With: Mal Waldron (piano), Reggie Workman (bass), Billy Higgins (drums)
Record date: December 28, 1973
Where 1970, 1971 and 1972 were among Mal’s most productive years, the stream of records faded all of a sudden in 1973. Until 1980 he put out only one record a year, sometimes two but also none at all (at least not as a leader). I don’t know the reason for it but one must say: the stuff he did put out was of very, very high quality.
In December 1973 Mal made his first recording in an American studio since his recording of the score for 'Sweet Love, Bitter'. According to himself he left the country for it’s climate of competition, racism and the presence of drugs in the jazz scene. He once told an interviewer that if he had stayed in 1965, he’d be probably dead in a year. When he went back he recorded with two guys he never recorded with before (but he probably knew them from the early ’60’s jazz scéne. Those guys were Reggie Workman and Billy Higgins. I do not have to say anything to explain that these guys were two heavyweight giants themself playing with practically every big name in jazz in any style. And their playing goes very well with Mal’s playing style.
The album is filled with four typical Mal Waldron compositions. The opening title song is immediately recognizable as to be from Mal’s hand. It’s repetitive walk with his left hand in the lowest registers of the piano and his percussive attack with his right hand. Workman immediately dives in to it with his dark voice on bass, using his bow that really adds up to the grooming atmosphere. Higgins’ is solid as he always is. I never heard him missing a beat. He’s probably one of the most reliable drummers in jazz, able to adapt every style and play his ass off. He’s far from unconfortable with the more free oriented music on this record. The second song is less of a typical Waldron composition. It has Carla Poole on flute and has the feeling of free improvisation. It’s more of a soundscape that is created than a song and they do it in a perfect way. Though it sounds like impro it’s till very accessible and it’s again Workman that really steals the show being so much more than a bassist that just set chords.
The third composition was to become one of Mal’s trademark compositions. It’s the song that this whole blog is named after: ‘Snake Out’. It’s a constantly hunting composition that reaches climax after climax. Both Workman and Higgins swing their tits off with Higgins playing multiple rhythms at once. Mal’s solo is nervous, hard-hitting and swinging. This is the stuff he plays best. The only thing I miss here is Lacy… I am used so much to those versions I almost can’t hear it without Lacy blowing his soprano to pieces. The closing Changachangachanga (that’s a great title) is another Waldron original. Again it’s all about interplay between the musicians with Workman playing beautiful stuff on his bass. After the rhythmic more free theme Higgins set up a beat for Waldron and Workman to improvise on. Another great song.
There are several releases available but non of them is really cheap. The original LP is pretty expensive for a Enja record. I’ve got the 2003 cd but do not recommend it. It doesn’t sound very clear and Higgins is too far up the mix. I cannot speak for other versions. This one was also reissued quite recently in the Solid budget version in Japan. The whole record is easily recommended. It’s a beautiful insight in a very fruitful collaboration to come. With Higgins two more times, Workman would return multiple times at his side forming some sort of first set group by Mal with Eddie Blackwell. Their interplay is always a treat.
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