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DAVID HANEY<br />
DAY FOR NIGHT AT<br />
JACKSTRAW<br />
SLAM 541<br />
KHARTOUM/ LIGHTENING<br />
TOOTH AND THUNDER<br />
FOOT/ HYDROSCOPY/<br />
ELEPHANT OF SURPRISE/<br />
BLUES EVENTUALLY/<br />
POSSESSION OF FOXES 56:14<br />
David Haney, p; Julian<br />
Priester, tbn; Buell<br />
Neidlinger, b; Frank Clayton,<br />
b; Juan Pablo Carletti, d,<br />
Marc Samson, tbn, shofar;<br />
Dan Blunck, ts, flt; Doug<br />
Haning, contra alto cl.<br />
August 22, 2000; May 24,<br />
2008, Seattle, WA, USA.<br />
New Issues<br />
179 | CadenCe Magazine | april May June 2013<br />
Jackstraw, David Haney’s most recent release, combines<br />
the fruits of two recording sessions that took<br />
place nearly nine years apart. Although the personnel<br />
and instrumentation of these sessions differ greatly,<br />
the improvisations and expressive nature of each session<br />
acts as a connecting thread. The other key similarity<br />
between these two sessions is Haney’s drama as a<br />
composer. Haney’s remarkable compositions combine<br />
with sensitive and animated musicians to create a passionate<br />
experience.<br />
The musical personalities of the members of the<br />
Priester-Neidlinger-Haney trio serve to make the first<br />
session an automatic attention-grabber. Priester,<br />
known for his work with Philly Joe Jones, Sun Ra, Max<br />
Roach, etc., performs with characteristic beauty. His<br />
rich, warm tone is inviting and his presentation moves<br />
seamlessly between playful and solemn melodies<br />
Neidlinger, a musical veteran on many planes, offers<br />
a rhythmic complexity and maturity not ften heard<br />
on his earlier recordings. A final footnote of interest<br />
from this session is Haney’s prepared piano sounds on<br />
“Lightening Tooth and Thunder Foot.”<br />
The second half of this release takes the listener<br />
on another tempestuous yet regularly rewarding<br />
improvisational excursion. This half displays the<br />
efforts of an exploratory sextet. Although the trio<br />
recordings have a little more musical depth than the<br />
sextet recordings, the sextet is more adventurous in<br />
their efforts to discover the expansive possibilities of<br />
their instrumentation. The odd timbres of Smason’s<br />
shofar and Hanning’s contra alto clarinet give the<br />
performances an added layer of aural intrigue.<br />
Dustin Mallory
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