It’s a long way from Preston to Buenos Aires and when the Lancashire-born (in 1939) baritone saxophonist George Haslam first arrived to play in Argentina in 1990, the long wake of the war in the Malvinas was still fierce.

Yet with Haslam’s horn, jazz became an urgent peacemaker and has been ever since with the abiding and deeply creative musical friendships he has formed with some powerfully vibrant Argentinian jazz virtuosi.

Haslam returned in 1991 to play the Mardel Jazz Festival in Buenos Aires, an event remembered as the opening track of the album Argentine Adventures, where he plays a deeply evocative tarogato solo called Tinto Dreams.

A fortnight later he was in the Menendez Studio to join vocalist Mirta Insaurralde, pianist Ruben Ferrero, bassist Mono Hurtado and drummer Sergio Urtubei for the sad, almost blues soaked folk tune Vidala Para Mi Sombra, and his baritone joins emphatically with Daniel Harari’s tenor saxophone and Enrique Norris’s Miles-influenced trumpet on Los Muchachos de Buenos Aires.

Welcome George was recorded on a return visit in August 1992 with Harari, Hurtado and Ferrero all present and warmly grooving. By 1993 Haslam was feeling bold enough to essay local Carnavalito rhythms on Bailando con Los Raices. On Affirmation he joins Argentinian altoist Sergio Paulucci and the brilliantly diverse Hurtado for a trio version of Coltrane’s great theme.

Argentine Adventures Part 2 was the outcome of further Haslam sojourns in 1994 and 1995. The first track is Tango Libre with Gustavo Pagua’s bandoneon and Quique Sinesi’s guitar.

It shimmers with life and Anglo-Argentine amity. Haslam’s Blues for Argentina includes horn compadres Harari and Paulucci and also Ferrero and their sonic crossfire and poignant soloing is deeply moving.

Kool introduces altoist Pablo Ledesma and Hurtado returns. Ledesma skims over his notes as if he were flying while Haslam’s baritone delves into the earth. They combine too on Blues No 9 for La Plata where Haslam’s deep horn resonates with a leaf-like lightness.

Haslam subtitles his third Argentine Adventures album Travels with My Tarogato, as this is his preferred horn on this 1998 selection.

The opening duet with Hurtado, Triptigo, reveals Haslam’s musical cosmopolitanism, being inspired by both Indian classical sounds and the visual effects of Ukrainian church icons.

Hurtado’s bow-work is immense and his soulful plucking gives a sublime beauty to the tarogato’s terser timbre.

Questions, Questions is another duet with the ever-lithe Hurtado, and has a folk-music feel.

But it is the quintet on Five Go Free in Buenos Aires, where Ledesma, Ferrero and Luis de la Torre on drums enter the proceeding, that the co-operative sparks fly across ocean and tropics.

It lasts 25 minutes, a free improvisation of combustive heat where each musician searches out the new and undiscovered. Ledesma levitates above the more corporeal sounds of bass and tarogato and Ferrero’s keys strike and tumble all around them.

Ever note of this music is a rebuttal of Thatcher, Galtieri and their menials and anticipates new levels of peace and creative unity between two war-defiled peoples.

This reached an apex in March 2001 when Ledesma and Hurtado visited London as half of the Anglo-Argentine Jazz Quartet with Haslam and the tremendous Leeds drummer Paul Hession.

They recorded four riveting tracks at the Red Rose Club and then joined with soprano saxophonist Lol Coxhill, Elton Dean with his saxello, the arch-bassist John Edwards and percussionist Lukax Santana for 29 minutes of the improvisation Impetuosity of Youth.

Hurtado and Edwards begin with a long and compelling bass colloquy — a first-time meeting, unrehearsed and astonishing in its mutual splendour.

The horns come in like a parliament of fowls, Hession makes a storm, urging surging saxophone sounds blown as a palaver between two continents, all provoked by one Englishman’s audacious and fecund travels and an amalgam of brave musics.