"The Esoteric Circle"

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state of independents

independent record labels: music that deserves to be heard. this month : SLAM Records from England. This column is intended to highlight for the Jazz listener those small record labels from around the world which usually go unnoticed and unheard. This month we return to the British Isles to meet George Haslam, baritone saxophonist and label boss of the stalwart Slam Records. Our interview-by-mail was conducted last October (1996) and now appears in print:

When did Slam start?

During the 80's I recorded two albums on the Spotlite label with the group I had then, The Siger Band. I wanted to record an album which was really outside the range of music that Spotlite was associated with. I had in mind a solo improvisation disc. I decided to do this on CD rather than vinyl, which was the way things were going then, and to do it with trombonist Paul Rutherford, a set of solo and duo improvisations. It was the first SLAM CD, called '1989 - and all that', recorded and released in that year.

How did you arrive at the idea of starting your own label and what is the philosophy or approach behind the various releases which make up your diverse catalogue?

So SLAM, initially an outlet for my own music as soloist and in group, broadened to include other musicians, eventually recording and archiving music of today which is outside the interests of commercially led labels - including music by lesser known (and unknown) musicians as well as more established names. It is very pleasing that, whilst providing an outlet for musicians whose music might not otherwise receive the exposure it deserves, we also have original recordings by people such as Steve Lacy, Mal Waldron, Jaki Byard, and British leaders - Howard Riley, Elton Dean, Evan Parker, Lol Coxhill and many more. The Argentine recordings have been a true revelation. The range of material is broad, considering the total number of releases, in a way that reflects my interests - jazz, improvised music, ethnic cultures. It also reflects the fact that each CD is produced as an individual piece of work, not trying to fit it into a label profile.

What inspired your visits to far-flung outposts like Argentina? What are your thoughts about the jazz/indigenous music and musicians from such areas?

My restlessness has led me - musically and geographically - to some far out places. From the early 80's I worked regularly in Hungary and other East European countries. The first thing I found was that nothing happens in isolation, one thing leads to another. Through this work I extended to North and Central America - Boston, New York and in 1986 a tour of Mexico and Cuba with my quintet. The Mexican experience was memorable, but unfortunately I have not yet returned. In Cuba I found I was leading the first British jazz band to play there. I have returned several times, playing at the Jazz Latino Festival in Havana, Jazz Centro in Santa Clara etc. I have received Bobby Carcasses and other Cuban musicians in the UK. In December 1996 I return to play the Santa Clara Festival again. Through my work in Cuba I received an invitation to play in Argentina. In 1989 I found I was the first British jazzman to play there. I have returned many times as soloist working with Argentine and Bolivian musicians and in 1996 I to ok the British Saxophone Quartet to Argentina. In the other direction I have toured Hong Kong three times, unfortunately not having the opportunity to play with musicians there but playing festivals and many other venues. In the UK and Europe I have been working with Mal Waldron for about four years. This has been a most important experience for me - four tours, two CD's and a lot of learning. Working with musicians in Argentina and Cuba is an essential part of being there. I have the highest respect for these artists who come from a broad range of backgrounds - ethnic, tango, latin, classical and jazz - and who meet in the common interests of music, particularly improvisation. I never cease to learn from these musicians.

Does the relatively rapid expansion of the SLAM catalogue parallel the development of the contemporary jazz scene in England? What is the state of play in terms of audience and government/arts council support ?

The straight - ahead jazz market in the UK appears to be surviving, if not flourishing. Of course there are many more musicians than there are gigs - and a lot more musicians every year are coming out of the education lines. With the changes in industry, economy and education thousands of children pour into music the way we once poured into engineering and farming etc. The more esoteric music naturally never finds the same audience figures. I don't think the number of CD's parallel the development of the mic scene - in some ways it's the reverse. Musicians are putting their energy into creating recordings because of lack of live performance opportunities. Sponsorship is a difficult question. SLAM has been lucky with recording subsidy grants, for instance, and the lottery fund throws millions of pounds at anything to do with art (except art itself!), at the same time British Council support for overseas tours is deteriorating.

What does the future hold for SLAM ?

Since each CD tend to be an individual production it is difficult to look beyond what is actually in the pipeline, which currently holds my "Argentine Adventures part 2" (Tango, Blues and Freedom) to be released before the end of 1996, then a CD by the Howard Riley/Art Themen Quartet, "Classics (live)" early in 1997. We are recording the Roswell Rudd/Elton Dean Quintet and a collection by Cuban musicians. Spring 1997 will see one or two more releases by "unknown" UK musicians. The number of issues per year - four or five - is not expected to increase. The mix is likely to remain one of "unknowns" (mostly from outside London), female vocalists and "names" from the UK and abroad - together of course with my own work. Distribution is a big problem to which I would like to find some answers. We are hoping to find distributors outside the UK and USA who may be interested in handling SLAM CD's.

matt krieg

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To mail order CD's write to : SLAM PRODUCTIONS, 3 Thesiger Rd, Abingdon, OX14 2DX, England

The best-selling SLAM CD "Let's Call This...Esteem" by Steve Lacy and Mal Waldron will be sent free with every order of 3 or more CD's. Cheques/money order payable to SLAM Prices: First CD (10.00 ( postage (2.00 All additional CD's (7.00, post free Double CD (14.00) SLAM catalogues are available - E-mail us and we'll post one out to you. SLAM - freedom of music

Interview by Matt Krieg

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