Charlie Haden and Hank Jones' latest album, "Come Sunday" proves simplicity often says it best. Both jazz artists have enjoyed incredibly rich careers that have included collaborations with some of the most famous musicians of the 20th century, ranging from giants like Keith Jarrett and Ornette Coleman to "Cannonball" Adderley and Tony Williams.
Given the dynamic and often dramatic nature of their output, the duo's latest album "Come Sunday" shows an entirely different side of these renowned players. "Come Sunday" is a soft-spoken, modestly rendered album of folk hymns and spiritual songs that lets Haden and Jones relax and deliver some of the most elegant music they've made in years. Both musicians take a departure from the more involved, esoteric aspects of their craft to show how simple folk songs can shine without the technical wizardry often associated with contemporary jazz.
One of the biggest assets of the album is the duo's succinct interpretation of these classic folk and gospel songs. No track on the album runs longer than four-and-a-half minutes, constraining the musicians and squeezing the most poignant musical statements from them. Haden and Jones' honed melodic sensibilities let them deliver genuinely moving performances in under two minutes, as they do on "Deep River," a gorgeously simple gospel song that Jones wisely treats without ornamentation or excessive elaboration.
Since there are only two musicians on the album, the interplay between them becomes all the more important. Thankfully, decades of work as sidemen have made Jones and Haden exceptionally responsive players, letting them juggle soloing and supporting roles without any loss of communication. The dynamic duo is an exceptional platform for this communicative power. Without a drummer, Haden and Jones are free to play with the tempo and feel of the song with greater freedom, resulting in some exciting interplay between the two.
Examples of the synergy between Haden and Jones are found throughout the album. Haden's subtly melodic bass lines on the opening track, a cover of "Take My Hand Precious Lord," reflect a thorough understanding of the classic song and Jones' unique interpretation of it. Jones' honest, uncomplicated voicing of the chords gives Haden a broad canvas for his bass work. While neither musician really gets the chance to stretch out given the short track lengths, their dynamic interplay gives them freedom in even the shortest solo sections or melodies.
When Haden and Jones open up on more upbeat tracks like "Give Me That Old Time Religion," they reveal their bop vocabulary and the dynamism generated with quicker tempi. Jones' solo epitomizes many of the hallmarks of gospel music, mixing playful and spirited phrasing with joyous melodies and an often percussive delivery. Haden's supportive bass work puts the fire underneath Jones while maintaining the lyrical quality that has made Haden one of the most sought-after upright bassists in jazz.
A few more up-tempo selections like "Give Me That Old Time Religion" could have given "Come Sunday" a more varied flow as an album. However, the vast majority of the tracks are introspectively paced, a choice that saturates the album with a particular vibe that, while highly enjoyable, leaves the listener wanting more variety. This dissatisfaction comes not from the individual songs themselves, which are beautifully performed, but the way they run together.
With each successive, similarly paced gospel song, it becomes harder to appreciate each song's content and easier to glaze over the mood of the album as a whole.
However, such a criticism is aimed more at the goal of the album than at the quality of the music itself. Jones and Haden could have played bebop standards for half of the album if they wanted something overtly energetic. The fact that they chose not to only points to the album's modest aesthetic aspirations. With this in mind, one can hardly fault the duo for achieving their goal.
"Come Sunday" is a breath of fresh air for many fans of jazz that, unlike many contemporary jazz players, are not always interested in pushing the boundaries of technique and musicality. Sometimes hearing the simplicity of the tunes without drastic reharmonizations or quirky rhythmic embellishments is the most satisfying. For anyone who wants to get back to the roots of gospel and spiritual music, "Come Sunday" is just the ticket.
