SLAMCD322 George Haslam – September Spring

George Haslam on bass clarinet, baritone saxophone and tarogato improvising in Buenos Aires with old friends Daniel Harari, Mono Hurtado, Horacio Straijer, Ruben Ferrero and from New York, Hill Green.

George Haslam: bass clarinet, baritone saxophone, tarogato
With
Tracks 1 – 6:
Daniel Harari: tenor saxophone
Mono Hurtado: double bass
Horacio Straijer: percussion
Tracks 7 – 12:
Ruben Ferrero: piano, kalimba, percussion
Hill Greene: double bass

“September Spring finds Haslam at his best; his bass clarinet playing is light and resonant, he and bassist Mono Hurtado engaging in fine dialogue, even swapping registers to fine effect. Tenor man Daniel Harari is new to me, but his stridently romantic tone, invoking Ben Webster, is quite appealing.” – Marc Medwin, Cadence

“Haslam has also been a courageous cultural ambassador to Argentina since the decade following the war in the Malvinas…On a more recent visit in September 2006 he recorded the sessions which compose the inspiring album September Spring, and by sheer coincidence this sojourn coincided with the visit of the eminent New York bassist Hilliard Greene who has been a pivotal presence on recordings by some of the prime US free spirits from trumpeter Roy Campbell and violinist Leroy Jenkins to tenorist Charles Gayle…The threesome’s raw and mutual solidarity binds together a memorable performance, as deep as the past…music budded with peace, jazz and promise.” – Chris Searle, Morning Star

“The only other player I know of here is downtown bass great Hill Greene, yet all of the other four musicians are equally fine…Commencing with a duo of bari and tenor sax, both reedsmen start slowly and build in tempo and intensity to a joyous conclusion. The second session starts with some exquisite, eerie bass clarinet from George and Hill’s deep, expressive acoustic bass. “Tranquilo” features some delicate kalimba, hushed bari sax and odd whispered vocal sounds. All of these pieces have an evocative yet restrained quality, often with Hill’s deep, resonant bass at the centre…The trio does a touching version of the traditional song, “Wade in the Water”, for stunning bowed bass, majestic piano and haunting tarogato. It is a stunning conclusion to a righteous, laid-back and sublime delight.” – Bruce Lee Gallanter, Downtown Music Gallery

“Haslam, a baritone and tarogato player, plays bass clarinet here for the first time improvising in charismatic fashion around folkish and more abstract themes on his own label with regular Argentinian collaborators.” – Selwyn Harris, Jazzwise

“Haslam’s bass clarinet makes its recording debut on “Bajo Profundo”, which kicks off with a chord filled in by Hurtado’s floor-shuddering bowed bass. After a few phrases Hurtado puts aside the bow to engage in an agile duet. It’s an excellent foundation for the session…the highly dextrous Hurtado plays exceptionally well whenever he appears – followed by sumptuous lone baritone, then atmospheric tenor (4 x 1, see) topped off by a turbulent collective improvisation (right …1 x 4). “La Diana” features nice tarogato and nimble drumming, and “La Tere” wraps up this impressive, predominantly low-end session with a sax duet…”Wade In The Water” and “Vidalas” brings proceedings to an almost operatic close.” – Barry Witherden, Jazz Review

Tracks 1 – 6 recorded 6 September, 2006 by Nestor Diaz at Huella Studios, Buenos Aires, Argentina.
Tracks 7 – 12 recorded 7 September 2006 by Jorge Beren at Estudios BAC Sound Buenos Aires, Argentina.
Mastered by Eric Smith, Monster Sound Studio, Oxford.

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