Stephen Haynes 'Parrhesia' [Engine Studios 2010]

The newest release for Steven Walcott's Engine Studios is another quietly realized trio recording made in New York City, quick on the heels of the William Hooker Trio's 'Yearn for Certainty'. Some quick research lists parrhesia as meaning 'to speak everything/to speak boldly/to speak freely', as if obliged to do so. 'Parrhesia' is trumpeter Stephen Haynes' debut recording as a leader, and the title suggests much about what's inside.

Improviser, composer, and educator Stephen Haynes has worked with many figures in creative music and specializes in the area of directed improvisation. Prior to Bill Dixon's recent passing, Haynes was one of the legendary trumpeter/composer's long-time students and collaborators, and Dixon's presence is clearly felt on 'Parrhesia'. Haynes is joined by Joe Morris (he's returned with an electric guitar this time around) and one of Engine Studios' favorite sons, Warren Smith (percussion, voice).

For 'Parrhesia', the trio rigorously fills a very large space. They quickly break one expectation suggested by the title from the start: this isn't a blow out. That established, it's fairly easy to place Haynes' method. The band is very well practiced, and have learned to work off of one another in an interesting way. The energy level is subdued, but I get the feeling that it could explode -- and probably did, early on in rehearsal. Haynes is in the lead, hurling contorted trumpet lines like darts at his collaborators. His many years working with Dixon have done him well -- he's excellent at wrestling the absolute best from a short, muted trumpet line. Morris matches Haynes, but he takes a back road around the strategy simple logic might indicate. By and large, his signature clean delivery and wry phrasing (which would be right at home in Haynes' band) get shelved in place of an almost pointillist, rubbery approach. When Smith brings out the marimba, they're at their best. His quaint work at the marimba fills the deep canyon between Smith and Haynes with melody, just enough to tie fast the two lead players. Accordingly, his drumming is forcefully unobtrusive and he keeps his playing to a minimum, letting off a resonant boom to hover in the air every now and then, which he might chase with a few thoughts on cymbals or marimba. Smith even pulls out some spoken word, which I have, for once, no problem with! 'Parrhesia' is a hell of an exercise in improvised finesse by a mighty capable trio.