In 2021 George Haslam closed down his SLAM Productions label after some 30 years and more than 250 album releases supporting jazz and improvised music. Recognising that legacy, Jon Griffiths of My Only Desire Records took over SLAM in 2023 and these first three CDs are all dedicated to Haslam. They have much in common, each being fully improvised duo music mixed and mastered by Get The Blessing’s Jim Barr and with striking CD artwork from Joe Morris.

That said, they also represent something of the different chemistries that can occur when two musicians interact spontaneously.

On Duos Paul Dunmall and Kevin Figes each deploy a range of wind instruments in tracks simply called ‘Two Flutes’, ‘Clarinet and Alto Flute’ and so on. With two single-note melodic instruments there is always a sense of conversation while the mix of tones and range also make it a study in texture. On the whole, they avoid riffing, rather exploring a stream of consciousness together in forms ranging from almost folk-like melodic phrasing to neo-classical impressionism and cascading bop. You sense a mutual respect and seriousness of purpose.

Happy Apples sees Figes (pictured below) in the same studio but with vocalist extraordinaire Julie Tippetts and a toy box of musical playthings. Opening track ‘The Third Harmony’ is an epic and impressive journey as Tippetts deploys some of the enormous range of vocalizing styles at her disposal. Wordless operatic swoopings lead to bluesy meanderings and neo-Bulgarian ululations, all woven through with atmospheric zither, rainmaker and flute. After that, though, things get increasingly playful, culminating in a series of brief pieces including the eponymous ‘Happy Apples’ and ending with the irreverent ‘Duck Off’ duo of m’bira and duck call.

They clearly had a whole lot of fun, as did saxophonist David Bitelli and drummer Ollie Usiskin in their Harlesden Sessions, to judge by the easy-rolling jazziness of their duo sound. Bitelli clearly has a thorough understanding of the evolution of sax stylings, well matched in Usiskin’s shrewd ear for rhythmic inflection. The sax riffs and shifts, with snatches of familiar tunes flickering in and out of focus as if momentarily called to mind, while the drums nudge at the musical flow, gently leading it forward.

They were clearly playing by the rules, yet very much on their own terms, and as with the other two pairings they represent a fine continuation of the free-spiritedness that always was the SLAM style.