, the drummer Larance Marable, the bassist\u00e2\u20ac\u201dof course\u00e2\u20ac\u201dHaden. From the Haden-Josef Woodard book (see the previous post), Haden explains to Woodard how \u00e2\u20ac\u0153First Song\u00e2\u20ac\u009d came about. So whenever I [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8355,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-8354","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8354","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8354"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8354\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8355"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}