SLAMCD318 George Haslam, Borah Bergman & Paul Hession – The Mahout

Free improvised jazz by pianist Borah Bergman, saxophonist George Haslam and drummer Paul Hession. This studio set of uncompromising improvised music by the “Mahout” trio was recorded in June 2003, together with solo tracks by the three members.

George Haslam: baritone saxophone, tarogato
Borah Bergman: piano
Paul Hession: drums

“Slam label boss George Haslam has long had a knack for creating challenging situations for himself, and this robust threeway encounter proves a success. He’s a restless player, whose avid search for new groupings and apparent mania for diving into seemingly inhospitable idioms recalls Herr Brötzmann (whose current instrumental druthers Haslam shares). Hession’s long tenure with the British avant-garde has found him playing mostly in the circle surrounding his colleague Simon H. Fell, with whom Hession has recorded some seriously hair-raising sessions. His fierce, frequently busy playing can often be mistaken for lacking detail and subtlety; in fact, Hession’s imagination (and hands, of course) simply move faster than most listener’s ears (hear this in his excellent solo piece, “The Varmint”). His partnership with Haslam was cemented on their 2002 duo album Pendle Hawk Carapace. Given the stylistic proclivities of two of these players, the fleet-fingered Bergman naturally fits in well with these fellows…An invigorating recording.” – Jason Bivins, Cadence

“Pretty much anything that George Haslam plays on is guaranteed to be worth listening to and this is no exception. Joining with demon pianist Bergman and long-term percussion associate Hession he helps create a trio that is overflowing with energy and invention…Haslam keeps coming up with interesting combinations, producing excellent results for those who like both his free improvisation and his more melodic inclinations. This set is certainly a worthy addition to a growing collection of essential work.” – Paul Donnelly, eJazzviews

“On The Mahout, three well established musicians meet, almost for the first time, and produce an album from thin air. Yes, this is free improvisation in the age of instancy, but this is still a remarkably spontaneous product…Bergman’s playing is densely textured, rarely spacious. While atonal, it manages at times also to be lyrical and lovely. Haslam’s baritone work is outstanding, and he also plays tarogato, switching from one to the other with astonishing speed, or playing them both simultaneously. Hession is a first rate drummer, and his solo segment is a high point on the record. Let’s hope to see this trio in New York soon.” – Ty Cumbie, All About Jazz

“The fire and intensity Bergman brings to his two solos and three trios on The Mahout almost overshadow the singular tinkering of most of the others…the pianist’s work still provides a dictionary definition of Energy Music…he makes the nearly 11-minute title track almost explode out of the box. With Bergman producing high frequency chording featuring supersonic runs, glissandos from both hands, Haslam smears out swirls and chirrups from both his horns, and Hession provides rough’n’ready bounces and triplets. Hession, who has backed Free Jazz saxophonists like Charles Wharf and Mick Beck, and Haslam who has traded reed licks with the likes of Coxhill and Evan Parker are obviously up to the Bergman challenge…”Dusk” is an emotional ballad taken at medium tempo, which includes a melancholy tinge you would associate with the title. “Streams” finds runs doubled, tripled or quadruped. Emphasizing the vibrations of almost every key, he escapes equal temperament by appending a bit of inverted boogie woogie to the solo and ends with a ragtime tickler’s flourish.” – Ken Waxman, Jazz News

“Haslam becomes tender remembering Mal Waldron, while Paul Hession’s “The Varmint” pays tribute to character actor Jack Elam. “The Dusk”, one of Bergman’s two solos, is bathed in crepuscular shade, and “Streams”, while not exactly reflexive, is satisfyingly variegated. The trios, ranging from animated to frenetic, show well Hession’s capacity for tough yet flexible responses which add inflections to Bergman’s volubility. Haslam’s tarogato and baritone saxophone, clearly primed for the occasion, run fibre through the music’s mineral gullies.” – Julian Cowley, The Wire

SLAM CATALOGUE