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Canada-born pianist/composer David Haney states that the premise for this recording was based upon "spontaneously composed" material, although the artist subsequently replaced piano tracks on three pieces. Haney's resume includes liturgical and chamber works, hybrid jazz/classical improvisations, and music for ballet. This recording features jazz greats Julian Priester on trombone and Han Bennink on drums. The program is segmented into solo piano interludes, ensemble pieces and duets with the pianist and Priester. Haney utilizes rhythmic structures for the basis of his improvisation and thematic fabrications, yet much of the excitement occurs when the leader, Bennink, and bassist Wilbert de Joode mix it up.
It took this writer a while to warm up to Haney's rather choppy chord progressions and often-superfluous statements. An acquired taste for sure, but a lack of continuity surfaces on more than a few occasions, yet there are some heated and curiously interesting moments. In the liners, Haney prefaces the primary intentions of these separately recorded sessions with allusions to atonality and rhythmic underpinnings. Even so, some of these pieces prove to be rewarding where other areas seem a bit hedonistic or aloof.
I love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.