Charlie Haden & Hank Jones: Steal Away
Verve 527 249 2
01 – It’s Me, O Lord (Standin’ in the Need of Prayer)
02 – Nobody Knows
03 – Spiritual
04 – Wade in the Water
05 – Swing Low, Sweet Chariot
06 – Sometimes I Feel Like a Motherless Child
07 – L’Amour de Moy
08 – Danny Boy
09 – I’ve Got a Robe, You’ve Got a Robe
10 – Steal Away
11 – We Shall Overcome
12 – Go Down, Moses
13 – My Lord, What a Mornin’
14 – Hymn Medley
14a – Abide with Me
14b – Just As I Am Without One Plea
14c – What A Friend We Have in Jesus
14d – Amazing Grace
Charlie Haden – Bass
Hank Jones – Piano
Produced by Charlie Haden
Recorded at Radio Canada, Montreal, Canada on June 29 & 30, 1994
Recording, mixing and mastering engineer – J. Newland
Assitant recording engineer – Denis Frenette
Assistant mixing engineer – Brian Kinkead
Photographer: Walker Evans.
Wooden Country Church , South Carolina 1936
Church interior, Alabama, 1936
Steal Away was nominated for a 1996 Grammy Award for Best Jazz Instrumental Performance, Individual Or Group. “Go Down, Moses” was nominated for a Grammy for Best Jazz Instrumental Solo.
From the outset of his career with Ornette Coleman, through his work with pianist Keith Jarrett, his own Liberation Music Orchestra and collaborations with the likes of Paul Motian, Hampton Hawes, Chet Baker, Carlos Paredes and Ginger Baker, bassist Charlie Haden has always accorded the spiritual component of music greater importance than its technical considerations.
Haden’s finest work has always focused on the most intimate, humanistic principles: freedom, justice, quality. In pianist Hank Jones, Haden encounters a collaborator and fellow traveller whose musical instincts are every inch as elegant and refined as his own. And in the rich public domain of materials which make up STEAL AWAY, Haden and Jones take on an oral (and moral) tradition of music that has been inspiring listeners since before the time of the underground railroad.
For the most part, Haden and Jones downplay their jazz stylings–“We Shall Overcome” being a joyous exception–in favor of simple expressive declamations, imparting a timeless feel to each performance. On the concluding “Hymn Medley,” for instance, Jones’ unadorned, celestial voicings and harp-like fills set the stage for Haden’s earnest amens and resonant harmonies, to the theme of “Amazing Grace.”
Jones treats the opening “It’s Me, O Lord (Standin’ In The Need Of Prayer)” with modest delicacy, before lifting the tune into a selfless stride groove. Haden’s devotional bass intro to “Nobody Knows The Trouble I’ve Seen” is pure prayer, Jones’ rich chords representing a
reassuring reply, while Haden’s testimonial, “Spiritual,” resonates with the devotion of countless rural congregations–black and white.
liner notes by Maurice Jackson, Charlie Haden and Abbey Lincoln.