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DOLPHY'S HAT
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SLAMCD 549
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PRIMITIVE ARKESTRA, DIRECTIONS IN MUSIC BY DAVID HANEY
The CD presents a collection of recordings by ‘Primitive Arkestra' from 2008 and 2013 in quartet to 12 piece, all directed by pianist/conductor David Haney.
David writes: "This live CD is a collection of improvised works for large ensemble. The musical groups vary on most selections, offering a snapshot in time of the life of Primitive Arkestra. Julian Priester, Roy Campbell, Steve Swell, Adam Lane, Frank Clayton are but a few of the amazing artists included. A few of the pieces were conducted by me, others I directed from the piano. The themes are simple and secondary to the forms. In setting up the pieces there were no rehearsals, and the instructions were intentionally kept to a minimum. This album is dedicated to the many members who contributed so much. Special thanks in memory of the late Roy Campbell. The Arkestra was blessed with his presence and performances at the I-Beam in Brooklyn, NY for the 2013 Cadence Fest. Thanks Roy!"
The collective personnel is: David Haney piano, conductor, Julian Priester trombone, Steve Swell trombone, Marc Smason trombone, shofar, digerydoo, Frank Clayton bass, Oleg Ruvinov tuba, Nadya Kadrevis drums, Rosalyn DeRoos clarinet, Doug Haning contra alto clarinet, Michael Wimberly drums, Matt Cercily mandolin, Dan Blunck tenor sax, flute, Roy, Campbell flute, trumpet, Juan Pablo Carletti drums, Adam Lane bass, Blaise Siwula sax, David Bindman sax, Avram Ferver sax, David Arner piano, Liam Sillery Trumpet, Bob Reina Piano Chris Jones Bass, Mark Flynn Drums, Jack DeSalvo cello, Matt Lavelle trumpet, Nora McCarthy voice, John Murchison bass, Stan Nishimura trombone, Diana Wayburn flute, Frankie Wilson tenor sax, Constance Cooper piano.
Also available through all digital outlets, including:
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Details
Reviews
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Track details: Rutless Opening (Haney) 1:56 Leopard's Boulevard (Haney) 3:14 L. T. Ruckus (Haney) 2:58 Freedom Thirty-five (Haney) 5:45 Conflagration (Haney) 4:08 Kicking the Tin Can Alley (Haney) 8:40 Sir Drips a Lot (Haney) 2:43 Desolate Row (Haney) 5:43 Dolphy's Hat (Haney) 15:26 Nina Rota Letter to Fellini (Haney) 9:34 Remembering Uncle Two Brains (Haney)11:18 Date and place of recording. The Royal Room, Seattle, WA February 17, 2012 Jackstraw Studios, Live recording for Sonarchy Radio, KEXP
When dealing with large ensembles and shifting personnel, it strikes me that two qualities are essential to a
successful recording: lots of space and good fidelity. Of course, it goes without saying that you need smart
charts as well. Haney has set up a bunch of fine features that seem to take in the craggy post-bop of the
album’s honoree and situate them for advanced large ensemble improv. And these recordings – culled from
several years of live shots, featuring groups ranging from quintets to those numbering in the double digits –
sound damn good.
Most of the groups feature quite nimble rhythm sections, and this puts the spotlight nicely on the spiky and
inquisitive piano often heard (usually, but not always Haney himself) and the abundance of great horn work,
alternating between texture and avian post-bop lines. "Leopard’s Boulevard" is a fine example of this union, as
is "L.T. Ruckus," with its spacious and drifting horns, and loads of textural variety (I particularly liked the
contrast between Campbell’s flute, Lane’s groaning low end, and Swell’s puckish mute work). The title track
opens with a kind of ominous feel woven through layered tempi, with all the low brass on board and a nice
changeup element in Sircely’s mandolin (which sounds great alongside Ruginov’s tuba on "Remember Uncle").
The musicians play admirably, leaving tons of space as they move between different pulse-based areas. The
taught "Conflagration" has Haney conducting and Arner dropping bagatelles amidst Swell, Lane, Siwula, and
Bindman. The pieces range from probing mid-tempo swing abstractions (like "Kicking") to textural essays (like
the droning "Desolate Row," with subtle vocals from McCarthy) in a rich, detailed and satisfying release overall.
Jason Bivins
CD review from Volume 40, No. 1: January issue
www.cadencemagazine.com
David Haney Trio – DAY FOR NIGHT AT JACKSTRAW: There are actually two recordings here featuring some great jazz/improv piano work from David & a host of players. Pieces like "Blues Eventually" and "Elephant of Surprise" feature Marc Smason on trombone, shofar; Doug Haning doing contra alto clarinet, Dan Blunck playing tenor sax and flute, Frank Clayton on bass, Juan Pablo Carletti doing drums… the music is on the outer edge of the comfort zone for "normal" jazz listeners… of course, none who read this magazine fall in that category, I suspect, so you’ll fall in love with it right away! The other three tracks were recorded in (about) 2000, and featured Julian Priester doing trombone, Buell Neidlinger on bass in concert with David’s keyboards. My personal favorite on this one was the lively & rambunctious (yet subtle) "Khartoum"… a great adventure for dedicated jazz listeners everywhere. I give David & crew(s) a MOST HIGHLY RECOMMENDED, with an "EQ" (energy quotient) rating of 4.98. Get more information at the SLAM Productions label site for this CD. Rotcod Zzaj http://rotcodzzaj.com/?page_id=5603
Pianist DAVID HANEY's music is also an adventure as DAY FOR NIGHT AT JACKSTRAW [Slam 541] will attest. This recording comes from two sessions; a 8/22/00 date with Julian Priester [tbn] and Buell Neidlinger [b] and a 5/24/08 date with Doug Haning [clt], Dan Blunk [ts/flt], Marc Smason[tbn], Juan Carletti[dms] and Frank Clayton[b]. More than that I won't say as having championed David's work for over a decade and having produced over a dozen records with him on the Cadence Jazz Records, CIMP and CIMPoL labels I would be justifiably suspect. I'll simply say give him your attention. Zim Tarro Cadence October 2014
"Directions in music by David Haney" reads the subtitle for this release, but considering the co-operative, sometimes egoless nature of the music it sdems inappropriate to attribute it to an individual. Above all else this music is made from the sounds of people working together. Being predominantly free or near-free, perhaps the main issue is whether or not the music has any distinction in a field that's hardly thin on record.
For this reviewer there were times when both an early edition of the Spontaneous Music Ensemble and the trio Iskra 1903 sprang to mind, but that might say more about my state of mind than anything else. Remember Uncle Two Brains features a sonic palette enhanced considerably by the didgeridoo's presence and Matt Circely's mandolin, both of which further subvert music already at odds with the ever-increasing and often banal mainstream.
Haney the pianist is arguably one of the very few musicians to have come to terms with Cecil Taylor's galvanic influence, and to the point where he has, as it were, gone so far out that he's in again. His work on Kicking The Tin Can Alley certainly suggests this.
Nic Jones Jazz Journal, Sept 2014.
Primitive Arkestra is subtitled "Directions in Music by David Haney," who is the pianist and leader of the ensemble that includes a rotating team not limited to Julian Priester/tb, Rosalyn DeRoose/cl, Marc Smason/tb-digerydoo, Frank Clayton/b, Roy Campbell/fl, Adam Lane/b, Matt Lavelle/tp, Frankie Wilson/ts and Frank Clayton/b. The material is culled from various concerts from 2008 to 2013 in Washington and New York states. The pieces range from under two minutes as on the rubato "One"Rutless Opening" and reach as far as over 15 as in the deeply swinging and happily pulsating "Dolphy's Hat" which includes some wonderful moments with Clayton ‘s bass, Priester's norn and DeRoos' stick. Other shorter pieces such as the chirpy "L.T.Ruckus" and the pulsating and restless "Leopard's Boulevard" have some wonderful ensemble moments along with the late Roy Campbell's flute on the former, while long and anguished tones dominate "Desolation Row." Free, but with minimal cacophony to distract. George W Harris. Jazz News July 2014
This album is an archive of recordings by Primitive Arkestra made between 2008 and 2013.The band varies from quartet to 12-piece and is conducted or directed by David Haney piano. This is free music in that there were no rehearsals and very few instructions, the music changing at each performance. David Haney wrote the compositions, but what happens at each playing belongs, so to speak, to individual musicians and the collective effort. Haney's approach very much allows the players to contribute the maximum imagination, ingenuity and inspiration to their individual roles and this enhances both the author's opus and the cooperative overlay. Don't go looking for tunes; rather bask in warm currents and gentle winds, restrained discourse and background colours which are intense but a little under-focused. It's gorgeous. Reviewed by Ken Cheetham http://jazzviewscdreviews.weebly.com/
La musica presentata su questa nuova pubblicazione della PrimitiveArkestra è opera del compositore e pianista americano David Haney ed è una raccolta di brani che cambiano ogni volta laformazione, registrati in club o allo Jackstraw Studio nel corso deglianni, nel 1998 quelli in studio e nel 2013 gli altri. Risiede aPortland, nell´Oregon, ma lui dimostra lo stesso di essere moltoaggiornato su quello che succede nel jazz odierno,appunto nei concerti tenuti nei club di New York e qui registrati.La sua Arkestra è una formazione collettiva e come tale tiene atenere un profilo basso dei solisti privilegiando il dialogo ed unamusica che si sviluppa nell´insieme. È l´autore delle composizioni, male idee che spuntano durante l´improvvisazione sono del gruppo in quantotale. Ci sono i suoi musicisti preferiti, il trombonista Julian Priesterad esempio, oppure il compianto trombettista Roy Campbell. La suaversione dell´avanguardia procede in modo pensoso, lento, allo stessotempi ricca di colori, di dialoghi sottili fra i musicisti, di ritmi chedettano il percorso e che permettono alle idee di germogliare esvilupparsi. Anche in brani dal titolo apparentemente chiaro come Nina Rota Letter to Fellinici si attiene a quello che è ilmarchio di fabbrica senza andare a scomodare le famose melodie chehanno accompagnato i film del regista italiano. È un brano che si snodalento, con i fiati, Blaise Siwula e Avram Fefer ai sax e Steve Swell altrombone, che borbottano quieti, fino a che il tutto si dirige versoun collettivo free in cui la ritmica di Michael Wimberly alla batteria eAdam Lane al contrabbasso gioca un ruolo decisivo insieme al pianofortedel leader. È uno dei brani più interessanti della raccolta, riccacomunque di validi spunti, che mostra come Haney riesca a coinvolgere imusicisti estraendone il massimo in termini di creatività. Il suo modo digestire la libertà, di mettere insieme composizione ed improvvisazionepermettendo che entrambe usufruiscano dei vantaggi dell´altra, èoriginale, senza troppi sguardi al passato, bensì solo al futuro. Imusicisti coinvolti sono: David Haney piano, direzione, Julian Priestertrombone, Steve Swelltrombone, Marc Smason trombone, shofar, digeridoo, Frank Claytoncontrabasso,Oleg Ruvinov tuba, Nadya Kadrevis batteria, Rosalyn DeRoos clarinetto, DougHaning clarinetto contralto, Michael Wimberly batteria, Matt Cercilymandolino, Dan Blunck sax tenore, flauto, Roy Campbell flauto, tromba,Juan Pablo Carletti batteria, Adam Lane contrabasso, Blaise Siwula sax,DavidBindman sax, Avram Ferver sax, David Arner piano, Liam Sillery tromba,Bob Reina piano, Chris Jones contrabasso, Mark Flynn batteria, JackDeSalvo violoncello,Matt Lavelle tromba, Nora McCarthy voce, John Murchison contrabbasso, StanNishimura trombone, Diana Wayburn flauto, Frankie Wilson sax tenore,Constance Cooper piano.
Vittorio Lo Conte http://www.musiczoom.it/?p=18726
TRANSLATION
The music presented on this new publication of Primitive Arkestra is the work of American composer and pianist David Haney and is a collection of songs that change with every performance, recorded in the club or Jackstraw Studio over the years, in 1998 and those in the study the other in 2013 . He lives in Portland, Oregon, but he shows the same to be very up to date on what's happening in jazz today, just in concerts held in the clubs of New York and recorded there. His Arkestra is a collective assembly and as such it takes to keep a low profile soloists favoring dialogue and music that developed in the collection. He is the author of the compositions, but the ideas that pop up during the improvisation are of the group as such, including our favourite musicians, trombonist Julian Priester for example, or the late trumpeter Roy Campbell. His version of the vanguard proceeds thoughtfully, slowly, at the same time rich colors, subtle dialogue between musicians, rhythms that dictate the way and allow ideas to germinate and grow. Even in apparently clear from the title songs like Nina Rota Letter to Fellini we stick to what is the trademark without bothering to go to the famous melodies that accompanied the films of Italian director. It's a track that winds slow, with the horns , Blaise Siwula and Avram Fefer sax and Steve Swell on trombone , who mumble quiet until the everything is directed towards a collective in which the free rhythm of the drums and Michael Wimberly Adam Lane on bass plays a decisive role together with the leader on piano . It is one of the most interesting pieces in the collection, however full of valuable insights, showing how Haney is engaging musicians extracting the maximum in terms of creativity. His way of handling the freedom to put together composition and improvisation by allowing both, enjoy the advantages of the other, is the original, without too many looks to the past, but only to the future. The musicians involved are: David Haney plan , direction, Julian Priester trombone , Steve Swell trombone, trombone Marc Smason , shofar , digeridoo , Frank Clayton bass, Oleg Ruvinov tuba, Nadya Kadrevis battery , Rosalyn DeRoos clarinet, alto clarinet Doug Haning , Michael Wimberly battery , Matt Cercily mandolin, Dan Blunck tenor sax, flute, flute Roy Campbell, trumpet, Juan Pablo Carletti battery, Adam Lane bass, Blaise Siwula sax, sax David Bindman , Avram Ferver sax, piano David Arner, Liam Sillery's trumpet, Bob Reina piano, bass Chris Jones, Mark Flynn, drums, cello Jack DeSalvo, Matt Lavelle, trumpet, Nora McCarthy's voice, John Murchison bass, trombone Stan Nishimura, Diana Wayburn flute, tenor sax, Frankie Wilson, Constance Cooper piano.
Il rimando a due iconoclasti DOC quali Eric Dolphy e Sun Ra già ci avvicina al cuore questo album (in realtà c’è anche Nino—ribattezzato Nina—Rota), la cui natura parrebbe squisitamente orchestrale (e non di rado le sonorità, e lo stesso impianto, procedono in tal senso), mentre si tratta della raccolta di undici pezzi registrati nell’arco di un quinquennio (2008/2013), coinvolgendo sì una trentina di elementi, però scissi in organici che svariano per lo più dal sestetto all’ottetto, con un quartetto ("Sir Drips a Lot") e un unico brano ("Desolate Row," e chissà se qui c’entra Bob Dylan?) di fatto orchestrale.
Ildeus ex machinadi tutta la storia è il cinquantanovenne pianista e compositore californiano David Haney, collaborazioni con Roswell Rudd, John Tchicai e Andrew Cyrille (fra gli altri), oltre che, ripetutamente, con Julian Priester, non a caso largamente presente anche in questo lavoro, in cui spicca la bellezza degli insiemi (tranne qualche raro sfilacciamento), di regola corporei, spesso increspati, distesi su brani che svariano dai due minuti scarsi al quarto d’ora abbondante (latitletrack), con l’apporto dei singoli sempre governato dalla logica d’insieme
Alberto Bazzurrohttp://italia.allaboutjazz.com/primitive-arkestra-dolphys-hat/
TRANSLATION
The reference to two iconoclasts such as Eric Dolphy and Sun Ra already brings us closer to the heart of this album (in fact there is also dubbed Nino - Nina- Rota), the nature of which seems purely orchestral (and often the sounds, and the the same premises, shall do so), while it is the collection of eleven tracks recorded over a five-year period (2008/2013), involving thirty elements yes , but broken down into organic that range mostly from the sextet to octet , with a quartet (" Sir Drips Lot ") and one song (" Desolate Row" and I wonder if Bob Dylan got to do here ?) actually orchestral .
The deus ex machina of all history is the cinquantanovenne Californian pianist and composer David Haney, collaboration with Roswell Rudd, John Tchicai, and Andrew Cyrille ( among others), as well as, repeatedly, with Julian Priester, not surprisingly widely present in this work, which features the beauty of the sets ( except for some fraying rare ), as a rule body, often crinkled, lying on tracks that range from two minutes to the poor quarter of an hour filling ( the title track ), with the contribution of individual always governed by the logic of the whole
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