(Free Jazz, Free Improvisation) [CD] Anglo-Kuopio Quartet (George Haslam, Mikko Pasanen, Jarmo Hiekkala, Paul Hession) - Cool Moon - 2004, FLAC (tracks+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. December 2014, 16:12
Anglo-Kuopio Quartet / Cool Moon
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REM DATE 2003
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The Anglo-Kuopio Quartet’s Cool Moon finds Haslam and fellow Czech Paul Hession playing live in Kuopio, Finland. The quartet is rounded out by Finnish musicians - the brilliant and adventurous Mikko Pasanen (piano) and Jarmo Hiekkala (bass). Though this is a more standard quartet sound, the music is otherworldly, group improvisations that paint pictures of the moon in "all its splendor" - cool, restless, whispering, white and hanging over this place in Finland. These are extended workouts with all four of the players given the opportunity to shine as individualists and in the context of a group. From the first notes of the first track "Kuopio Moon", it’s clear that while these are accomplished musicians what they are about here is being together and creating sound environments. These players play off of each other’s lines and phrases and though the music is free it’s never chaotic (or if it is it somehow sounds like there’s method to the chaos).
Donald Elfman AllAboutJazz – New York, May 2006
Review of the Moment
Jazz Week
Proof that there’s plenty of vigor left in jazz’s customary horn-and-rhythm section combination, this Finnish-British quartet sets a new standard for advanced modern mainstream improvisation.
Five tracks of top-flight improvisation confirm that British baritone saxophonist George Haslam is one of the mainstays of his instrument; that drummer Paul Hession from the United Kingdom can work in any context; and that top-flight improvisers such as pianist Mikko Pasanen and bassist Jarmo Hiekkala can hold their own in fast company, even if most of their playing takes place in the Finnish city of Kuopio. This CD is a result of a gig featuring the Brits and Finns at that city’s ANTI-Contemporary Arts Festival.
Now officially a senior citizen, Haslam is one of the best arguments against mandatory retirement. Someone who has really come into his own as an improviser over the past few years, he now mixes a supple Gerry Mulligan-like interface with a determined ferocity more closely allied with contemporary big hornists like Hamiet Bluiett. Furthermore, years spent investigating the intricacies of the taragato enable him to transfer the not-quite-European/not-quite-Asian exoticism of that Magyar reed into full-fledged jazz improvisation. It isn’t used as a novelty however. Instead the taragato’s distinctive timbres are judiciously interjected to provide additional colors, as would the sounds of a clarinet or a soprano saxophone.
Usually found in the company of atonal experimenters such as bassist Simon Fell and reedist Mick Beck, Hession proves on COOL MOON that he’s just as comfortable manning the backdrop for less offbeat endeavors. Firmly in the modern mainstream, Pasanen is a two-handed pianist who slips into upfront tremolo excursions as easily as he unselfconsciously comps and advances the tunes with sympathetic voicing. As for bassist Hiekkala, who regularly plays with Estonian tenor saxophonist Lembit Saarsalu, his work is in-the-pocket throughout until he steps forward for technically inventive solos.
This same combination of technique and tonal freedom is brought to each of the instant compositions, with "White Moon", the final, more-than-14-minute track, comprising of additional, advanced – read hipper than neo-con head-solo-head action –improvising. Here the energy level is raised through the drummer’s passionate flams, ruffs and cymbal splashing, and tremolo chording from the pianist that works up into a dense McCoy Tyner-like modal outlay. Midway through, the piece opens up to showcase Hession’s hand drumming and percussion note grinding, as if he’s crumbling newspaper between his hands. Pedal point slurs from Hasalm supply the undercurrent until these turn to snorts and smears, while presaging all this are scratchy sul ponticello sweeps from the bassist and rapid, yet somehow formalistic harmonies from the pianist.
Earlier on, Hiekkala has output flat-picked guitar-like textures to accompany Haslam’s taragato forays, which somehow manage to suggest Spanish inflections from the saxman’s other interests. Hession makes his mark with buzzing ride cymbal scrapes, rim shots, press rolls and the ability to alter the rhythm so that its rapidity stimulates the music without upsetting the tempo.
COOL MOON proves that the lunar conditions in Kuopio were obviously anything but square. The memorable session confirms Haslam’s and Hession’s talents and spreads the word about two Finns who should be better known.
Review by Ken Waxman
07/2005
Jazz Review, April 2005
It’s worth placing your shirt that the alliance of Anglo with some place far-flung from Oxfordshire will mean George Haslam has been traveling again. Here he is in the northern forests and lakes of Finland, with Hession in tow to play and record with two presumably newly-met colleagues.
As an advertisement for Kuopio, you need look no further than the marvelous cover photo of the town under a full moon in winter, the brightly-lit buildings stark in the expansive empty landscape of water and trees.
The CD inside offers more homely fare. This is the vista from amongst the trees. No-one is looking very far. The concentration is on making the music cohere. A celebration of humanity and togetherness, first and foremost, and consequently, there’s no dominant voice, nor any great sense of direction. Five pieces which presumably are free improvisations, with the Finns suggesting they work more often in form, and the Anglos just enjoying the blow. Haslam can be too nice a guy, I guess, to call the shots, especially when he’s a guest, but this set is in need of some greater dynamic, drama and variation. A bigger vision.
Pasanen offers mostly chords, in Bartok’s Night Music shadow in "Cool Moon", and with a notd to Bill Evans occasionally, but tellingly, he’s lost when the tempo rises. The consequence is a chordal commentary – in reflective minors – which flattens out the dudulations in the musical landscape. Hession is colouring in, rather then forming structures and editing, and the greatest musical interest in where the Haslam/Hickkala duo dominate. The bassist approximates a muted trumpet solo, sliding and scraping harmonic counterpoint to Haslam’s bluster on the opening piece, then when he digs into more jazz-like accompaniment, Haslam gets some rare lift to make a brief statement of interest in "Restless".
I went to Kuopio once. The brochures don’t tell you about the mosquitoes. Here’s a pesky one, giving this CD a bite.
Tim Dorset
AAJ-NY Donald Elfman Cool Moon The Anglo-Kuopio Quartet's Cool Moon finds Haslam and fellow Brit Paul Hession playing live in Kuopio, Finland. The quartet is rounded out by Finnish musicians - the brilliant and adventurous Mikko Pasanen (piano) and Jarmo Hiekkala (bass). Though this is a more standard quartet sound, the music is otherworldly, group improvisations that paint pictures of the moon in "all its splendor" - cool, restless, whispering, white and hanging over this place in Finland. These are extended workouts with all four of the players given the opportunity to shine as individualists and in the context of a group. From the first notes of the first track "Kuopio Moon", it's clear that while these are accomplished musicians what they are about here is being together and creating sound environments. These players play off of each other's lines and phrases and though the music is free it's never chaotic (or if it is it somehow sounds like there's method to the chaos). Tracks: Kuopio Moon; Cool Moon; Restless Moon; Whispering Moon; White Moon. Personnel: George Haslam: baritone sax, tarogato; Mikko Pasanen: piano; Jarmo Hiekkala: double bass; Paul Hession: drum set

Baritone Saxophone, Tárogató – George Haslam
Double Bass – Jarmo Hiekkala
Drums [Drum Set] – Paul Hession
Piano – Mikko Pasanen