Over the years of producing David Haney (b.1955, Fresno, CA), I have come to realize there usually is a sense of transient flux to his plans and endeavors. Fortunately for the music world, David has the ability to resign himself to the flexibility and vagaries inherent in the creative music business. If it were not so, he probably would have done what many frustrated artists have done in the past and given up being a master to his muse. Even accepting the instability of this business, David’s misfortunes are so numerous as to seem the rule and even humorous; you’ve got to laugh to keep from crying. The events leading up to this date run quickly as follows: sometime after producing David’s dates with Andrew Cyrille, David expressed to me his decision to move his playing to a more inside track. He put together a small set of gigs with Mat Marucci (b.1945, Rome, NY), a colleague from an earlier time. Mat brought in Doug Webb (b.1960, Chicago, IL); the two have worked together and co-led a combo over the past few years. Rounding out the group was Jorge Hernaez (b.1953, Mendoza, Argentina), a bassist David enthusiastically endorsed after working with on a number of Argentinian (and surrounding areas) tours. David fixed on a recording date with CIMP and proceeded to schedule some concerts around that. Dates were set and travel plans were made. Then, three weeks before the recording, we were notified the concert hall we planned on using was under renovation. My first reaction was to cancel the recording date. But, as everyone had purchased non-refundable plane tickets, Mat suggested CIMP record the group prior to the already scheduled concert recording in Syracuse, New York. Arrangements were made with Jazz Central to allow us in ten hours prior to the concert. And so the session was reignited. The group would meet in Syracuse on June 16, drive up to CIMP, rest and go over the music and strategy on the 17th, then drive back to Syracuse and record on the 18th. On the 16th Doug called from Los Angeles and told me his flight was delayed and as a result he would miss the Chicago connection and not get in to Syracuse until 7:15 p.m. In the meantime, no one could reach David to tell him this news. Mat had flown in to Syracuse earlier but, due to extraordinary family business, was out of the mix until the recording date. At about 7:30 p.m. Doug called again. He’d met up with David but the two of them were still in Syracuse waiting for Jorge, who was still at J.F.K. (New York City) as his connecting flight to Syracuse had been delayed. Even more distressing was that Jorge’s bass had been routed to Atlanta, Georgia. Jorge finally arrived in Syracuse around midnight, and all three arrived at CIMP around 2 a.m. That day we were informed the piano would be tuned on the afternoon of the 18th instead of the 17th—well into our scheduled recording. We eventually were able to change the tuning to the evening prior to the recording. Trying to find the bass, however, was elusive at best. Each announcement of its location and arrival in Syracuse proved inaccurate. We went to bed on the night of the 17th with the knowledge­—but not reassured­—that it would arrive in Syracuse around midnight and we could pick it up the next morning. Pick it up we did, and by 10 a.m. of the 18th we were setting up in the concert space (a cinderblock room approximately 36 feet x 36 feet). Jorge’s bass is a bit of a sculpture of his own design, consisting of a solid body of carved wood about two inches thick, ten inches at its widest point, and about three feet long. This body is then mounted on a tripod stand and a standard bass neck (with strings, etc.) is attached. While Doug left to renew his never-ending supply of coffee and David checked out the piano, Jorge assembled his bass and Mat set up the drums, loaned to him for the occasion by his friend, Eric Garboushian. (Thanks Eric.) Placing of the instruments and adjusting to the space and the individual dynamics of the group took some time. However, what I had thought was a bit of a disparate group sounded remarkably in sync during the sound checks. A vibe of good feelings took hold, Doug cracking wise while we picked on Mat. David enthused that the exciting juxtaposition he had felt with Doug’s sax work in the rehearsals was reconfirmed. By 11:30 a.m. we were set and the bonhomie swept into the music. David plays like a man visually and emotionally possessed. There was occasional street noise, though the power of and immersion into the music overcame the distractions. Following David’s strategies throughout the afternoon, the group worked through a variety of constructions, with Doug often taking on the role of musical director, with a clear vision and often giving form to David’s ideas. As noted, David had decided to place greater emphasis on composition but noted “The compositions are for our benefit, to enhance what we play together… I don’t want to spend a lot of time nailing the pieces (but) expect each tune to sound somewhat different; hopefully in a fresh, exciting way.” By the end of the day, the best laid plans were often ignored and flux reigned. After working with David in various settings over the past seven years and nine releases, I’ve come to realize he allows his greatest inspirations to remain in—for lack of a better term—extemporaneous flux. A lot of energy went into this recording and into the air. It’s tough work when you play to a cross genre (composed/free, in time/out); it takes ears and sensitivity. After all this work, the group took a break and reconvened three hours later to play a concert. But that’s another story… Music without a net. Sometimes there are falls (you won’t hear those), but when everything succeeds (and it succeeded more than a CD can contain) it’s a beautiful and engaging experience. These musicians had the skill and, as importantly, the attitude to make something worthy of your attention happen. That this is clear and outstanding collaborative music is evident and I deeply thank David, Mat, Jorge, and Doug. Robert D. Rusch - June 18, 2008 David Haney can also be heard on CIMP 338, 354, 357 367, 369, 371 and Cadence Jazz 1136, 1179, 1220 Mat Marucci can also be heard on CIMP 346, 356 and Cadence Jazz 1178, 1203, 1211, 1220, 1232 Doug Webb can also be heard on CIMP 346, 356 and Cadence Jazz 1203, 1211, 1232