Problem: Charles Edward "Charlie" Haden (August 6, 1937 - July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his deep, warm sound, and whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet. Haden revolutionized the harmonic concept of bass playing in jazz. About him, German musicologist Joachim-Ernst Berendt commented, "His ability to create serendipitous harmonies by improvising melodic responses to Coleman's free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing.

In addition to his lyrical playing, Haden was known for his warm tone and subtle vibrato on the double bass. His approach to the bass stemmed from his belief that the bassist should move from an accompanying role to a more direct role in group improvisation. This is particularly clear in his work with the Ornette Coleman Quartet where he frequently improvised melodic responses to Coleman's free-form solos instead of playing previously written lines. He frequently closed his eyes while performing, and assumed a posture in which he bent himself around the bass until his head was almost at the bottom of the bridge of the bass.  In an interview with Haden, pianist Ethan Iverson noted that Haden's "combination of folk song, avant-garde sensibility, and Bach-like classical harmony is a stream in this music just as distinctive as Thelonious Monk or Elvin Jones."  Haden owned one three-quarter-sized bass, and one seven-eighth-sized bass. The larger bass is one of a small number of basses made by Jean-Baptiste Vuillaume, a French luthier, in the mid-nineteenth century. He greatly valued this bass, playing it only at recording sessions and jobs in close proximity to his home so as not to risk damaging it in transit. He attributed the bass's special and valuable nature to the varnish used by Vuillaume, which is similar to Italian varnish.  Haden suffered from tinnitus, a ringing in both ears that he believed he acquired from constant exposure to playing in proximity to drums, and possibly from an extremely loud concert in which he played during the late 1960s. He also suffered from hyperacousis, or sensitivity to loud noises. As a result, when he played with a drummer, he had to play behind a Plexiglass divider.  "American Quartet" pianist, Keith Jarrett, said of Charlie's way of playing, "He wanted to relate to the material in a very personal style all the time. He wasn't somebody to get into a groove and just enjoy it simply because it was a groove".

What genre did Haden play?

Answer with quotes: "combination of folk song, avant-garde sensibility, and Bach-like classical harmony


Problem: Joy Division were an English post-punk band formed in 1976 in Salford, Greater Manchester. Originally named Warsaw, the band consisted of singer-songwriter Ian Curtis, guitarist and keyboardist Bernard Sumner, bass player Peter Hook and drummer Stephen Morris. The band was formed by Sumner and Hook after attending a 4 June 1976 Sex Pistols concert at the Lesser Free Trade Hall in Manchester. While Joy Division's early recordings were heavily influenced by early punk, they evolved a unique sound, aided by producer Martin Hannett, which earned their reputation as pioneers of the post-punk movement.

Joy Division toured Continental Europe in January 1980. Although the schedule was difficult and demanding, Curtis experienced only two grand mal seizures, both in the final two months of the tour. That March, the band recorded their second album, Closer with Hannett again producing at London's Britannia Row Studios. That month they released the "Licht und Blindheit" single, with "Atmosphere" as the A side and "Dead Souls" as the B side, on the French independent label Sordide Sentimental.  A lack of sleep and long hours committed to the bands' activities destabilised Curtis's epilepsy, and resultingly, his seizures became almost uncontrollable. Curtis would often experience seizures during live performances, which would leave him feeling both ashamed and depressed. As the band worried about their singer, some audience members thought his seizures and behaviour were simply part of the show. On 7 April, Curtis attempted suicide by overdosing on his anti-seizure medication; phenobarbitone. The following evening, Joy Division were scheduled to play a gig at the Derby Hall in Bury. Curtis was too ill to perform, so at Rob Gretton's insistence, the band played a combined set with Alan Hempsall of Crispy Ambulance and Simon Topping of A Certain Ratio singing on the first few songs, with Curtis singing for part of the set. When Topping came back towards the end of the srt, some audience members threw bottles at the stage. Curtis's ill health lead to the cancellation of several other gigs that April. Joy Division's final live performance was held at the University of Birmingham's High Hall on 2 May, and included their only performance of "Ceremony", one of the last songs written by Curtis and later recorded by New Order as their first single.  Hannett's production has been widely praised. However, as with Unknown Pleasures, both Hook and Sumner were unhappy with the production. Hook said that when he heard the final mix of "Atrocity Exhibition" he was disappointed that the abrasiveness had been toned down. He wrote; "I was like, head in hands, 'Oh fucking hell, it's happening again. Unknown Pleasures number two...Martin [Hannett] had fucking melted the guitar with his Marshall Time Waster. Made it sound like someone strangling a cat and, to my mind, absolutely killed the song. I was so annoyed with him and went in and gave him a piece of my mind but he just turned round and told me to fuck off".

Did they produce an album in this time?

Answer with quotes:
That March, the band recorded their second album,