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Q SESSIONS

Artist: David Haney

Date of Release: 27/01/2017

Catalogue no: SLAMCD 576

Label: SLAM

Price: £12.99

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David Haney piano; Jorge Hernaez bass; David Bagda, guitar.


A double CD release where three composers improvise on two recordings from Argentina in 2015. Haney and Hernaez have worked together regularly since 2002, performing in the USA, Argentina and Chile. Disc One, of the Q Sessions double CD package, is a live recording of this duo at the 2015 Buenos Aires International Jazz Festival. On Disc Two, guitarist David Bajda joins the duo in concert in Mendoza. All the material is spontaneously composed.

David Haney’s fourth SLAM CD release, ‘Q Sessions’, gives an insight into his long standing collaboration with Argentine musicians, in particular Jorge Hernaez.

He writes: “In 2002, I was invited by jazz photographer, Jorge Lardone to perform in concerts throughout Argentina. He wrote to me that I would not get rich off the tour, but I would be treated very well. Fourteen years have passed and seven trips to Argentina have enriched my life and my artistry. The common thread in all of my trips has been my collaborations with bassist Jorge Hernaez. In 2002, we became friends, and over the years we have honed our love of instant composing into an art form. You don't go to Argentina to get famous, you go there to rescue your soul and to rediscover your passion.”

DISC ONE - H DUO
1. ABACADA 7:57
2. Usina Sprint 7:36
3. Twelve Bars/Improv 8:16,
4. Tiempo de Swing 6:42
5. Night Sounding 8:29
6. Song For Julia 3:50,
7. Farewell Flight 3:47
Total running time: 46:39

DISC TWO - HBH TRIO
1. Guiba 7:53
2. Coming Sur 7:30
3. Dajo Half Step 6:30
4. Chronos of Lycea 9:16
5. Tocayo 7:01
6. Vermejo 8:02
7. Resonance 8:21
8. Reflections on a Groove 3:22
9. Incision 4:12
Total running time: 62:14

Composers
All tunes by David Bagda, Jorge Hernaez, David Haney, except Twelve Bars, Herbie Nichols, copyright Roswell Music.

Recording details:
Nov 11, 14, 17, 2016, Teatro Quintanilla, Mendoza Argentina; Usina del Arte, Buenos Aires, Argentina.
Name of sound engineer(s) for recording and mastering.
Jorge Hernaez

 

Reviews

 

01/04/2017 Jason Bivins

Pianist Haney had the good sense to document a pair of encounters with sensitive, resourceful Argentine improvisers. The approach and the results are different on each of these discs, though equally satisfying. I’ve long been a fan of how elegantly Haney can invoke some of his key pianistic influences – Herbie Nichols and Monk most frequently – in even the most abstract contexts, and that kind of balance between the idiomatic and the openended is well on display in the duos with Hernaez, with whom Haney has developed a deep sympathy through their collaborations in recent years. The bassist opens “ABACADA” by oscillating between melancholia and gently scratching pulse, allowing for focus on Haney’s touch and lyricism. Hernaez is really resourceful in his balance of traditional chops (and hear him walk briskly on “Usina Sprint”) and more gnarly textures, as when he joins Haney’s dense chordalism at the outset of “Twelve Bars” and moves through spiky asides and billowy pauses.
Each piece is filled with judiciously used contrasting tempi and textures, ranging from tasty overtones to soft preparations (“Night Sounding”), or from deep register contrast (“Tiempo”) to elusive harmony (“Song for Julia”). Pleasingly, things are even more spacious with the addition of the guitarist. From the opening notes of “Guiba,” the music is patient and exploratory, almost as if it’s building from the sound of wood in each instrument. When the trio hits its stride, I’m reminded very strongly of British free improvisation in places, sometimes perhaps a bit too much, since it ends up sublimating some of the players’ lyrical strengths a bit too much. “Dajo Half Step” gets things going in a different direction, strongly lyrical and contrapuntal. And “Chronos of Lycea” is also satisfyingly emphatic, with slashing bass and choked-tone guitar figures evolving into a lovely pulse and drone section. The more I dug into soft and burnished tracks like “Vermejo,” the greater my impression that Bajda is almost too reclusive as a player, given regularly to soft chordal shapes in the vein of John Russell and Roger Smith. He sounds great when exchanging phrases with Haney on the lyrical “Resonance,” and I wish there were a bit more of that. Still, that’s not a knock on the fine music overall. Jason Bivins, Cadence Magazine, May 2017. http://www.cadencejazzmagazine.com/membersonly/admin/assets/CadenceApril2017.pdf

 

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