Playing in bands with such intriguing names as Say Lovey and Bankrupt in Panama, Nick Haas’ eponymous trio might sound rather mundane. Don’t be fooled. This young guitarist and his cohorts, Peter Susag (bass) and Eron Woods (drums), offer music that defies classification but lures attention to its fusion of seemingly disparate elements. Thus CD Baby refers to Another Dream as “equal parts boogaloo and post bop.” This new recording from the Nick Haas Trio will have its official release late Saturday night (August 16) at the Dakota in downtown Minneapolis. 

Having played in various combinations in larger ensembles, the trio came together about three years ago, when “we decided that it was time to circle the wagons and defend ourselves against the economics of the live music industry.” With a performance degree from Hamline, Haas currently teaches at the St. Paul Conservatory and gigs around town with several bands. Bassist Peter Susag plays with small area ensembles as well as the Capri Big Band. Drummer Eron Woods, also part of the Capri Big Band, began his career on cruise ships and later with circuses before settling into work as a jazz educator and performer with groups such as the Dean Brewington Quintet and Exquisite Corps. 

For Another Dream, the trio recorded a program of entirely original compositions, building on a foundation of standard jazz forms that evolve in unique directions. Haas penned two of the tracks while Susag masterminded the remaining six. All were recorded and mixed locally at Wild Sound Studios by Matthew Zimmerman.  

Funky elements woven into an acoustic ambient wash pervade all compositions, some begging for dancing shoes, some for lyrics. Leader Haas contributes two of the more up-tempo compositions, including the title track, a bouncing blend of funk and bop. Susag’s rhythmic bass and Woods’ mildly frenetic snare and cymbals push the pulse throughout. As on other tracks, the Susag’s bass solos tend to echo the path laid down by Haas, with Woods offering melodic percussion patterns in response. “Love Is Always” is also fast paced with a melody line that implies the lyrics of a songbook standard, perhaps something from Cole Porter but slightly twisted. Haas works through some off-center harmonic elements before Susag takes off, even faster. Woods adds the most diverse accents, working the kit from multiple directions, and Haas takes back the lead with a conversation within his own instrument, single note lines answered by quick chord combinations. 

The remaining tracks, all composed by Peter Susag, vary in feel from Latin to ballad to swamp funk. Woods opens “Hip Caprice” with Susag close behind, creating a distorted, funky tango enhanced by Woods’ Latin-tinged percussion. This track will appeal to anyone with dancing shoes. “Mr. Sissy” is the shortest track of the set at a little over three minutes. The gently moving guitar theme with minor subplots is slowly fueled by assertive basslines. It seems rather predictable until then a false stop, followed by a final, sneering guitar line that makes you smile. 

“Central Hillside” features a slower, majestic pulse with guitar and bass running counterpoint lines over over steady percussion, with strong soloing from bass and drums. “Empty House” also takes a slower pace, this one a meander on a slow flowing river where something sinister brews underneath. Offering an occasional twang, whine and twist, this track is aptly titled, melodic but bleak. Susag provides the dark tone; Haas offers some interesting chords sparsely scattered throughout, begging for more elaboration. “Succubus” is marked by a jagged bass rhythm and militaristic snare rolls, while the closing “Nick’s Tea” is perhaps the funkiest, swampiest track, the real “boogaloo.” 

This music is ideally suited to the Dakota Late Night series: The ensemble is relatively new on the Twin Cities music scene, the music is geared (mostly) to listening after the Saturday night crowd thins out, the compositions are original, off-road journeys that gently pull the listener toward new destinations. In live performance, I suspect the trio will use these and other compositions as mere starting points, and I am eager to see where they go next. 

The Nick Haas Trio performs Saturday, August 16th, 11:30 pm at the Dakota in downtown Minneapolis, 1010 Nicollet Mall; www.dakotacooks.com . CDs will be available at the show or visit www.nickhaastrio.com 

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