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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 anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.