Charlie Haden's Liberation Music Orchestra
Not In Our Name

Premise:
Whenever bassist Charlie Haden feels the need and urgency to politically contest society, he usually gathers the Liberation Music Orchestra (L.M.O.), just as he did back in 1969 with the first and self-titled album of this group. He would do so four more times (plus a live performance in Montreal) over 37 years. The formation and the musicians within it have often changed, but certainly not the intentions of protest and civil commitment. In this case, the bassist enters the studio with the L.M.O. because he wants to express all their dissent against Bush Jr.'s policy, which, in his view (and also in the writer's), does not represent the real America, or rather does not represent the values of democracy; instead, it has become a fundamentalism itself.

Music:
The pieces, due to the above reasons, are all by American composers, aiming to affirm that another America exists, ranging from Dvorak, Ornette Coleman, Barber, Metheny, Ward, McFarland, Frisell to traditional songs and two original compositions.
Haden collaborates (as in all of L.M.O.'s albums) with the talented Carla Bley, who, besides playing the piano, arranges and conducts all the pieces. It is precisely thanks to her wisdom that she manages to give the music a truly exceptional variety and breadth of tones and tempos. The opening composition is "Not In Our Name" by Haden, which, with its Cuban flavor, immediately brings to mind (not by chance) the first album of L.M.O., where alto saxophonist Miguel Zenon stands out with a truly successful solo. The reggae-like "This Is Not America" by Metheny is also splendid.
The long medley "America the Beautiful: America the Beautiful/Lift Every Voice and Sing/Skies of America" is the central episode of the album, encapsulating hope ("America the Beautiful") and leading to an awakening of a (multiethnic) people, highlighted by the last fragment ("Skies of America" by Ornette Coleman).
The last piece I want to mention (though there is not a single drop in tension throughout the album, as all compositions are of high quality) is the beautiful interpretation and reinterpretation (and rewriting) of "Goin' Home," Dvorak's melody from the "New World Symphony," with a crystalline and decidedly 'felt' solo by trumpeter Michael Rodriguez.

Musicians:
Definitely all brilliant, because it is thanks to them that the album's intentions are enhanced due to the high quality of the music.
Worthy of attention (besides those already mentioned) is, of course, Haden, who besides coming up with the project idea, has the merit of digging and shaping the folds of the musical fabric with his bass.
Carla Bley, who not only reinterpreted all the pieces with personality and a richness of colors, reveals herself as an attentive accompanist and capable soloist on the piano. Steve Cardenas with his guitars enhances the sound and rhythmic blends, and finally, the skilled Matt Wilson on drums supports the rhythm with extreme synthesis, precise and vibrant touches.

Prologue:
“Not In Our Name” is an album of social commitment seeking (and finding) its dimension in a universe of feeling, relationship, and dialogue.
In short, an album that exudes humanity, a humanity that can and must still exist, to reconcile with oneself and the world.

HASTA SIEMPRE CHARLIE!