The planning for this session actually started in 2005, was formalized in 2006, and almost didn't happen in 2007. Originally we had booked the hall for August 7, but circumstances dictated that I have both my hips replaced and the August 7 date would have come only two weeks after my second replacement. So, we rescheduled for around August 29 as I felt I would be able to endure a recordingsession six weeks after surgery. Then about the first week of August I was informed there would be construction in late August, near and around Gilbert Hall, the recording venue, and that noise could likely bleed into the concert hall. So we canceled the duo session for it seemed unlikely at the time that David Haney (b.1955, Fresno, CA) could change his airplane tickets or that Andrew Cyrille's (b.1939, Brooklyn, NY) schedule would permit this.
Around this time I was talking with Dominic Duval (b.1944, New York City, NY) about, among other things, plans to take his son (Dominic Dwral) to Rochester (NY) on August 27 where Dominic (Jr.) would begin his first semester at University of Rochester's Eastman School of Music (to which, incidentally, this talented lad was awarded a full scholarship). David contacted me on August 4 and said he could change his tickets for an August 21 recording and that Andrew could also make that date. And so the duo was again set. Re-enter Dominic and in conversation I mentioned how this recording session (August 21) coincided with his being in Rochester (not all that far from CIMP) on August 28. (At this point I somehow didn't realize that August 21 and August 28 were not in the same time frame, a situation I can only think was confusion on my part brought on by reasonably heavy doses of painkillers.) I called David back and told him Dominic would be in the area. David said he "would be [expletive deleted] delighted to play with Dominic"and that recently he had begun to think some of the music (15 pieces, I believe) he had been working on for months in anticipation of the duo session might benefit from a third voice. And now it was decided that instead of Andrew picking up David at the airport, Dominic would pick up Andrew then David and together they all would venture north.
I figured that in two weeks time I would be in sufficient physical shape to endure the session. I mentioned this to Dominic in a later conversation and he corrected me with, "It's next week, not in two weeks." My physical rehabilitation commenced with renewed determination.
David Haney is a pianist/improviser whose originality is as obvious as it is (at first) difficult for it seems unrooted in the usual various piano or improvising schools. In working with David over the past few years, it has become obvious that he not so much chose to be an improvising/Jazz artist or came out of the improvising/Jazz area, as much as the Jazz/improvising music area has chosen or accepted him, allowing him to be placed within the genre.
David first began working with Andrew in 2002. Andrew is not only one of the most musical of drummers but also a marker in a distinguished lineage (including Baby Dodds and Max Roach) who have advanced the drums as a solo and melodic instrument.
Dominic had never worked with David before this date and shares with Andrew the distinction of having worked as a regular with the Cecil Taylor Unit for over a decade. Dominic, like Andrew, does more than complete a rhythm section. He expands—not just supports—the music. When I asked Dominic if he wanted me to send him some of David's music, he said, "No," that he had "heard a little bit of it" and didn't "want to be more familiar as he liked the (element of) surprise." This is also Dominic's first recorded encounter with Andrew though they previously have played together.
In the past David has sought out some of the strongest and most original and engaging of artists to work with (Han Bennink, Julian Priester, Roswell Rudd, etc.), seemingly unafraid of the possible pitfalls of engaging such dominant musical personalities. With Messrs. Cyrille and Duval he continues that bring-'em-on tradition, quite in contrast to his remarkably humble personality.
We arrived at Gilbert Hall well fed and friendly (all three members of this group are easy conversationalists) at about 9:30 a.m. Dominic tuned up and stretched strings; David shadowboxed at the keyboard, occasionally playing irregular rhythms while pounding his feet in time to his keyboard explorations; and Andrew constructed and tuned his drums set-up, receiving some repairs andadjustments from Marc.
David's plan was to address first the duo work and then revisit some of it in another manner with the trio. After a final positioning (David and Andrew wanted direct eye contact) and sound check, Andrew then met with David to go over the music—its dynamic and strategy—and we finally got the formal recording underway at around 11:30 a.m. A quick and efficient take on Red Saigon, then Andrew and David conferred on Summer Call to Arms as to tempos, dynamic, and strategy.
As exhibited on River Traffic, this is a duo very much of exchange and interchange. Andrew's reaction at the end of the piece was "Cool. This reminds me of working with Braxton [Intakt Records]." David, breathing heavily, pondered out loud, "I thought I was in shape," and then went into French Glenn. Another "Cool" from Andrew at the conclusion, then the two broke to catch their breath and then went back at it—basically establishing this as the pattern of the morning's duo recording. I don't think I have ever seen a drummer so thoroughly dissect (prior to playing) the structure of music that is largely improvised. Andrew reflexively would utter "Cool" each time after either summing up the musical parts or upon completion of the playing. This is deceptively difficult music in part due to the idiosyncrasies of David's improvisational approach and loose adherence to structural lines which thereby sets up an additional challenge for the drummer in a duo situation. Andrew's feeling is "music is a challenge and you have to challenge yourself." Of particular challenge was David's Musician's Wren Blues. Wren Blues was directly followed by Jumpin' for Julie and then Shenandoah on My Mind. All are very different in approach, and each (I suspect) will elicit a different response from the listener. Choose yer poison.
The interplay and outerplay between these two very specific and contrasting artists became more and more inspiring as the session moved on. (Note: the occasional squeaks you hear are being emitted from the piano bench, a result of David's wild gesticulations, and the rumbling noise is the equally passionate [bare]foot stomping of his feet.) If music is, in part, movement, then this session inspired a great deal. A fascinating trip and a wonderful destination.
Enter Dominic Duval. As with the duo work, David began with Red Saigon. The immediate change is as stunning as it is obvious for this grouping takes away some of the micro (for lack of a better term) transparency of the duo but brings in a broader plane and shelters some of the technical responsibilities away from the pianist and perhaps shifts a greater orchestral responsibility to Andrew, at the same time encouraging more stretching out. Five of these pieces duplicate compositions from the duo set, but the music duplicates nothing (nor should it).
This is a power trio in many aspects. Bringing together these three strong musical personalities, for me, is afascinating and illuminating producing experience and the results are best approached without prior expectations.
-Robert D. Rusch - August 21, 2007