Jazz cd's: George Haslam - Paul Hession Pendle Hawk (Slam 315)

Aangeboden: George Haslam - Paul Hession Pendle Hawk (Slam 315) Prijs: € 5,00 GEORGE HASLAM/PAUL HESSION, PENDLE HAWK CARAPACE, SLAM 315 Corbels / Purlin / Blocking At Apex / Scantings / Naggings / Jack Rafters / Eaves End. 61.59 Haslam, bs, tarogato; Hession, d, perc. February 12-13, 2002, Lancashire, England This summit between saxophonist George Haslam and drummer Paul Hession is long over-due. Collaborators on many projects, this is their first strictly duet meeting on record, produced by Haslam for release on his own label, SLAM. Because of their familiarity with one another's capabilities, they are well versed in each other's outlook and as such, their collaboration makes for a worthwhile and enjoyable view into their negotiation of each other's sensibilities. Of particular interest is that this meeting was recorded in a studio in the Pennines, a mountainous region along the Scottish border containing magnificent natural beauty, which cannot help but be a factor in this meeting. Haslam alternates between baritone saxophone and tarogato (perhaps now an equal partner with the baritone, his main axe), sometimes simultaneously, while Hession largely sticks to a whirlwind of drums and cymbal expressionism. That's not to say that Hession doesn't explore the various timbres of his kit (rims, sides of the drums, snares on, snares off, etc.), as well as various percussion instruments like the cowbell. He is a commanding force and as such has always struck me as more of a "drummer" than a "percussionist" (though he is listed as percussionist on the tray liners). His approach focuses on a powerful, relentless exploration of the more traditional trap set, rather than on texture or abstract sounds (I'm thinking Lytton and Lovens here). The seven free form improvisations are based on a stream of consciousness/in the moment approach that ranges from more melodic playing to moments of pure passion. For instance, on the opening track, "Corbels", Hession sets up an ostinato, or as close to one as you're going to hear from him, while Haslam's lyrical tarogato flies over this pattern. They work themselves into a lively exchange that is never oppressive. "Blockings At Apex" focuses on long, sombre notes from Haslam's tarogato while Hession pushes with his fluttering, agitated brushwork in an abstract manner. Haslam kicks it into overdrive by picking up his bari sax, and then tarogato, as the temperature level heats up to a frenzied pace. "Noggins" is another highlight as Haslam focuses solely on baritone, demonstrating his reliance on lyricism and melodic streams of notes, instead of blowing lines just for the sake of saying something. In other words, Haslam makes his statements count. Hession rumbles along with Haslam, illustrating his boundless creativity. The concluding track, "Eaves End", has Haslam in Rahsaan mode with simultaneous bari-tarogato reverberations underpinned by Hession's eerie arco cymbal phrases, eventually building into the last hurrah. Haslam demonstrates that one can play improvised music with a melodic backdrop and Hession demonstrates his versatility, playing appropriate and inspiring sounds. Given the minimal instrumentation, this set will be of interest to those who enjoy freely improvised music as well as fans of both of these important British creative improvisers. Jay Collins JazzReview, June 2003 Chris Parker Pendle Hawk Carapace George Haslam/Paul Hession Having met at Leeds' Termite Club in 1985 and subsequently collaborated in Haslam's Siger Band (playing in Mexico and Cuba as well as touring the UK) before playing together in 2001 in the reeds player's Anglo-Argentine Jazz Quartet, Lancastrian George Haslam and Yorkshireman Paul Hession know each other's playing well, and this neutral-ground recording session (Colne's Pendle Hawk Studio is near the Lancashire-Yorkshire border) showcases their close musical rapport throughout. Dividing his time between his trademark tarogato and baritone saxophone, Haslam sets the tone for each improvised piece either with gruff, occasionally blearily dignified baritone statements or with the more strident, querulous sound of the Hungarian instrument. Hession – as anyone who witnessed his recent duo collaboration with the great Joe McPhee will expect – is unflagging in support, setting up a consistently propulsive battery of percussion effects and rolling, tumbling drumming, finely judged and precisely calibrated to maintain the duo's momentum. On both his horns, Haslam has found a distinctive and original voice. His sound is almost conversational at times, particularly when his multi-textured tarogato is set off by Hession's delicate brushes or his burly baritone climaxes over roiling kit-work. Pendle Hawk Carapace is both an absorbing addition to a fine catalogue of free music on SLAM, and a master-class in spontaneous mutual responsiveness. Chris Parker

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