| After having successfully recorded David Haney (b. 1955, Fresno, CA) last summer, David and I immediately began to discuss further documentation. I felt, from having worked with him on a number of projects, David’s original approach to pure improvising was to an extent established and that, in an effort to show his other dimensions, it might be rewarding to hear his approach to dealing with early 20th Century (popular) music. To further illustrate, I gave him a list of 20 or so pre-1930’s tunes to investigate. The idea appealed to him (David’s untainted approach to improvisation is also very unrestricted by any social or artistic dogma). Next we set about addressing in what grouping this might flourish… Adam Lane (b. 1968, Brooklyn, NY) had been the bassist on the August 2005 trio session (with Julian Priester), and was a splendid fit. In addition, Adam had worked with some of David’s collective groups out in the Pacific Northwest so his name was immediately in play, dependent of course on whether we would even use a bass. We toyed with various instruments, many of them stringed, and then I believe it was I who suggested using two bassists. That seemed to strike an accord with both of us. Finding a bassist—the right bassist—took some consideration even though I truly believe, without qualification, CIMP regularly records a handful of the very best bassists in improvised music. Adam is one and Michael Bisio (b. 1955, Troy, NY), who also had had a previous association with David in the Pacific Northwest, is another. Michael, I felt, would not only complement Adam but present a juxtaposition with his playing (pulled and bowed) that could be electric and, when paired with David’s unpredictable but purposeful direction, produce some very volcanic music. And, indeed, five independent reports on gigs by the group prior to these recording sessions expressed unqualified satisfaction in what was heard. In fact, the accolades were so positive and from such credible sources I had to avoid going in with unattainable expectations and just keep my aim for a standard of excellence, at whatever level. My other two concerns were the heat/humidity (the 48 contiguous states were in the midst of what has been characterized as the worst heat wave in 100 years) which can affect playing—though not necessarily negatively—and the fact that even over two days we probably would not cover all that David hoped to reach for (judging from his notes/scenario for the session). With that realization, my objective was to let the music and inspiration blossom in its own time, free of set agendas. Day one was set aside for more traditional-based music, day two for originals. After leaving the first day’s session (CIMP 354), we came back to Rossie, NY, extremely worn out. The day was hot, the work made more intense to counteract the forces of humidity and fatigue which became ever more oppressive as the day moved on. The Blues had been the theme for that recording (CIMP 354) for which David had referenced some of the early documents of the country—or rural—Blues genre. Back at home base we listened numerous times to the just recorded material; I was elated to hear these new perspectives on this older music and it seemed the trio’s work was even more dynamic than I had thought when we recorded it earlier in the day. This in turn increased our enthusiasm and anticipation for the second day’s session. David soon was engaged in the next day’s strategy and finishing or altering the music he had brought: eight of his own compositions from which to draw. The only other premeditated course going into this day’s effort was to have Mike open the session. And what a well-placed direction that was as, indeed, Mike did open for Mr. Billion, setting up the kind of deep core emotive base (one of this master’s particular strengths) for which he is known and which further substantiates why he is generally referred to with reverence as a bassist’s bassist. Adam countered. One cannot help but recognize that David is in some very heavy company but also very much in his league, and vice versa. David, in some altered state, was totally immersed in the music, fleshing out his lines, occasionally playing air piano to the bass lines. What an encouraging, energizing, and inspiring start to a session. Following some adjustments to instruments and furniture (including changing the piano bench that, creaking under David’s physical, spasticated distortions, became too intrusive during a take on Little Hat Stomp), the trio addressed David’s hiply charming Little Hat Stomp, another tour de force but of another color. Again, sidemen in a leading role; nothing secondary about these bassmen. With Blue Flint Girl, David moved into impressionism, a dominant style in his music. The predominance of the basses gives this impressionism a different perspective. Following this the trio moved in another direction with Coyote Learns to Whistle, a piece with multiple delineations, tempos, and counter lines, and then followed that up with Valse Moderne, which, during its preamble saw Mike, as if wired, turn percussive on his bass, and who, by the end of the piece, was noticeably winded (Forty-eight hours later, Michael had a heart attack and is now recovered.) but not out, as is evidenced on Mondo Topless, the piece that followed directly. (Those are Michael’s feet slapping the floor, at about the five minute mark, as he quite animatedly did a 2-step off the floor and into the air, and in the process also sent his eyeglasses flying to the floor.) At this point we broke for lunch and worked out the remainder of the musical path. The lead-off was Jeanaye, a piece built off a bass drone and ending with a curious resolve—or unresolve. A Good Friend followed which gave the basses a rest. This was a piece David, consciously or unconsciously, had been toying with during down moments of the session. Obviously whatever he was working out was worked out as he attacked it here with a direct determination to follow its unknown directions. We concluded with Jupiter on Tip Toes, an energetic piece built off David’s bassline. I had announced going in that if this take was equal to the high caliber of music already set down, then it would be the last piece. I said this knowing that while everybody had already given everything they could, the atmospheric conditions and the pure physicality of playing this music could and would eventually take its toll and there was no need to be reserved. If you judge this last piece against the music from the first part of the day, I think you’ll find the energy and inspiration never diminished. From many perspectives this was a phenomenal recording experience. Enjoy the concert— energize yourself. -Robert D. Rusch |