AprilCadence2013

1) DAVID HANEY/
JORGE HERNAEZ,
H DUO,
NOSESO RECORDS 023
ITEM 2 / COLOR 1 / COLOR
2 / H DUO . . . ? / PORTLAND
/ DIAL / COLOR 3 / ITEM 1
/ RADIAL / EROSION H / L7
F1. 43:52.
David Haney (p), Jorge
Hernaez (b). November 20,
2004, Portland, OR.
New Issues
143 | CadenCe Magazine | april May June 2013
T he gorgeously recorded duo on (1) pairs Hernaez's
resonant bass thrums with Haney's spacious, suggestive,
and at times harmonically enigmatic piano.
Fully comfortable with free music and instrumental
extensions, the two produce a music that at times
flashes with the influence of Tristano, Monk, and early
Taylor. In terms of those aforementioned instrumental
extensions, they're heard mostly in those moments
when each player works the wood of his instrument
to conjure up some ghostly third player (hear this
especially on “Color 1,” where Haney gives things a
papery, at times serrated feel). This is a suggestive way
of thinking about a music so evanescent: it can be
ominous and hovering (things get terrifically spooky
and textural on the title track), or occasionally touch
down with a progression; it can flourish with lyricism
or every so often offer up a shared groove (note the
heavy percussive feel of “Portland” - if only this piece
could be that city's soundtrack). Haney will be familiar
to many Cadence readers for his previous recordings
of inventive and engaging post-bop; but here his
prepared piano work ranks him up there with Scott
Looney, Denman Maroney and others. He uses it quite
effectively on “Dial,” whose ace arco and plink-plunk
melodic fragments bespeak an admirable communication:
trading notes, completing phrases, attentive
and subtle throughout. After this, “Color 3” explodes
with dense energy. The remaining miniatures are gruff,
woody, and exploratory, but always with some fascinating
filigree from Haney.
Jason Bivins