(1995) Mal Waldron & Steve Lacy - The Mighty Warriors ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Reggie Workman (bass), Andrew Cyrille (drums)
Record date: 30 september, 1995

I can't believe how happy I am being able to write something for my Mal Waldron blog again. Because that must mean there's a new recording out in the wild! That makes me want to thank Zev Feldman first as he seems to be the one responsible releasing another Mal Waldron release. It took a while but Mal finally seems to get some attention with the Grenoble Concert released two years ago and a Craft reissue of Mal 2. But this release really made my heart beat a little faster, and that's all thanks to the lineup. Mal and Steve Lacy haven't made any bad records together. But add one of the best possible rhythm sections behind them, and it can only be a success, right?

In 1995, Mal turned 70. He toured the world and recorded several albums during that tour in Japan and Europe. He collaborated with Jeanne Lee, Takeo Moriyama, Max Roach, and this group as well. At the Singer in Antwerp, he played a duet with Max Roach, which was later released on the Slam label: Music in the Mth Degree. An excellent live recording spanning 2 CDs. Mal was in top form during this tour. The duets with Takeo Moriyama are also essential, but strangely underrated (probably because they are difficult to obtain).

During the live concert on September 30, 1995, in Antwerp, the band chose a number of Waldron/Lacy classics and some lesser known compositions. The band kicks off with the wonderfully brisk 'What It Is'. It has been recorded by these gentlemen before, but with Eddie Moore on drums instead of Andrew Cyrille. Everything works in this combination: Mal producing dark heavy clusters, Reggie Workman dancing over them, and Lacy beautifully soloing on top. Cyrille ensures that everyone stays in their place. This is followed by another Waldron/Lacy classic: Monk's Epistrophy. Short but powerful: it seems more like an intermezzo, but one that dares to grab the listener's attention. Monk is in the blood of both Lacy and Waldron, coming out in different ways, but the combination with each other is sublime. Then comes a composition by Steve Lacy that has not been recorded by these two before. ‘Longing’ fully breathes the DNA of the soprano master. It has a similarly simple but enormously catchy theme as the compositions that came from Mal's wrist. CD 1 closes with 'Monk's Dream'. After a wonderful solo by Lacy, it's time for Waldron to shine again in simplicity. It's fantastic to hear how he can pay tribute to Monk, revive Monk without actually sounding like a false copy of him.

CD 2 starts with somewhat freer tones. Yet, at its core, it remains structured, and it's the interaction between the four that also makes Reggie Workman's composition a success. It yields the more intimate pieces of the concert, such as a delightful duet between Steve Lacy and Andrew Cyrille. Then comes an equally intense duet between Mal and Reggie Workman. In his own way, Mal announces his forthcoming ode to Cecil Taylor by seeking more freedom and then repeatedly returning to his own familiar style. This over 25-minute track is one of the most interesting of the entire recording. 

But this applies to the entire second part of the concert. The second suite starts with the always intense 'Snake Out', the namesake of the blog. I think I must have about 20 different versions of this from these gentlemen, but even in this one, I hear new things. It never gets boring! It encompasses all the chemistry these musicians can have: it's dark, warm, ominous, exciting, raw, energetic, playful. It's spending minutes on the edge of your seat. I feel jealous of everyone who was in the audience. The interaction between the musicians is from another planet. After a drum solo by Cyrille that leaves blisters on your buttocks or ears, the session is beautifully concluded in a sober style by Mal with his ode to Cecil Taylor. The entire composition has little to do with Mr. CT's free play, but a more beautiful tribute one cannot receive. It is a direct insight into Mal's musical soul: tearfully beautiful.

In summary, this is a delightful record that easily fulfills all expectations. The live atmosphere enhances the listening pleasure even more. It's wonderful to listen for an hour and a half to such legends, each with their own stubborn sound. They are all stubborn, but it all comes together beautifully. And that's how this band sounds like no other: together! Everyone gets plenty of room to solo: the record could just as easily be under Cyrille's or Workman's name.

Elemental has done a beautiful job with it. The booklet contains interviews and essays with, among others, Vijay Iyer, Evan Parker, Hiromi Waldron (Mal's last wife), Zev Feldman himself, Reggie Workman, and Andrew Cyrille. And more besides. The interviews with Workman and Cyrille are a joy to read. These men had so much fun playing together and touring together. You can see it in Tom Overberghe's beautiful documentary: the joy radiates from them. In all the stories, it's clear that there is a common image of Mal: he was calm, reserved, friendly, warm, and had a great sense of humor. Overall, the stories don't provide much new information. Adam Shatz's essay is a repetition of the stories that come up in every booklet about Mal. But it doesn't matter: Elemental has released a fantastic record. The sound is everything you'd expect from a live recording from the 1990s: delightful. Initially, I went for the CD version myself. I'll wait for the reviews before I go for the vinyl. In whichever format: this record belongs in every serious jazz collection. And if you're a fan of any of these four legends: then you must have it. This record gives you another good reason to watch Tom Overberghe's beautiful documentary. If you want to know what this record entails: skip to 8:38. What wonderful guys!

(1978) Searching in Grenoble : The 1978 Solo Piano Concert ****1/2

 

With: Mal Waldron (piano solo)

The interest in jazz seems to be rising last years or at least, and that's great news as well, remain stable. Low but stable. The whole vinyl revival thing might have somtehing to do with it with the big labels like Blue Note and Verve introducing their Classics, Tone Poet and Acoustic Sound Series. There's Pure Pleasure records shining light on the awesome Strata-East and Nimbus West catalogs. And the great one-man Paris based Sam records releasing unreleased stuff by underrated talents like Nathan Davis and Billy Harper. Horace Tapscott also seems to finally get the appreciaton and recognition he deserves. Oh well he deserves even more. As a Waldron fan I hoped the same would happen with the music of this underrated piano master. I know trough this blog and the internet there is a serious and pretty big fan base. Plus there is a serious ammount of great bootlegs circulating on the internet. But until october 2022, there was nothing released and Mal got ignored by every single music label. The latest release of interest was the duet with David Murray. There was the solo Vancouver stuff that was released online only but that one wasn't that interesting plus the sound quality was very poor. But hey let's forget about that because last summer I got this in my mail: the American Tomkins Square is about to release a 2cd solo Mal Waldron set: a previously unissued set of songs recorded live at the Grenoble jazz festival. Hooray for Mal!

So what is there to say about the music on this 2cd set? From a Mal solo record you could really expect everything. The studio solo albums are generally less interesting than the live ones and the live solo albums are generally very, very good. The 70's were also a very strong decade for Mal's music. So this 1978 solo live concert is exactly what you might expect: it's very, very good!

The almost 24 minute long opener is one of his most interesting solo pieces. It might as well been called: the Mal Waldron medley or Mal Waldron suite as it's really a musical summary of his own music. All kinds of Mal compositions pass by in 24 minutes of breathtaking piano soloing. The music moves from emotional bluesy ballad style playing to his brooding high tense vamping in the more intense parts. Then when the music is just about to hit it's absolute intense climax it fades again into a more gentle and warm ballad kind of playing. All the stuff is connected to each other in an impressive way with hints of classical composers like Satie and Debussy here and there. With it's minimalistic approach here and there this is really music to sit down for and just listen without doing anything else. 

The two discs are fairly divided between originals and jazz standards. The jazz standards played here are all suited excellent for Mal's eased but deeply emotional piano playing style. 'You Don't Know What Love Is' of course reminds one of his years with Lady Day and he has played it a lot since her death. Yet every version is unique in it's own way. Mostly because you could still feel her spirit in Mal's own playing. The way he takes his time, creating space gives a unique look into his music. 

The originals chosen are well known ones (Soul Eyes, Fire Waltz) and lesser known ones (Petit Gemeaux and Here There and Everywhere). Some of them have that hard hitting intense dark energy like Snake Out and Sieg Haile yet All Alone has that moody repetitive minimalistic approach that is so recognizable for some of his ballad work. Even though Mal is an excellent performer of standards, it's always on his own stuff where he sounds even better. It's where his soul truly reflect trough every aspect of the music. 

It's also mentioned in the liner notes and this is exactly what makes Mal such a wonderful pianist. Mal really is just.... Mal. He has such a distinctive voice in jazz piano, one could identify him within seconds. Sure there are hints of jazz pianists like Bud Powell, Monk and Cecil Taylor and the obvious influence of classical composers like Erik Satie, but Mal really plays mostly like himself. You have to like that style but if you do you become addicted to that intense repetitive and deeply emotional vibe. Mal never tries to blow you away with technical abilities, fast loops or other tracks. He is one of the most sincere jazz musicians I know. He just takes a sit behind the piano, light his cigarettes and plays everything exactly as he feels it. 

Then finally something about the packing: Tompkins Square did an awesome job. Unfortunately no vinyl version (yet) but the cd digipack looks very nice. The highly informative booklets contains beautiful photography and interesting essays/interviews by and with Matthew Shipp, Ran Blake and of course his daughter Mala Waldron. I only dislike the fact that the cd's are placed directly into the cardboard without protection. I know from experience that for instance with the cardboard sleeves from HatHut damage to the cd is easily done when you slip a cd into it and there's a small piece of dirt on the cd or in de cardboard. Part from that beautiful packaging and more important: the sound is really excellent. Gary Hobish did a tremendeous job.

Thanks to Zev Feldman and Josh Rosenthal this music is finally available for everyone. There should be way more Waldron reissues and releases out there but unfortunately as the liner notes truly state: Mal Waldron remains an underrated and underexposed musician. Hopefully this new release shines a little light one this unique pianist. 

Taking a small break

143 albums! That's a lot of reviews and a lot of music. But in no way it could be the end of this project that I highly enjoy doing. From the start at the beginning of this year until now (half May): I have enjoyed every second of it. Mal has done so many things, with so many great musicians. He managed to keep surprising me in a very enjoyable way until the last record reviewed. I truly feel he deserves the attention he's getting here and hope that people keep on exploring his music despite the fact not a lot of it is reissued or released anymore. 

I finished my first goal: reviewing all of his work post 1964 as a leader, co-leader and a sideman. But it does not feel good to stop here. Yet I have to take a small break. Time really is a thing nowadays, busy with all kinds of things. So what's the plan for the future of this blog? Some idea's: reviewing his work as a leader and co-leader pre 1964, reviewing all his appearances on VA releases like the stuff at Jamboree in 1966, and his appearances at multiple jazz festivals. I am also busy writing a compact yet pretty expanded biography but I am mostly struggling getting information on his later years (from the '70's). Plus I want to try get people who knew or played with Mal contributing to my blog again. Unfortunately contacts with George Haslam and Nicolas Simion faded and Reggie Workman did not wish to contribute. But I will keep on trying!

I mostly want to thank all of the reader's of my blog. Though there aren't a lot of replies here on the blog, I received lot's of them on other websites. Google analytics pointed out that from the month March I had around 50 to 100 readers a day during the week and between a 100 and 200 a day in weekends! That really exceeded every expectation. Thanks for all your kind replies, helpful answers and encouragements: it made it so easy to keep on going. When I continue, I will let you know. And thank you Tom van Overberghe and David Friesen for contributing to my blog. 

For all people who want to explore the music made by this fantastic and legendary pianist, for now these links might help you out:

All Reviews in Chronological Order

All Reviews by Rating

 

(1994) Chuck Henderson - Black Issues ***

 

With: Chuck Henderson (soprano saxophone), Mal Waldron (piano on #5,#6,#7), Raoul Walton (bass), Fred Braceful (drums)
Record date: April, 1994

Now when I first heard the name Chuck Henderson, I thought to myself: I've got to know that guy. Is he some session musician I have totally overlooked in my music collection. He's got a real jazzy name, that's for sure. But he is a pretty obscure figure only recording one sessions as a leader (this one) and appearing on a dozen other albums by musicians that were active on the German jazz scene (including Embryo). For this album he collaborates with other artists from that scene: the great Fred Braceful on drums, who also played on Mal's 'Spanish Bitch' and 'The Call' albums and bassist Raoul Walton who really has played all kinds of music. Mal was already living in Brussels at the time but was of course a well known jazz resident in Munich. He appears only on a few tracks.

So what does this group sound like and what to expect: it's mostly accessible and pretty funky modal jazz. Henderson isn't the most advanced or challenging player but he does a pretty fine job. His composition 'Realising The Difference' has this nice funky feeling with a grooving Raoul Walton on bass. Also the remake of Duke's 'Caravan' is a creative one and makes one laugh with it's repeating bass loop. Mal makes his first appearance on 'Protect the Innocent Pt.2'. The repetitiveness of the music works out pretty well for him and he plays a nice solo part. He mostly just does his thing. The title track is the best one on the disc. It has a more jazzy feeling and Mal's solo is excellent with some good old fashioned backing by Braceful's pushing drums. Henderson's soprano skills sound a little limited here. You want him to 'go out' and explore but he stays mostly on common grounds. On 'Boo Blue' Henderson takes a bluesy duet with Mal. The closing composition is a solo statement by Henderson. It's a nice and thoughtful way to close this record off.

All in all this is an enjoyable effort and an interesting collaboration. But the music isn't very special and fails to make a real lasting impression. Mal's role is limited to a few appearances and a small solo here and there. The cd is not the most easy one to obtain. It's good sound wise, contains some nice photographs of the group plus some thank you words by Henderson. There's also a Japanese inlay in mine which seams to contain some more information. Nice to have but in no way essential.

(1993) Mina Aoe - The Shadow of Love **

 

With: Mina Aoe (vocals), Freddy Cole (vocals, piano), Grover Washington Jr. (soprano saxophone), Eddie Henderson (trumpet), Jim Powell (trombone), Ted Nash (tenor saxophone), Jerry Byrd (guitar), Mal Waldron (piano), George Mraz (bass), Billy Hart (drums), Steve Berrios (percussion)
Record date: March 3-7, 1993

I'll never get used to this kind of thing. Japanese singer Mina Aoe teams up with some of the top American jazz musicians of those days. The result is an overly sweet, old fashioned out of style and very dull record. Mina Aoe must have been quite the singer in her homeland. She has recorded lots of music back in the 1960's. She could sing okay but has this huge Japanese accent. The music played here is so not my cup of tea. In my opinion we have past this kind of thing in the 1940's. And even then: it was performed a zillion times better back in those days. Love some of the standards but not the way they are performed here. 

1 star for the music. 1 more for the excellent musicians playing here and Freddy Cole's voice. Try it yourself, maybe you will like it. I don't and mostly bought it to complete the collection. I would definitely not spend the money some Discogs sellers dare to ask for it. 

(1989) Jim Pepper - Flying Eagle Live at New Morning, Paris ***

 

With: Jim Pepper (tenor saxophone & voice), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)

Record date: October and November 1989

Most of Mal's records with Jim Pepper were released under Mal's name. All but one: this Tutu disc that is capturing the quartet of those days on three live locations. The music was not only recorded at 'New Morning' in Paris, but also in Innsbruck and at the Tampere Jazz Festival in Finland. I could see why they decided to release it under Pepper's name. It's all a little more of a Pepper recording than a Waldron recording. Yet there is still a lot of Mal to dig down here and this quartet remains a pleasure to listen to.

In style you could mostly expect more of the same music they already recorded together. It's hot and steaming live postbop music. Well structured but still advanced an innovative enough to remain of interest. I like Pepper's style: he has a full and robust tone with a little smooth edge. That's his tone, but his technique and style are nice and unique too. Though all kind of influences are clear he is still pretty clearly identifiable as Jim Pepper.

This recording captures some nice uptempo bop originals like the first two songs. There are also a few of 'Pep's' classics: the traditional Somewhere Over The Rainbow and a suite called Legacy of the Flying Eagle which includes his classic Witchi Tia To. The more uptempo songs are most of interest as they truly capture the energy that this band had. Somewhere Over the Rainbow is nicely played but would have impressed more as a solo outing by Jim. The following Ski Jumping Blues sounds a little cliche here and there. It has this been there, done that feeling. Pepper's vocals are okay but still...

The duo with Mal: Soul Mates is beautiful. A nice view on their duo magic. The chemistry is big and the addition of Schuller and Betsch in the background is an nice adding. With Green Pepper the music suddenly takes a more free approach with highly percussive piano playing by Mal and Pepper's freewheelin' playing over the heavy vamps from the piano. 

There are references to his Native American heritage all over the recording: it's in the artwork, in the title, on the photographs, in the compositions and in his singing and chanting. It's most prominent on the Legacy of the Flying Eagle where Pepper starts chanting and talking to the public. It's interesting to hear a Native American influence on jazz music. Strangely enough not a combination heard a lot yet the music has a lot in common with modal jazz styles. The chanting is a fun twist in the music but on cd it fails to really catch your attention. Must have been a great live performance though. 

From all of the TUTU's this is the one I least like. The records under Mal's name are really more of interest. Still, you can't call this bad music. Like all of the TUTU discs the concert was captured in high fidelity: I love the sound of these discs. You have to be lucky to get one these days but on Discogs they go for pretty reasonable prices.

(1989) Embryo - Turn Peace ***

 

Hermann Breuer (trombone) Edgar Hofmann (soprano sax) Monty Waters (alto sax) Allan Praskin, alto (tenor sax) Christian Burchard (vibes) Mal Waldron (piano) Roman Bunka, Geoff Goodman (guitar) Paulo Cardoso (bass) Dieter Serfas (drums) Abdul Wahab (percussion)
Record date: September 1989

From the moment they first met in the 1960's until Mal's death: Mal and Christian Burchard played together trough all those years on so many occasions. Though there are not a lot of official records, the number of bootlegs circulating on the internet is countless and so is video material. They mostly played together in the band 'Embryo' of which Burchard was a member for most of his life. Mal plays only on 3 tracks on this last record with the German band: on track 6, 10 and 11. The whole album is a bit of a mixed bag with lots of musical styles, personnel changes and separate recording sessions. That is probably what this record misses most: a clear direction or feeling or unity in a musical sense. 

The non-Waldron tracks are a mix of Eastern, Indian, Middle Eastern and African sounds. Lot's of native musicians are participating in these tracks giving the music a fascinating international kind of feeling. It's world music but not in the cheap kind of way: the music is truly used to enrich Embryo's own music. They really left most of the psychedelic and krautrock of their '70's behind here. The music is experimental but mostly in the use of Eastern scales and instruments. It's interesting to hear but none of the compositions manages to really make a lasting impression. The variety keeps the music thrilling but makes it sound also a little random.

The Waldron tracks are a little more jazz oriented. 'Abdul' has definitely Mal's trademarks on it but there's little space for him to stretch out. Just like most of the music it's all a little forgettable. 'Barks' could have been better but was cut off and begins in the middle of the song. Unfortunate and a bit of a weird choice. The best and most interesting composition of the album is the last one: 'Lonely Nights' is definitely written by Mal. It combines the most interesting muscians of Embryo including Roman Bunka, Dieter Serfas, Christian Burchard and Mal's own bassist: Paulo Carduso. It's the most jazzy song of the album and contains some excellent soloing by a sensitive Mal Waldron and smooth playing Bunka. Carduso forms the base he was to become in Mal's trio. Great bassist with excellent timing and feel for soloing. 

All in all this music is far from bad. It's actually pretty good but it's mainly the the lack of connection trough all the songs which makes the whole album a kind of a weird listening experience. The tracks with Mal are ok but nothing special. Embryo has made more interesting albums, and so did Mal himself. The music is still pretty easy to obtain. 

(1988) Tom Mega - Backyards of Pleasure *

 

Record date: April 6, 1988

There's not a lot of information to find about Tom Mega. Apparently he had been a bit of a naughty boy using lots of dope and being locked up in prison in the 1970's. He's a German singer who recorded several albums before he passed away in the year 2000. I was in doubt if I was going to review this record for this music is just really not my cup of tea. But hey: if one is about to review ALL of Mal's work post 1964, one cannot skip this one of course. I decided to stay as neutral as I could be, listening with open ears and an open mind. But this stuff is just going too far for me and Mal is nothing but a session musician anyway here.

What to expect? Expect heavy outdated '80's synths and keyboards and a ditto outdated sound. The music is rock oriented with a pretty obvious pop twist. Tom Mega is probably a bit influenced by Bowie and Tom Waits but doesn't reach those levels by far. He has a very thick and bit laughable German accent. None of the session musicians sound challenging or inspired anywhere and there space is very limited. So is Mal. I don't why he decided to collaborate for this recording. Was he openminded, in need of money or did he had contractual obligations with ITM? I don't know and just wish to forget this whole record. If you want to complete your Mal Waldron collection like I did: it's cheap and available. And so does it sound.