H DUO HBH TRIO - Q Sessions (Live)
SLAMCD 576 (2CDs)
CD 1 - David Haney piano; Jorge Hernaez bass
CD 2 - David Haney piano; Jorge Hernaez bass; David Bagda, guitar.
Recorded in Buenos Aires and Mendoza, Argentina 2015
The duo on CD 1 recorded these tracks live at the Buenos Aires International Jazz Festival in 2015. Later, at a concert in Mendoza, guitarist David Bagda joined in. All of the music recorded on both CDs was created spontaneously and that is sometimes known as total improvisation – or improv.
David Haney plays his piano pieces gracefully and eloquently and manages to maintain that style through the least figurative milieus of his inventions. The long-established empathy between piano and bass tends towards a symmetry born of a natural dynamic and mutual comprehension.
The second CD is a change in quite a large way: there is a shift in equilibrium. Bagda’s guitar often seems to be coming out on top, but also seems to create more space, especially in his interchanges directly with Haney. Sadly, though, he sometimes seems somewhat reticent for free improv.
Generally, the music proceeds with complementary rhythms and shifting consistencies until, through persistent consideration it becomes gratifyingly unequivocal.
Reviewed by Ken Cheetham
SLAMCD 576 (2CDs)
CD 1 - David Haney piano; Jorge Hernaez bass
CD 2 - David Haney piano; Jorge Hernaez bass; David Bagda, guitar.
Recorded in Buenos Aires and Mendoza, Argentina 2015
The duo on CD 1 recorded these tracks live at the Buenos Aires International Jazz Festival in 2015. Later, at a concert in Mendoza, guitarist David Bagda joined in. All of the music recorded on both CDs was created spontaneously and that is sometimes known as total improvisation – or improv.
David Haney plays his piano pieces gracefully and eloquently and manages to maintain that style through the least figurative milieus of his inventions. The long-established empathy between piano and bass tends towards a symmetry born of a natural dynamic and mutual comprehension.
The second CD is a change in quite a large way: there is a shift in equilibrium. Bagda’s guitar often seems to be coming out on top, but also seems to create more space, especially in his interchanges directly with Haney. Sadly, though, he sometimes seems somewhat reticent for free improv.
Generally, the music proceeds with complementary rhythms and shifting consistencies until, through persistent consideration it becomes gratifyingly unequivocal.
Reviewed by Ken Cheetham
