A Day For Night At Jack Straw
Artist: David Haney
Date of Release: 01/02/2013
Catalogue no: 2163
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David Haney piano, Julian Priester trombone, Buell Neidlinger bass.
Marc Smason trombone, shofar, Doug Haning contra alto clarinet, Dan Blunck tenor sax and flute, Frank Clayton bass, Juan Pablo Carletti drums.
The CD presents two Sessions recorded 8 years apart in the same studio – Jackstraw Studios, Seattle, USA – by two quite different ensembles, both led by pianist David Haney.
The first three tracks record what was a rare chance encounter and the only meeting of the trio comprising Haney and the two great jazz veterans Julian Priester and Buell Neidlinger.
On the remaining three tracks, recorded 8 years later in 2008, Haney leads a sextet of early members of the Primitive Art Ensemble.
‘Day for Night’ relates to cinematographic techniques for creating illusions of darkness.
01/08/2013 Brian Morton
I was first aware of Canadian pianist Haney working with Priester on a strange Cadence disc called Caramel Topped Terrier, which took some getting used to. They played duo on the subsequent For Sale: Five Million Cash and then in 2006 on a remarkable evocation of Ota Benga of the Batwa, an African man who in the early years of the 20th century was displayed in the Bronx Zoo as proof of our evolutionary descent from the primates.
There is not quite the same darkness about the trio pieces with Neidlinger but Priester’s mournful tone and subdued approach – he’d recently had a liver transplant – give the session a thoughtful and melancholic pitch. The middle piece Lightening (sic) Tooth and Thunder Foot, is wholly improvised, a fascinating blend of deep song on brass, low throbs from Neidlinger and staccato piano interventions. It’s a fascinating dialogue, moderated from the keyboard, constantly shifting. The two composed pieces work the same way. Like everything of Haney’s it repays careful and patient attention.
The later date was also a near disaster. This time there was no drum kit for the planned radio performance and someone had to dash off and find one. Carletti, who I believe is Argentinian, doesn’t swing like a North American player. He blends marching accents, accelerating rolls, free spots and cleverly timed gaps, the perfect accompaniment to Haney’s intriguing conception. The other players are well chosen. Smason is a good stand-in for Priester, Blunck wails and the low clarinet sound fills in the picture just right. The three pieces are organised round tightly coded piani parts that draw on elements of modern composition but still manage to retain something of the mood of a late-night, down-home jam. That’s an extraordinary combination to pull off, but Haney has to be considered some kind of vernacular avant-gardist or high-brow populist. Pick your musical paradox. He has it covered.
Brian Morton Jazz Journal, August 2013
08/07/2013 Angelo Leonardi
David Haney ha diviso la sua carriera artistica tra l'attività di compositore per organici e situazioni di varia natura (musiche liturgiche, per balletti o per film) e quella di pianista in formazioni di ricerca, spesso con esponenti del free storico come Roswell Rudd, Andrew Cyrille e John Tchicai.
Questo disco raccoglie due session effettuate in tempi diversi e con differenti organici, accomunati dallo stesso studio d'incisione di Seattle, che è poi quello citato nel titolo. I primi tre brani sono i meno recenti (2000) e vedono Haney assieme a due giganti con cui ha collaborato in passato: il trombonista Julian Priester e il contrabbassista Buell Neidlinger, che a dispetto dell'età (78 anni il primo, 77 il secondo) restano due strepitosi artisti ancora pienamente creativi.
Il trio si caratterizza per un'esplorazione tanto libera quanto intensa, che potremmo definire cameristica per la ricercatezza delle situazioni in gioco e il pieno controllo della forma. Le successive tracce vedono il pianista a capo di un sestetto registrato nel 2008 - con musicisti meno noti ma d'alto livello - con cui propone una ricerca sempre formalmente rigorosa ma più variopinta, in cui c'è spazio per momenti estroversi, che ricordano le passate stagioni del free.
Un lavoro pregevole.
Angelo Leonardi http://italia.allaboutjazz.com/php/article.php?id=8981
David Haney has divided his career between the activity as a composer for organic and situations of various kinds (liturgical music for ballets or film) and that of pianist in training research, often with members of the free town as Roswell Rudd, Andrew Cyrille and John Tchicai.
This disc collects two sessions taken at different times and with different organic, united by the same recording studio in Seattle, which is the one mentioned in the title. The first three tracks are the oldest (2000) and see Haney along with two giants with whom he collaborated in the past: the trombonist Julian Priester and bassist Buell Neidlinger, who despite his age (78 years, the first, 77 the second ) still have two sensational artists yet fully creative.
The trio is characterized by intense exploration as free as we could define chamber for the refinement of the situations in the game, and full control of the shape. The subsequent traces see the pianist leads a sextet in 2008 - but lesser-known musicians with high-level - which proposes a research always formally rigorous but more colorful, in which there is room for moments extroverted, reminiscent of the free of the past seasons.
A fine work.
01/06/2013 Jack Kenny
"The CD presents two Sessions recorded eight years apart in the same studio – Jackstraw Studios, Seattle, USA – by two different groups, both led by pianist David Haney.
The first three tracks record a trio comprising Haney and two immensely influential musicians: Julian Priester and Buell Neidlinger. On the remaining three tracks, recorded 8 years later in 2008, Haney leads a sextet of early members of the Primitive Art Ensemble.
Priester’s curriculum vitae is astounding in its variety: from Bo Diddley to Sonny Stitt; from Roach to Blakey; from Sun Ra to Hampton. He even worked on Coltrane’s Africa Brass. His six months with Ellington meant that he worked on the New Orleans Suite playing the duet with Booty Wood on Second Line. Neidlinger was first noticed with Cecil Taylor. Subsequently he has worked with Coleman Hawkins, Billie Holiday, Gunther Schuller, Jimmy Giuffre, John Cage, Igor Stravinsky, Frank Zappa, and even Tony Bennett.
Priester dominates the first three tracks. His inventiveness is spellbinding. He stretches out and alternates between the assertive and reflective. All the time he is himself playing in the tightly controlled way that has characterised his career.
David Haney’s piano accompanies more than solos when he plays on the first three tracks. Neidlinger seems to have been recessed in the mix meaning that his tone and timbre does not come over as well as the other two. Strangely Frank Clayton’s bass is much more assertive than Neidlinger was on the earlier tracks. ‘Elephant of Surprises’ has a good shape enabling Marc Smason to build the atmosphere together with drummer Carletti.
Tentative piano from Haney opens ‘Blues Eventually’. Dan Blunck sounding a little like a latter-day Hank Mobley joins the leader and then duets with Smason who is not afraid to explore the deeper notes of the trombone.
The opening rapid pace of the ‘Possession of Foxes’ extends everyone’s technique.
I suppose this is two short albums. The second one gives space to younger musicians to show what they can do. The first three tracks reassure us that Priester in his seventies is energetic, questing and inventive.
Reviewed by Jack Kenny June 2013 http://jazzviewscdreviews.weebly.com/
08/04/2013 Dustin Mallory
Jackstraw, David Haney’s most recent release, combines
the fruits of two recording sessions that took
place nearly nine years apart. Although the personnel
and instrumentation of these sessions differ greatly,
the improvisations and expressive nature of each session
acts as a connecting thread. The other key similarity
between these two sessions is Haney’s drama as a
composer. Haney’s remarkable compositions combine
with sensitive and animated musicians to create a passionate
The musical personalities of the members of the
Priester-Neidlinger-Haney trio serve to make the first
session an automatic attention-grabber. Priester,
known for his work with Philly Joe Jones, Sun Ra, Max
Roach, etc., performs with characteristic beauty. His
rich, warm tone is inviting and his presentation moves
seamlessly between playful and solemn melodies
Neidlinger, a musical veteran on many planes, offers
a rhythmic complexity and maturity not ften heard
on his earlier recordings. A final footnote of interest
from this session is Haney’s prepared piano sounds on
“Lightening Tooth and Thunder Foot.”
The second half of this release takes the listener
on another tempestuous yet regularly rewarding
improvisational excursion. This half displays the
efforts of an exploratory sextet. Although the trio
recordings have a little more musical depth than the
sextet recordings, the sextet is more adventurous in
their efforts to discover the expansive possibilities of
their instrumentation. The odd timbres of Smason’s
shofar and Hanning’s contra alto clarinet give the
performances an added layer of aural intrigue.
Dustin Mallory Cadence, April 2013
02/04/2013 Vittorio Lo Conte
Dopo anni nel cassetto esce su Slam Productions un’incisione del pianista David Haney fatta a Seattle nell’Agosto del 2000 insieme a due veterani della musica improvvisata: il contrabbassista Bull Neidlinger ed il trombonista Julian Priester. È stata una session un pò speciale per una serie di fattori imprevisti. Il trombonista che arriva tardi, poi durante la session deve spostare la macchina creando un piccolo incidente ed infine la decisione di chiudere i microfoni. Eppure, nonostante tutto, sono spuntati tre brani, trentacinque minuti più o meno, molto stimolanti e con degli assoli del trombonista dalla bellezza coinvolgente. Poche le note del piano, il contrabbasso a fare da ancora e Julian Priester ispirato a dare alla musica un qualcosa di sognante e trascendente, un´ispirazione fermata dalle normali incombenze della vita quotidiana. Ha fatto bene la Slam a pubblicare questa session che potrebbe sembrare un´incompiuta, che conserva comunque un suo fascino. Otto anni dopo allo stesso studio ancora una session dello stesso pianista, altri venti minuti divisi in tre brani di un sestetto. Il batterista Juan pablo Carletti, Frank Clayton al contrabbasso, Marc Smason al trombone, Dan Blunck al sax tenore ed al flauto e Doug Haning al clarinetto contralto. Anche qui musica improvvisata con al centro il pianista come protagonista, atmosfere suggestive, lente che in Blues Eventually si infiammano creando una specie di free-blues in cui ognuno dei partecipanti dà il proprio contributo.
Vittorio Lo Conte http://www.musiczoom.it/?p=11371
After years in the drawer out of SLAM Productions engraving of pianist David Haney made in Seattle in August 2000 along with two veterans of improvised music: the bassist Bull Neidlinger and trombonist Julian Priester. It was a session a little bit special for a number of unexpected factors. Trombonist who arrive late, then during the session Buell having to move his car, creating a small accident and finally the decision to close the microphones. Yet, despite everything, have sprung up three pieces, thirty minutes or less, very stimulating and trombone solos by the beauty engaging. A few notes of piano, double bass to do it again and Julian Priester inspired to give the music something dreamy and transcendent inspiration stop the routine tasks of daily life. He has done well to publish the SLAM this session might seem an unfinished, which still maintains its charm. Eight years later, the same study yet of the same session pianist, another twenty minutes divided into three pieces by a sextet. The drummer Juan Pablo Carletti , Frank Clayton on bass, Marc Smasonon trombone, Dan Blunck on tenor sax and flute and Doug Haning the alto clarinet. Here, too, improvised music with the pianist at the center as the protagonist, atmospheres, lens in Blues Eventually they ignite, creating a sort of free-blues in which each participant makes a contribution.
01/04/2013 Bruce Lee Gallanter
DAVID HANEY With JULIAN PRIESTER/BUELL NEIDLINGER et al - Day For
Night At Jackstraw (Slam 541; UK) Featuring the trio of David Haney
on piano and most compositions, Julian Priester on trombone & Buell
Neidlinger on bass plus a sextet with Haney, Marc Smason on trombone,
Dan Blunck on tenor sax & flute, Doug Haning on contra alto clarinet,
Frank Clayton on bass and Juan Pablo Carletti on drums. David Haney
is a Seattle-based pianist with ten discs on the CIMP and Cadence
labels. Legendary trombonist Julian Priester has worked with Mr.
Haney on several previous discs. The trio here works extremely well
together, well-balanced, thoughtful and creative in often subtle
ways. There is a certain gracefulness here, a soft, lovely overall
charm that draws you in. Mr. Priester has a superb sound on his
trombone and is featured with a fine solo at the beginning of
"Lightening Tooth and Thunder Foot", which followed by another
spirited solo by Mr. Neidlinger on contrabass and some spooky
inside-the-piano playing by Mr. Haney. Even when playing quietly,
this trio creates a most sympathetic, hypnotic vibe. The last third
of this disc is the sextet which was led by Mr. Haney. This date was
recorded at the same studio eight years later in 2008. The overall
vibe similar, restrained, free and well woven. I know little about
most of the musicians here except for bassist Frank Clayton from an
obscure date by Marc Levin from 1973 and Argentinian drummer J.P.
Carletti, who is now located in Jersey City and has played at DMG. I
dig this part of the disc since it shows how a six-piece ensemble can
play free and focused without ever screaming or going too far out. -
Bruce Lee Gallanter, Downtown Music Gallery
01/04/2013 Alberto Bazzurro
In un periodo dell'anno tradizionalmente piuttosto avaro di novità discografiche, l'ascolto più significativo—e per più versi sorprendente—è quello dell'ultimo album del pianista californiano David Haney, Day for Night at Jackstraw (Slam), inciso parte in trio nel 2000 e parte in sestetto nel 2008. Il trio, fulminante, vede Haney affiancato da una coppia di gloriosi figuri quali Julian Priester al trombone e Buell Neidlinger al contrabbasso, mentre il sestetto aggiunge due ance e batteria (ma trombone e basso passano in altre mani).
L'intero lavoro, assolutamente unitario a dispetto della forbice cronologica e di organico fra le due sedute (entrambe realizzate nello studio del titolo, in quel di Seattle), è attraversato da un sano gusto sperimentale, sia sulle sonorità che sugli incastri e le dinamiche. Ci sono segmenti più aerei e altri più nervosi, quasi incandescenti, peraltro sempre governati da un aplomb e una lucidità assolutamente invidiabili. Veramente un signor disco. Oltre tutto quasi a tradimento, come detto, visto che almeno a chi scrive il nome di Haney era tutt'altro che familiare.
Alberto Bazzurro http://italia.allaboutjazz.com/php/article.php?id=8761
In a time of year traditionally rather stingy with new releases, listening more significant-and in many ways surprising-is the last album of pianist David Haney California, Day for Night at Jackstraw (Slam), recorded in the trio in 2000 and part of a sextet in 2008. The trio, fulminating, see Haney flanked by a pair of glorious appearing as Julian Priester on trombone and Buell Neidlinger on bass, while the sextet adds two reeds and drums (but trombone and bass pass into other hands).
The entire work, absolutely unified in spite of the chronological gap and coherence between two sessions (both made in the study of the title, in that of Seattle), is crossed by a healthy taste test, both on the sound that anchors and dynamic . There are segments planes and other more nervous, almost incandescent, which are always governed by an absolutely enviable aplomb and clarity. Truly a gentleman disk. On top of that almost by surprise, as I said, since at least the writer's name Haney was anything but familiar.
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