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. The Blues were the focus of this date: addressing this traditional form with a variety of approaches. We began the session a little before 10 a.m. and after some initial discordant flights, found the groove a little past 10 a.m. Tommy Johnson’s Big Road Blues served as the base for a multi-sectioned excursion that references a number of genres and styles and, within each movement, organic transitions which nicely carry the listener from one house to another. David’s choice to reference Blind Willie Johnson’s Soul of a Man is a good one as for me it evokes the deep ambient soul which seems to be at the heart of Johnson’s music. Much is rightly made of Robert Johnson’s legacy, but those who think of that as the sine qua non of classic country Blues genre would be well advised to check out the work of this other most intense and moving Bluesman. Impressionism, so much at David’s core, comes through on France Blues by Papa Harvey, a piece nicely underscored by the bowed basses, eventually leading to a mountain of music. After a break, David took on Old Landmark, a traditional hymn, admitting that he was not quite sure how it might work. But it did work, spearheaded by some energized bowing from Adam which lifted David and the music into that otherworld of listening experience. It’s the kind of excursion you want to keep sustained, so it was completely understandable when Mike carved out a little spotlight for himself near the end, adding a nice solo coda to this masterpiece. At this point David called for another break but was overruled by the bass section, which wanted to do more then and there. David agreed and set up an improv, outlining a road map, declaring “We should think the Blues” and Blues Royale was birthed. Obviously the bass section has conspired a coup. At this time, well into the session, we took an extended break for food and refreshment. Next up was Closer Walk. This beautiful tune was approached with a number of strategies, none of which were equal to the sum of their lost parts, but we finally got the take we wanted using the bass lead, as heard here. David then wanted to go uptempo and free of traditional reference (Cardboard Watch Dog). This also set the stage for Good Morning and Good Bye and, though David said there would be references (to composed tunes), I heard none. No matter; original references were eventually created as it bushwhacked its own road. In finale, the group devised the improv Blue Savannah, a slow bluish piece rather reflective of the oppressive haze of humidity and heat that prevailed. By now we were all left tired, overheated, but exhilarated and looking forward to tomorrow: a new day, new focus, and new musical discoveries (CIMP 371). Robert D. Rusch - July 27, 2006