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Live Constructions

Artist: David Haney

Date of Release: 20/07/2018

Catalogue no: SLAMCD589

Label: SLAM

Price: £9.99

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‘Live Constructions’ SLAMCD 589 Barcode: 5028386707820
Daniel Carter Trumpet, Tenor Saxophone
Hilliard Greene Bass
David Haney Piano
WKCR Radio based at Columbia University, New York, broadcasts a weekly Sunday evening show called ‘Live Constructions’ featuring live studio performances recorded specially for the show. The show focuses on new music, bringing together guests from the contemporary scene, often playing together for the first time. On ‘Live Constructions’, 12 November 2017 the Carter/Greene/Haney trio met and performed for the first time; a debut performance preserved here on CD.
David Haney writes: “I have found that some of the best music comes from first encounters.
As per my usual style of collective improvisation - we don't discuss what we are going to play. Just as you wouldn't discuss what you are going to talk about, I see no need to talk about improvised music before or after it is performed. To me we are just talking.”

 

Reviews

 

04/10/2018 Bill Donaldson

While the outrage over the suffering of fellow human beings may lead to distinct images and passions that flow over into musical expression, Haney also was involved in a recording of more relaxed surroundings when he, horn player Daniel Carter and bassist Hilliard Greene walked into the studio of WKCR Radio at Columbia University, picked up their instruments and started playing live whatever came into their minds. That may be an intimidating circumstance for less experienced musicians, especially when they never before performed together, and thus without rehearsals or knowing what concepts the other two may have brought to the session. But the trio, with over a hundred years of combined professional experience, prefer the adrenaline…and the music…that flows from spontaneous performances, which Haney compares to talking. So, WKCR’s Live Constructions program brings together musicians who never performed together for on-the-air musical conversations, thereby providing the thrill of a live broadcast, much as live TV similarly records whatever happens. The live jazz of Live Constructions takes the concept a step further than TV does by eliminating the safety net of rehearsals or props. And that is the thrill of jazz. Carter takes the lead through much of (2) as he alternates between trumpet and tenor sax. That’s not to say that Greene and Haney don’t lead as well, though the volume of sound provided by wind instruments commands attention. Starting their conversations, the members of the newly assembled trio introduce an idea and elaborate upon it in musical discussion. “Construction Number Two” begins with Haney’s tentative three-note mid-register repetition, to which Carter responds on trumpet with another tonal direction. Greene follows along, seeing where the construction is headed, until he develops after the first minute a propulsive thought with variations that animate the rest of the track for improvisation. With Greene’s part of the construction established, Carter is free to enter with floating saxophone lines at ease over the rhythmic pattern. And then the theme changes when Greene switches to arco ascents and descents, to which Carter responds with trills and Haney with spare upper-register embellishments. Haney commences “Construction Number Three” with a rumbling and rippling flight across the entire expanse of the keyboard, and then Greene develops his own solo, a contrast in register and tempo to Haney’s. Yet, Carter’s eventual collaboration on tenor sax provides a calmness after the storm, Desmond-like in his coolness throughout agitation. As if in yet more deliberate contrast, Haney moves into percussive chord clusters as if prodding. Instead, all three agree to end with a quieter secti on of bowed bass, upper-register piano coruscation and almost-melodic sax lines. Carter’s way with long tones and linear development in some of the earlier tracks is relegated on the final track, “Construction Number Five,” only three minutes in length. Instead, he opens with altissimo tweeting and mid-range warbling without structure, an invitation to for Greene to bow descending lines and repetitions. While no doubt, all three musicians were familiar with each other’s previous recordings, WKCR does deserve a great deal of credit for taking chances of this type with its air time. Nonetheless, the results break through comfort zones and provide the energy of free improvisation that creates memorable jazz moments.
Bill Donaldson Cadence Jazz Magazine. October 2018

 

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