SLAMFEST 1999 - Live At The Premises, London - (2CD-2000)

Label: Slam Productions – SLAMCD 405
Format: 2 × CD, Album; Country: UK - Released: 2000
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Recorded live at the Premises, London, England, 10 and 11 July 1999.
Design, Producer – George Haslam
Recorded By, Edited By, Mastered By – Dill Katz

This first SLAM CD release for 2000 is a live recording of the two nights of music played at The Premises, London, July 1999 to celebrate the tenth year of SLAM CDs. The line up presents an impressive array of musicians prominent on the British improvising scene - most of which have appeared on previous SLAM releases. The recording is another example of the impressive abilities of soundman Dill Katz. The music by five different groups fills two CDs; the double CD package is offered at the same price as a SLAM single CD.

ARTISTS: Brian Abrahams, Roberto Bellatalla, Jeremy Brown, Lol Coxhill, Gary Curson, Elton Dean, Jim Dvorak, Nick Evans, George Haslam, Jim LeBaigue, Phil Minton, Liam Noble, Howard Riley, Paul Rutherford, Harrison Smith, Keith Tippett.

The artists who participate on this two-CD set, recorded live at the Premises, London July 10 and 11, 1999, read like a who's who of British modern jazz/improvising superstars. Here, legendary saxophonists Elton Dean and Lol Coxhill, trombonist Paul Rutherford, pianist Keith Tippett, vocalist Phil Minton, and others of note perform within various aggregations or subgroups on this rather multifarious affair. Basically, these performances should whet one's musical appetite, whether they are Tippett's sweeping arpeggios and fervent right-hand leads on the piece titled "Careful Driver," or Coxhill, Rutherford, and baritone saxophonist George Haslam's frisky interplay and converging statements on the 19-minute work "CHAR I." Other highlights include: a spirited duet, marked by counterbalancing themes between pianist Howard Riley and alto saxophonist Elton Dean, while "Tuna Up" features trumpeter Jim Dvorak and Phil Minton embarking upon an often humorous journey, thanks in part to Minton's frantic, scat-like vocalise and the twosome's altogether enticing exchanges. Ultimately, there's quite a bit to digest here, as the musicians toggle between modern jazz- style interplay and cunning improvisational tactics, atop richly thematic lyricism and blues- drenched choruses.

_  Review by GLENN ASTARITA



Links in Comments!

HOWARD RILEY TRIO – Angle (LP-1969)

Label: CBS – 52669 LP
Reissue: Columbia – 494433 2 CD (1999)
Series: Realm Jazz Series 
Format: Vinyl, LP, Album; Country: UK - Released: 1969
Style: Free Jazz, Contemporary Jazz, Free Improvisation
Recorded: London, 3rd December 1968 and 2nd January 1969
+ bonus track: 09 Pages (Riley-Oxley duo) from the album: Howard Riley Trio/Overground, 1975 (Howard Riley, Barry Guy, Tony Oxley)


Note:

Another piano-dominated trio album, Angle is definitely one of the more accessible of Riley ’ s works in that period of time. Working again with Barry Guy on contrabass, it is Alan Jackson that occupies the drum stool, and we have Barbara Thompson tooting the flute on one track. Not sure what the object of the artwork is, but it ’ s kind of fascinatingly warm and represents well the music inside the sleeve. The opening Exit (no joke) is actually fairly accessible (for Riley ’ s standards), but Gormenghast is more of a challenge with Guy ’ s almost violent string thumping all over his contrabass ’ fretboard, but the closing minute is rather pleasant, and (dare I say it) almost melodic. However the thankfully-short S&S is definitely not of the same mould with its highly dissonant improv. Fragment almost picks up where Gormenghast had left things at, than the gentle piano softens much of the bass and drums improvisations, and Riley ’ s key tickling has many endearing sometimes-Tyneresque moments.

On the flipside, the title track features Barry ’ s bowed bass that brings an exquisite touch at first, but then goes wild in its plucking before returning to its bow and Riley ’ s piano rambling on with much inspiration, and the track veers almost violent. Good stuff, too! The following Aftermath is a highly energetic piece (but all-too short) where Riley ’ s Tyneresque piano glides over an awesome bowed contrabass, giving a semi-raga feel, and making it the album ’ s highlight. The three-part Three Fragments is just that, with Thompson ’ s slightly dissonant and shrieking flute is the main protagonist, with Riley ’ s piano playing second fiddle. The closing Gill is one of the album ’ s more difficult moments in terms of dissonance, but to give you an idea, this would be the most accessible on the future Flight album. As for Riley ’ s works, it is difficult to recommend one album, but should you want to explore his realm, you might want to start with Angle, and if you can digest the more dissonant tracks on it, then you might just be ready for other works of his.



Links in Comments!

COXHILL / HASLAM / RILEY / RUTHERFORD – The Holywell Concert (1990)

Label: Slam Productions – SLAMCD 302
Format: CD, Album; Country: UK - Released: 1990
Style: Contemporary Jazz, Free Improvisation
Recorded at the Holywell Music Room, Oxford, 22 February 1990.
Producer, Design – George Haslam
Recorded By [Digital] – Michael Gerzon

The oldest custom-built concert hall in Europe, it opened its doors to the public for the first time in 1748. Designed by Thomas Camplin, Vice-Principal of St. Edmund Hall, the building was probably the brainchild of William Hayes, then Professor of Music at the University. 


This is the story of George Haslam and SLAM Productions

By Ken Waxman

Serendipity not strategy led to the birth of the British label SLAM 23 years ago, which since that time, from its base in Abingdon, six miles south of Oxford, has grown to a catalogue of almost 160 releases from European, South and North American improvisers.

SLAM simply came about when journeyman multi-reedist George Haslam, who at 50 had played with everyone from ‘ 30s dance band trumpeter Nat Gonella to free music trombonist Paul Rutherford decided he wanted to release a disc of solo baritone saxophone improvisations. “ I made a couple of LPs on Spotlite with my group, but I wanted to make a solo improvised recording and I knew this would not fit with Spotlite whose beginnings had been with Charlie Parker, ” he recalls. “ I spoke to Eddie Prévost [who runs the Matchless label] and others, coming to the conclusion that the best way to do this and have complete control, was to do it myself. Eddie advised me to do a CD, not an LP – which, in 1989, was excellent advice. In the event I recorded an album of solos and duos with Paul Rutherford called 1989 - and all that ”.

The only idea was preserving his own work, he adds. “ I had no intention of creating a new CD label. I played a concert in Oxford with [soprano saxophonist] Lol Coxhill, Paul Rutherford and [pianist] Howard Riley; Michael Gerzon made a beautiful recording and so I made the CD The Holywell Concert [1990]. Sometime later, Howard [Riley] approached me with a great recording by the quartet he co-led with [alto saxophonist] Elton Dean, asking if I would like to put it out ‘ on your label ’ . I agreed and that was when the label was established.” 

A one-man outfit, with Haslam preferring the title “ sole proprietor ” , SLAM soon grew exponentially as other musicians began offering him sessions to release. Not liking the clichéd “ 001 ” , his first CD was numbered “ 301 ” with a different numbering system needed for other release. UK musicians ’ discs come out on the 200 series; the 400 series is for compilations; and 500 for non-UK artists. “ One or two have slipped in the wrong series, purely by mistake, ” he jokes. 

Certainly there have been many CDs to deal with in nearly a quarter-century, during which Haslam has “ built great working relations with studios, design artists, photographers, pressing and printing plants and legal advisors ” . SLAM ’ s first non-British releases date from 1992 when Haslam was arranging a jazz festival in Oxford. Admiring the work soprano saxophonist Steve Lacy, with whom he had previously played, had done with pianist Mal Waldron, he invited them to the festival. The recorded concert became Let ’ s Call This … Estee. Interestingly enough this was Haslam ’ s first meeting with Waldron, with whom he would record Waldron-Haslam in 1994, which remains one of the label ’ s best-selling discs.

Always a world traveler –Haslam often plays in Eastern Europe and South America, in the mid- ‘ 90s SLAM gradually began putting out discs featuring the saxman with local players. 

“Since around 2005, he elaborates, 

“I’ve been contacted by musicians from many different countries – always unsolicited and quite out of the blue. Where appropriate I have tried to present their music. I guess they see SLAM as active in the same area of music as themselves.” 

One improviser who does is Swiss trombonist Samuel Blaser, whose Solo Bone CD appeared on SLAM in 2008 and who is to record a new solo trombone album for the label at the end 2012. “ Solo Bone was actually my very first solo concert I gave in Switzerland. It was recorded by Swiss radio and the results turned out so well that I decided to release it. I started shopping it around, but few labels were interested.One reason was due to the difficulties to sell such a challenging product. Unfortunately few people have an interest in listening to a trombone by itself. However, George automatically showed interest and asked me to send the recording. I heard back from him a couple of weeks after that telling me he loved it and that he wanted to put it out. I am really thankful George decided to release Solo Bone and even more happy to work with him on the following one. I guess George takes some risks to release this music. It ’ s challenging to put out free jazz music in today's market. Fortunately we still have people like George who continuously support our community.” 

All discs that appear on SLAM in what Haslam calls a "joint venture” arrangement. Although he self-finances he own releases, other avenues such as recording grants available from the Arts Council of England were discontinued years ago. “ Musicians need to find a level of funding which I put towards the costs of printing, pressing, licensing etc. The musicians ’financial input is expected to be returned through gig sales and royalties. I see SLAM sitting somewhere between a ‘self release’ and a signed up contracted operation. The musicians have complete control over the music, artwork etc., but hopefully benefit from being on an established label.” 

Besides Haslam, who has appeared on about 40 of the imprint ’ s releases, SLAM ’ s the musician who has appeared on the most SLAM CDS is tenor saxophonist Paul Dunmall. “ I knew George in the late ‘ 70s early ‘ 80s before he set up SLAM records when I played every Sunday night at the old fire station in Oxford, ” recalls Dunmall. “ George said he was going to start a label and when I recorded the double CD in 1993 that became Quartet, Sextet and Trio. 

I asked if he would be interested in releasing it. He agreed, and basically we have had a very good working relationship since then. Now sometimes I have a recording and think it would be perfect on SLAM. I don't remember him ever turning anything down that I have offered him. He does a very thorough job and really makes a lot of effort to get releases known in the press etc. Also he makes the business side of things very clear and he is a very honest man. He has a very open policy with his ideas of the music that will work on his label. It's not just improvised music, there's a huge variety of styles although of course it is jazz based somewhere along the line. SLAM really has had a huge impact on the improvised/jazz music scene especially here in the UK. You only have to look at his vast catalogue to see what a great job he has done.” 

Dunmall, who started his CDR-only DUNS Limited label in 2000, says he did so to have discs to sell at gigs. “ To release a CD back then was quite expensive, so I could probably just do one CD for SLAM a year if I was lucky, but with DUNS I could put out one CDR a month. But I think it was also important to have music released on established labels like SLAM. I hope the label keeps going for years to come. It will be tough, but George is a determined guy.” 

Overall SLAM releases about six or seven CDs a year, with sales ranging from those which don ’ t reach three figures to those which sell about 1,000 copies or so. Besides Waldron- Haslam, the label ’ s other best sellers are Explorations … to the Mth Degree, a duet by drummer Max Roach and Waldron; and The Vortex Tapes, recorded at that London club by Dean in group featuring among others, bassist Paul Rogers, drummer Tony Levin and trombonist Rutherford. 

Due to Prévost ’ s prescient advice there were never any SLAM LPs issued, although there were cassettes. “ Last year I looked at producing an LP ” , he reveals. “ But the costs were quite high. I ’ d like to do it, apart from anything else the scope for artwork on a 12-inch sleeve is appealing, ” he says. Digital downloads of 11 out-of-stock CDs can be ordered through iTunes, Amazon.co.uk and eMusic. As well, The Middle Half by the Esmond Selwyn Hammond Organ Trio is only for sale digitally. “ Esmond ’ s first SLAM CD, Take That, sold out completely; his second The Axe, a collection of jazz standards on solo guitar, sold very few, in spite of rave reviews around the world. Esmond sells them by the dozen on his gigs, ” te saxophonist explains. “ When he came along with The Middle Half I discussed this with him. He wanted to stay with the label so we went for the digital release with limited quantity pressed for promotion and gig sales. It ’ s an experiment, but it ’ s too early to judge results, sales figures take months to trickle through.” 

 Among the sessions scheduled for release is what Haslam calls “ a great new CD by Paul Dunmall playing Coltrane compositions. We sometimes take the masters too much for granted and it is good to be reminded of their contribution to the music.” 

He adds: “ When a recording is offered to me for release on SLAM, I listen to it and consider is SLAM the right place for it? I don ’ t have a style template to which the music must fit. There is a wide range of music on the label and the SLAM slogan has always been Freedom of Music. I remember many years ago playing a concert with Lol Coxhill; at one point he was asked to play a solo piece, He said he was going to play ‘ Autumn Leaves ’ . ‘ But this is a ‘ free ’ gig, Lol ’ someone said. ‘ So, ’ said Lol ‘ Am I free to play what I want? ’ What ties the catalogue together, I hope, is the objective of a) preserving music which may otherwise be lost and b) making this music available to a listening public. To try to ‘ educate ’ or lead a public would be counterproductive but the music is there to be discovered. ” 

--For New York City Jazz Record
   (August 6, 2012)



Links in Comments!

HOWARD RILEY TRIO – The Day Will Come (1970/1999) [Repost]

Columbia – 494434 2; Format: CD, Album, Reissue; Country: UK, Released: 1999
Style: Free Jazz, Contemporary Jazz, Free Improvisation; Barcode: 5 099749 443426
RE-Design by ART&JAZZ Studio SALVARICA, Engineer – Mike FitzHenry, Producer – David Howells Originally released on – CBS – 64077; Format: Vinyl, LP, Album; Country: UK, Released: 1970
Recorded: London, March 1st and April 17th, 1970

This is one of my favourite jazz records. It straddles a very interesting middle ground between complete abstraction and more traditional forms of jazz improvisation. Great tunes with unique moods. Great interplay ampongst the trio. Fantastic bass playing. The title track is even insanely catchy in an almost pop tune way. If you have any interest in British avant- garde jazz, don ’ t miss this. 

 Howard Riley – short biography:

Born as John Howard Riley, 16 February 1943, Huddersfield, Yorkshire, England. Riley began playing piano at the age of six, although it was another 10 years before he began to play jazz. At university he studied under Bernard Rands at Bangor, North Wales (1961-66) gaining BA and MA degrees, then with David Baker at Indiana, adding M.Mus to his name in 1967. From 1967-70 he studied for his PhD at York University under Wilfred Mellers, who wrote a piece (Yeibichai) for symphony orchestra, scat singer and jazz trio that was performed by the BBC Symphony Orchestra, Frank Holder and Riley ’ s trio at the 1969 Proms. Riley had led a trio at Bangor, and later joined Evan Parker ’ s quartet. On his return from Indiana he formed a trio with Barry Guy (and sometimes Ron Rubin) and Jon Hiseman (also Tony Oxley and, later, Alan Jackson) and began writing for bands including the Spontaneous Music Ensemble and the Don Rendell – Ian Carr Quintet. At this time he also began to have his chamber and orchestral pieces performed in concert, and was a founder member of the Musicians ’ Co- Operative. He has composed for Barry Guy ’ s London Jazz Composers ’ Orchestra and the New Jazz Orchestra and played with Keith Tippett, John McLaughlin (who had also occasionally sat in with the late 60s trio), Jaki Byard, Elton Dean, the LJCO (being the featured soloist on their Double Trouble), Barbara Thompson, Oxley and many others. He has also taught at the Guildhall and Goldsmith ’ s schools of music in London and at the Center Of The Creative And Performing Arts in Buffalo. In the late 80s he began to release both old and new recordings on his own cassette label, Falcon Tapes. In 1990, he and Dean co-led a quartet of improvisers on a set of jazz standards, All The Tradition.

Review:

An occupational hazard of jazz musicians is prolixity, the urge to play on and on even when inspiration begins drying up. Performers with a hard grounding in classical disciplines— especially compositional disciplines—tend to avoid this, which may be why the music on this LP is so splendidly concise and pithy. For both Howard Riley and his bass player, Barry Guy, are practising ‘ straight ’ composers as well as jazz musicians. This shows in their work, not in the sense of classical devices being grafted on uneasily, but in the way they think about their music. Eclipse, mixing common and triple time, provides an easily grasped example, especially Riley ’ s piano solo, which instead of improvising on the chords or shape of the theme sets about developing certain elements of it. All the compositions are by either Howard Riley or Barry Guy, and each has a genuine identity of its own. One of the best is Winter, in nicely contrasting 9/4 and 8/4, its open intervals suggesting the chilliness of the title, although Riley did not set out with any intention of being programmatic. Sad Was The Song, slow and elegant, is a duet for bass and piano; Sphere and Score are brisk, brief and stick to the point; High, mostly in drawn-out 10/4, has an attractive interior buoyancy; Funeral Song involves sounds as such, with bass strings scraped, piano wires plucked and drum skins rubbed instead of struck, yet has a ripe, much more romantic middle section; Games is eruptive, Dawn Vision fairly loose, the solos stretching out for once, while The Day Will Come has a gospel feel, popinfluenced drumming and—as Riley ’ s sleevenote takes care to point out—a faintly ironic stance. Barry Guy ’ s bass playing is superb throughout the LP but at its most brilliant, perhaps, in Playtime, a real tour-de-force. This is, in fact, an outstandingly good record, and as well as composing and playing by Riley and Guy there is exceptionally intelligent and sensitive drumming from Alan Jackson. Fanciers of the older-established sorts of piano-bass- drums trios may find the music a bit cryptic to start with but familiarity should breed enjoyment.

By C.F. (Gramophon, January 1971, Page 135)



Welcome to new prog-blog "Different Perspectives In My Room...!".
Enjoy the music, and please leave a comment. Thanks in advance.

Link in Comments!

LARRY STABBINS - Four At St. Cyprians (2006) [Repost]

Label: FMR Records (2) – FMRCD196-i0506
Barcode: 6 49849 98263 6
Format: CD, Album, Digipak; Country: UK – Released: 2006; Jazz Style: Free Jazz, Free Improvisation; ReDesign by ART&JAZZ Studio
Recorded live at St. Cyprian ’ s, United Kingdom, 2002-02-09
Live version of the album “ Four In The Afternoon ”

Reviews:

A jazz saxophonist with a bent toward progressive jazz, avant-garde music and soul, Larry Stabbins was born in Bristol, England, in 1949. He began playing saxophone at age 11 and by his teens had already begun performing in various R&B-influenced bands including working with pianist Keith Tippett with whom he has remained a creative partner over the years. In the ’ 70s, Stabbins worked with a variety of musicians including drummer John Stevens (in whose Ealing improvisation workshop he was a member), drummer ’ s Roy Ashbury and Tony Oxley and others. In the ’ 80s, Stabbins was a member of saxophonist Peter Brotzman ’ s Alarm Orchestra and Marz Combo as well as saxophonist Trevor Watt ’ s Moire Music. He was also a member of the indie-pop ensemble Weekend alongside guitarist Simon Booth with whom he later formed the eclectic Latin/soul/dance-influenced group Working Week. An artist with wide-ranging interests, Stabbins spent some time away from performing while studying philosophy at Kings College London. He returned to music in the late ’ 90s, once again with Tippett and his Tapestry ensemble as well as a re-formed Working Week. He released the album “ Four in the Afternoon ” in 2002 with pianist Howard Riley, bassist Tony Wren, drummer Mark Sanders. Stabbins followed that album up with the solo effort Mondiac in 2003.
By Matt Collar (AMG)

“Four In The Afternoon”

This new quartet is a departure from Quatuor Accorde, the other quartet that Tony Wren currently convenes. Whereas that is an all-strings affair, this one has the line-up of a conventional jazz quartet—sax, piano, bass and drums. But both play completely improvised music. And it is only the line-up here that is conventional. For example, when this quartet played a recent concert in St Cyprian ’ s Church, to promote this album, at one point Mark Sanders memorably strolled around playing on the pews and furniture—great showmanship and playing combined!
Although this is a new quartet—the album date was only their fourth meeting—there are ties between its members going back years, Wren and Larry Stabbins to the 70s, Howard Riley and Stabbins also to the 70s, Riley and Mark Sanders to the 80s. Such roots can be important in improvisation of this kind, and so it proves here. The music achieves that most dubious compliment for improv—at times it sounds pre-arranged. That is an indication of how good the four musicians are individually and how well they react and respond to each other.
Individually, Riley and Stabbins particularly stand out. Throughout, Riley is in inspired form, his playing underpinning ensemble passages and his solos often being astounding rapid-fire flurries (no surprise to those of you familiar with Riley). Stabbins has a long jazz and improv pedigree, but may be the least known member of this quartet, despite his time with soul-pop band Working Week that brought his fifteen minutes of fame. Be that as it may, his playing here is varied and, yes, beautiful. His slow, controlled tenor sax at the beginning of “ Blue Dark ” is very atmospheric, and carefully structured. (It also makes me think of Ben Webster—not a common experience with improv sax!)
Collectively, every play of this CD reveals new details to admire and enjoy. This will be music to return to time and again.
By JOHN EYLES, Published: March 1, 2002, (AAJ)


Welcome to new prog-blog "Different Perspectives In My Room...!".
Enjoy the music, and please leave a comment. Thanks in advance.

Link in Comments!