|
Q Sessions
|
|
|
SLAMCD 576
£
13.00 inc VAT
|
|
Add to Shopping Basket
|
|
"Q SESSIONS" SLAMCD 576 Barcode: 5028386621324 DOUBLE CD
David Haney piano; Jorge Hernaez bass; David Bagda, guitar.
A double CD release where three composers improvise on two recordings from Argentina in 2015. Haney and Hernaez have worked together regularly since 2002, performing in the USA, Argentina and Chile. Disc One, of the Q Sessions double CD package, is a live recording of this duo at the 2015 Buenos Aires International Jazz Festival. On Disc Two, guitarist David Bajda joins the duo in concert in Mendoza. All the material is spontaneously composed.
David Haney’s fourth SLAM CD release, ‘Q Sessions’, gives an insight into his long standing collaboration with Argentine musicians, in particular Jorge Hernaez.
He writes: "In 2002, I was invited by jazz photographer, Jorge Lardone to perform in concerts throughout Argentina. He wrote to me that I would not get rich off the tour, but I would be treated very well. Fourteen years have passed and seven trips to Argentina have enriched my life and my artistry. The common thread in all of my trips has been my collaborations with bassist Jorge Hernaez. In 2002, we became friends, and over the years we have honed our love of instant composing into an art form. You don't go to Argentina to get famous, you go there to rescue your soul and to rediscover your passion."
Also available through all digital outlets, including:
iTunes: https://itunes.apple.com/gb/album/q-sessions-live/id1198190913
Amazon MP3: https://www.amazon.co.uk/Sessions-Live-HBH-Trio-Duo/dp/B01N5SD63O
eMusic: http://www.emusic.com/album/h-duo-hbh-trio/q-sessions-live/17234526/
Spotify: https://open.spotify.com/album/4tgRIkYYSxs8Pkh0wddmzN
|
|
Details
Reviews
|
CD Title "Q Sessions"
SLAMCD 576
H Duo, HBH Trio
David Haney, piano
Jorge Hernaez, bass
David Bagda, guitar
Track details:
DISC ONE - H DUO
1. ABACADA 7:57
2. Usina Sprint 7:36
3. Twelve Bars/Improv 8:16,
4. Tiempo de Swing 6:42
5. Night Sounding 8:29
6. Song For Julia 3:50,
7. Farewell Flight 3:47
Total running time: 46:39
DISC TWO - HBH TRIO
1. Guiba 7:53
2. Coming Sur 7:30
3. Dajo Half Step 6:30
4. Chronos of Lycea 9:16
5. Tocayo 7:01
6. Vermejo 8:02
7. Resonance 8:21
8. Reflections on a Groove 3:22
9. Incision 4:12
Total running time: 62:14
Composers
All tunes by David Bagda, Jorge Hernaez, David Haney, except Twelve Bars, Herbie Nichols, copyright Roswell Music.
Recording details:
Date and place of recording.
Nov 11, 14, 17, 2016, Teatro Quintanilla, Mendoza Argentina; Usina del Arte, Buenos Aires, Argentina.
Name of sound engineer(s) for recording and mastering.
Jorge Hernaez
Pianist Haney had the good sense to document a pair of encounters with sensitive, resourceful Argentine improvisers. The approach and the results are different on each of these discs, though equally satisfying. I’ve long been a fan of how elegantly Haney can invoke some of his key pianistic influences – Herbie Nichols and Monk most frequently – in even the most abstract contexts, and that kind of balance between the idiomatic and the openended is well on display in the duos with Hernaez, with whom Haney has developed a deep sympathy through their collaborations in recent years. The bassist opens "ABACADA" by oscillating between melancholia and gently scratching pulse, allowing for focus on Haney’s touch and lyricism. Hernaez is really resourceful in his balance of traditional chops (and hear him walk briskly on "Usina Sprint") and more gnarly textures, as when he joins Haney’s dense chordalism at the outset of "Twelve Bars" and moves through spiky asides and billowy pauses.
Each piece is filled with judiciously used contrasting tempi and textures, ranging from tasty overtones to soft preparations ("Night Sounding"), or from deep register contrast ("Tiempo") to elusive harmony ("Song for Julia"). Pleasingly, things are even more spacious with the addition of the guitarist. From the opening notes of "Guiba," the music is patient and exploratory, almost as if it’s building from the sound of wood in each instrument. When the trio hits its stride, I’m reminded very strongly of British free improvisation in places, sometimes perhaps a bit too much, since it ends up sublimating some of the players’ lyrical strengths a bit too much. "Dajo Half Step" gets things going in a different direction, strongly lyrical and contrapuntal. And "Chronos of Lycea" is also satisfyingly emphatic, with slashing bass and choked-tone guitar figures evolving into a lovely pulse and drone section. The more I dug into soft and burnished tracks like "Vermejo," the greater my impression that Bajda is almost too reclusive as a player, given regularly to soft chordal shapes in the vein of John Russell and Roger Smith. He sounds great when exchanging phrases with Haney on the lyrical "Resonance," and I wish there were a bit more of that. Still, that’s not a knock on the fine music overall. Jason Bivins, Cadence Magazine, May 2017. http://www.cadencejazzmagazine.com/membersonly/admin/assets/CadenceApril2017.pdf
DAVID HANEY / JORGE HERNAEZ / DAVID BAGDA - Q Sessions (Slam 576; UK) A double CD release where three composers improvise on two recordings from Argentina in 2015. Haney and Hernaez have worked together regularly since 2002, performing in the USA, Argentina and Chile. Disc One, of the Q Sessions double CD package, is a live recording of this duo at the 2015 Buenos Aires International Jazz Festival. On Disc Two, guitarist David Bajda joins the duo in concert in Mendoza. All the material is spontaneously composed. David Haney’s fourth SLAM CD release, ‘Q Sessions’, gives an insight into his long standing collaboration with Argentine musicians, in particular Jorge Hernaez.
He writes: "In 2002, I was invited by jazz photographer, Jorge Lardone to perform in concerts throughout Argentina. He wrote to me that I would not get rich off the tour, but I would be treated very well. Fourteen years have passed and seven trips to Argentina have enriched my life and my artistry. The common thread in all of my trips has been my collaborationswith bassist Jorge Hernaez. In 2002, we became friends, and over the years we have honed our love of instant composing into an art form. You don't go to Argentina to get famous, you go there to rescue your soul and to rediscover your passion." Bruce Lee Gallanter, DMG January 2017.
Questo doppio CD del pianista di origine canadese David Haney documenta due suoi concerti in Argentina risalenti al 2015, in duo insieme al contrabbassista Jorge Hernaez a Buenos Aires il primo, il secondo in trio a Mendoza insieme a Hernaez ed al chitarrista David Bajda. È una collaborazione di vecchia data quella che lega Haney ai musicisti argentini, che risale al 2002, fra un concerto e l’altro si è sviluppata non solo un’amicizia, ma anche un’intesa telepatica con Hernaez così che l’idea della composizione spontanea, dal vivo, come la definisce Haney, ha trovato modo di realizzarsi pienamente. Ci troviamo qui davanti a due set di musica improvvisata, tranne Twelve Bars dal primo disco che è di Herbie Nichols. La musica dei due si fa ascoltare con facilità, sincera e ricca di emozioni, raccoglie l’eredità dei grandi pianisti jazz, da Monk a Mal Waldron alle avanguardie, reinterpretate in modo soft, attirando così l’attenzione e la curiosità dell’ascoltatore. Emerge sempre qualcosa di speciale dal suo pianoforte e dal contrabbasso, atmosfere che cambiano nel secondo disco, quando l’entrata in scena del chitarrista David Bajda rende la musica più concitata. Funziona, i tre si ascoltano a vicenda, il ruolo di solista del contrabbasso ben si amalgama con la chitarra, mentre il pianoforte riesce a trovare uno spazio preciso nel gorgo di note che i tre riversano sul pubblico. Qualche brano gioca su un’estemporaneo astrattismo, ad esempio Coming Sur, oppure su un senso del ritmo che va al di là dei soliti schemi, in Dajo Half Step, in linea con una comunicazione che funziona all’istante senza che nessuno cerchi di prevalere. Così anche qui spuntano atmosfere suggestive, che poco hanno a che fare con le musiche sudamericane che tuttavia a volte riappaiono come dietro un velo, Tocayo ad esempio. per poi scomparire nei meandri di improvvisazioni che attirano l’ascoltatore come in un vortice. "You don’t go to Argentina to get famous, you go there to rescue your soul and to rediscover your passion", scrive Haney, un proposito riuscito anche dal punto di vista musicale in questi due concerti.
Vittorio Lo Conte http://www.musiczoom.it/?p=27234#.WHOzr_mLTct
This double CD of the Canadian-born pianist David Haney documenting two of his concerts in Argentina dating back to 2015, in duo with the bassist Jorge Hernaez in Buenos Aires the first, the second trio in Mendoza with Hernaez and guitarist David Bajda. It is a collaboration of longtime one that binds to Haney Argentine musicians, which dates back to 2002, between a concert and another has developed not only a friendship, but also an agreement with telepathic Hernaez so that the idea of the composition spontaneous, live, as defined by Haney, he has found a way to be fully realized. Here we find ourselves faced with two sets of improvised music, except Twelve Bars from the first disk that is Herbie Nichols. The music of the two do you easily listen, sincere and full of emotions, reflects the heritage of the great jazz pianists, from Monk to Mal Waldron to vanguards, reinterpreted so soft, thus attracting the attention and curiosity of the listener. Emerge always something special from his piano and the double bass, atmospheres that change on the second disc, when the arrival on the scene of the guitarist David Bajda makes the most frantic music. Works, the three listening to each other, the role of the bass solo blends well with the guitar, while the piano can not find a specific space in the maelstrom of the three notes that spill out onto the public. Some songs played on un'estemporaneo abstraction, such as Coming Sur, or a sense of rhythm that goes beyond the usual patterns in Dajo Half Step, in line with a communication that works instantly without anyone trying to prevail . So here too sprouting evocative atmosphere, that have little to do with the South American music which nevertheless sometimes reappear as if behind a veil, Tocayo for example. then disappeared in the meanders of improvisations that draw the listener like a vortex. "You do not go to Argentina to get famous, you go there to rescue your soul and to rediscover your passion," says Haney, a connection could also from a musical point of view in these two concerts.
|
|
