September Spring
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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.

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Track details

CD Title September Spring

Cat. No SLAMCD 321

Artist George Haslam, bass clarinet, baritone saxophone, tarogato.


1 Bajo profundoHaslam/Hurtado4:20

2 Baile con las pulgas Haslam/Hurtado/Straijer 6:30

3Cumbre Coghlan Harari/Haslam/Hurtado/Straijer6:40

4 4 x 1 + 1 x 4 Harari/Haslam/Hurtado/Straijer 10:50

5 La diana Haslam/Straijer3:50

6 La Tere Harari/Haslam 4:00

7 Amigos nuevos Greene/Haslam3:50

8 Tranquilo Ferrero/Greene/Haslam 5:00

9 Early morning train Ferrero/Greene/Haslam 3:30

10 A green riff Ferrero/Greene/Haslam 4:20

11 Wade in the water Traditional 8:00

12 Vidala y vidalaEspinosa/Ferrero/Haslam 7:40

Tracks 1 – 6 recorded 6 September, 2006 by Nestor Diaz at Huella Studios, Buenos Aires, Argentina.

With Daniel Harari tenor saxophone, Mono Hurtado double bass and Horacio Straijer percussion

Tracks 7 – 12 recorded 7 September 2006 by Jorge Beren at Estudios BAC Sound Buenos Aires, Argentina.

With Ruben Ferrero piano, kalimba, percussion and Hill Greene double bass.

Sleeve notes:

Two days in two Buenos Aires studios, Spring 2006. A chance to relax with friends after a hectic three weeks touring before returning to UK, play our own music, be natural in a relaxed environment. Back with four musicians I have worked with since my first visit to Argentina sixteen years earlier, plus a relatively new friend, Hill Green, with whom I had played for the first time in New York City earlier in the year and whose visit to Bs As happily coincided with mine.

The second new element was my bass clarinet, these are my first recordings on an instrument I am really enjoying.

The recordings are as they came out of the studios, not all the music from both sessions can fit on the disc but the twelve tracks we have are in the same order as recorded; I believe this is essential in improvised music because what you are playing is influenced by what you have previously played on the same session, in the same way a concert of improvised music develops as a whole, not as a programme of discreet isolated tunes.

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