(1994) Mal Waldron/George Haslam - Waldron/Haslam ****

 

With: George Haslam (baritone saxophone), Mal Waldron (piano)
Record date: February 24, 1994

Mal had already recorded for Haslam’s ‘SLAM’ label with Lacy. ‘Lets Call This…Esteem’ was brought out on that label. In 1994 he made his first duo recording with Haslam himself. Haslam is a reed blower (playing anything from a clarinet to a tarrogato) from the United Kingdom. He’s pretty adventurous in not only his playing but also his touring. He has played all over the world, from Mexico to Hong Kong and anything in between. He has played more contemporary jazz styles but also worked with quite a few people from the freejazz scene like Evan Parker, Steve Lacy and Borah Bergman.

For this session Haslam sticks to baritone saxophone and that’s an excellent choice. Mal has played so many duets with so many saxophonists but never with a baritone aside him. It work’s out very, very well. The dark but very warm tones from Haslam’s big baritone sax almost float on the meandering chords and notes from Mal’s piano. As the liner notes by Brian Morton state: it’s like Mal is still accompanying a singer in his mind, and Haslam sounds like he is singing trough is horn. I am truly pleasantly surprised by the warmth and subtlety from Haslam’s baritone sax. Without overblowing his horn or getting into anything extreme he still manages to remain an interesting listen for the full 70 minutes.

The standards here are all treated with much elegance and hearable joy. Mal sets in some chords and George just really takes it from there swinging gently. And Mal has that same gentle swing in his soloing on these jazz standards. There are also two more free form pieces which are more free improvisations than true compositions. The 18 minute closing ‘Motion in Order’ is one of them and sets these guys in another perspective. The interplay of the jazz standards really changes more into a dialogue between the two as they closely listen to each other and interact. Though free of any true structure, the music is far from chaotic or anything like that. In fact: Haslam really remains that sweet tone of his most of the time. But the music does leave the more contemporary side of jazz music and dares to push the boundaries of it. It’s an exciting piece.

Mal himself shines really with his astounding solo variation on a Brahms composition. Yet another example of how his style blends so well with the old classical composers. He treats the theme gently and beautifully but it’s in the solo part where he truly shows off.

These SLAM cd’s are pretty easy to buy anywhere on the internet. In fact, I think it is still in print. The sound of them is pretty good, the packaging a little basic. This record does contain some nice liner notes by Brian Morton, on of the authors of ‘The Penguin Guide to Jazz Records’. Definitely worth having, especially if you are fond of Mal Waldron duets.