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Live Constructions Vol 2

Artist: David Haney

Date of Release: 26/07/2019

Catalogue no: SLAMCD 597

Label: SLAM

Price: £9.50

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DANIEL CARTER, SAXOPHONES AND TRUMPET
JULIAN PRIESTER, TROMBONE
DAVID HANEY, PIANO
ADAM LANE, BASS
REGGIE SYLVESTER, DRUMS

‘Live Constructions’ is a programme of live studio performances broadcast by WKCR Radio based at Columbia University, New York; SLAMCD 589, also titled ‘Live Constructions’ features the session by Daniel Carter, Hilliard Greene and David Haney recorded November 2017. Almost a year later – October 2018 – Carter and Haney returned to the studio together with Julian Priester, Adam Lane and Reggie Sylvester, this session is preserved here on ‘Live Constructions Volume 2’
Of the earlier CD ‘Live Constructions’ Ken Waxman began his review: “ Nonpareil improvisation from a trio of veteran players Live Constructions affirms that sparkling sonic adornments can be created modestly and with the mostly dulcet tones as well as briefly …”. Bill Donaldson in Cadence ended his review: “the results break through comfort zones and provide the energy of free improvisation that creates memorable jazz moments.”
I believe this second volume sits comfortably alongside the 2017 recording.

 

Reviews

 

30/08/2019 Bruce Lee Gallanter

DANIEL CARTER / JULIAN PRIESTER / DAVID HANEY / ADAM LANE / REGGIE SYLVESTER - Live Constructions Volume 2 (Slam 597; UK) Featuring Daniel Carter on tenor sax & trumpet, Julian Priester on trombone, David Haney on piano, Adam Lane on double bass and Reggie Sylvester on drums. This disc was recorded live for WKCR radio at Columbia University in August & October of 2018. Pacific Northwest-based pianist keeps busy running Cadence Magazine (since 2012) and recording sessions with varying personnel for the Cadence, CIMP and Slam record labels. He has put together an interesting bi-coastal line-up here featuring he & Julian Priester, both from Portland, Oregon, and three longtime members of the Downtown Scene. Mr. Haney has been recording with Julian Priester (From Sun Ra to Herbie Hancock’s Mwandishi Band & beyond) and Adam Lane on several previous sessions.
This long discs is mostly an improvised session aside from a short quote from an old song by Herbie Nichols. The opening piece begins with an infectious galloping groove which goes on for a short while eventually settling down to sombre calm with Mr. Haney plucking the strings inside the piano while Mr. Carter sends out quiet smoke signals on his sax. Although Daniel Carter usually plays many reeds at each session (alto & tenor sax, soprano, flute plus trumpet), he is only listed on tenor here. I do hear him plying soprano on the first couple of pieces. It sounds as if the quartet (without Mr. Priester) is moving in slow motion, sleeping walking ornate least dreaming together. Later the quintet starts to hit their stride as the pace picks up. “Construction Number 9” begins with a soft, unaccompanied solo trombone, slowly building through stark sections, spacious and hypnotic. Sometimes, I wish there were more going on but when I do calm down I realize that this is thoughtful, chamber-like music that is nuanced just right. - Bruce Lee Gallanter, DMG

 

01/08/2019 Chris Baber

I remember Volume 1 of Live Constructions as the album that gave me the most pleasure in 2018, in spite of its brevity. Carter’s appearances on the Free Jazz circuit are more frequent than one may imagine, but of course he is heard with many other leading, free musicians as well as with his own groups; it should be said though that he is not sufficiently recorded.

The sounds he makes are spectacular, yet always sounding so natural, never mind which instrument he has chosen. This current quintet is quite different from last year’s trio, especially perhaps with the trombone’s presence. The album illustrates his ability to successfully investigate the application to his music of various instruments, musicians, musical methodologies and techniques. Most importantly, he does not yield his personal foresight or conception in the execution.

He is also completely diffident, never letting his own cognition, emotion or pride subdue that of his musical associates – always, the music comes first.

His sound overall may seem sober, austere even, but it never fails to present that willingness to be intrepid and impudent even, while he concentrates on his efforts to perfect the matrix of the voices he is working with, rather than to overstate his individual oration.

Trombonist Julian Priester shifts effortlessly between Avant-garde, fusion and hard bop. Not surprisingly, as his debut album was issued on Riverside as long ago as 1960. His list of musicians experienced, either by playing or cooperating/collaborating with them reads like a dictionary of jazz. They may start historically with Bo Diddley and Muddy Waters but continue royally through Sun Ra, Anthony Braxton, Stanley Turrentine, Art Blakey, McCoy Tyner, Blue Mitchell, Max Roach, Booker Little, Lee Morgan, Charlie Haden, Johnny Griffin, Clifford Jordan, Herbie Hancock, Dave Holland, Freddie Hubbard, Duke Ellington and Eddie Henderson. No, that’s not all: Sam Rivers and John Coltrane. His playing has always been malleable and audacious, multifaceted and highly advanced.

This is a thoroughly enjoyable album, one which gives us another much-needed ear onto a remarkably powerful influence on the life of the Avant-garde.

Reviewed by Ken Cheetham https://www.jazzviews.net/daniel-carter-et-al--live-constructions-volume-2.html

 

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