With: Grover Washington Jr. (soprano saxophone on #1, 2 and 5), Eddie Henderson (trumpet, flugelhorn on #1,3,4 6-8), Mal Waldron (piano), Reggie Workman (bass), Pheeroan Aklaff (drums) Record date: September 23 & 24, 1993
Like so many other jazz musicians, as the aging progressed, the sound of Mal became milder and milder. Especially the Alfa records are very accessible an mostly very much subdued. But with Mal it did not mean he was becoming a boring pianist that was sticking to standards or something like that. The innovative part of his playing was still there but more between the boundaries of straight ahead jazz. But as Mal stated himself: you always have to look forwards, because if you keep looking backwards you might stumble. This last session for Alfa Jazz Japan, recorded in the States is far from boring. But it is a very gentle Mal one hears here. Lots of ballads with only a few exceptions.
Mal was becoming so mild he even decided to work with…. Grover Washington Jr. Respecting every musician in his own way, I am not going to make offensive statements about the guy. But I really, really dislike his sound that reminds me mostly of ahum….. Kenny G. There… I said it. Smooth jazz is for me the anti jazz that freejazz was to so many conservative listeners back in the day (and also still nowadays). I just don’t like it at all. So seeing Washington’s name on the back cover did not make my heart beat faster as one might understand. But I have to say: he’s ok here.
In fact on ‘Footprints’ he actually gets a little triggered by the rest of the band to leave his safe grounds. And then it’s immediately hearable the guy could really play and has an excellent technique. Yes even some soul probably. The rest of the band hardly need an introduction. After Woody Shaw, Henderson is another trumpet giant from the States who experimented with fusion, free forms and of course mostly hard swinging postbop. A guy with fabulous technique and timing. I probably have already said enough about Workman on my blog. That leaves Pheeroan Aklaff who I personally really see as one of the top drummers of jazz today. He mostly made fame in Wadada Leo Smith’s Golden Quartet/Quintet but played with so many legends. On this record he is mostly in the background unfortunately and I really pity the fact that he did not play on more occasions with Mal. Like Andrew Cyrille or Ed Blackwell, he would have been a perfect fit. Would love to hear him with the more fiery pieces by Mal like Snake Out or Hooray for Herbie.
Mal’s classic Left Alone puts Washington back in his safe zone which is really unfortunate. His overly smooth sound with it’s predictable licks really not sound sincere. And that really spoils this oh so beautiful ballad and turns it into some honey sweet song that lacks the feeling like on the version with Archie Shepp for example. ‘Sassy’ is a laidback waltz written by Mal with some nice muted trumpet by Henderson. His playing is even better (and more beautiful) on the impressive Japanese folk song ‘Sakura Sakura’. With it’s dark and very moody atmosphere it could easily have been written by Mal himself. But it mostly showcases how Mal’s style really blend with eastern oriented music. That has always been an influence on his own work. When he’s soloing on it, conversing with Workman, constantly playing those dark low chords, that is him on his best.
The rest of the album consists mostly of slow ballads that are all equally beautiful. Again Washington’s tone on the only jazz standard here is a bit too smooth for my taste. Big exception in laid backness is Miles Davis’ funky Jean Pierre that goes surprisingly well in this setting with an all acoustic band. The version Mal recorded later on his album with David Murray was even more exciting. Mal met Miles Davis only once and Miles wasn't very nice to Mal. Miles told Mal: 'you know, you remind me of my brother' on which Mal replied 'oh yeah Miles?'. 'Yeah', Miles said. 'And he's a faggot and I hate him'. Not very friendly but Mal loved him anyway, even after that encounter.
Like most of the Alfa Jazz releases, most of the music here is very accessible. This is not the wild, funky and hard grooving Mal with some loud out there playing or something like that. It is a very pleasant record to listen to with some very, very good musicians and it does contain some beautiful tracks. Music does not always have to be fast or loud. The Alfa cd is a little bit rare. Most sellers dare to ask ridiculous prices for it like they always do with OOP Japanese releases. I do have it and is sounds great but of course as always I am not able to read any liner notes. So maybe the American Evidence release, with different cover art, is the better choice? One could pick up that one easily on Ebay or Discogs. This is Mal Waldron for when you come home after a very busy day. Or when you just want to relax.
With: Charlie Mariano (alto saxohpone), Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums) Record date: August 24, 25 and 26, 1992
In the summer of 1992 it was time for the second record date with Mariano and Waldron. Just like Mal, Charlie wasn’t retiring from the scene at all. He was still alive and very active in those years releasing his own work and appearing with all kinds of musicians (including a fascinating album with Rabih Abou-Khalil). Like Mal Waldron, Charlie Mariano was open to all kinds of styles. He was also living in Germany like Mal (though the latter had just moved to Belgium) and played with the same Krautrock and psychedelic rock groups in that country. In 1992 the New Europe was really getting shape with fresh democracies and newly formed states. But a part of that New Europe was still burning. Just like ‘Autumn Dreams’ it’s this revolutionary period that is the main theme trough the music.
Also like that first album it’s a mix of compositions by Waldron, Mariano and some jazz standards. The three jazz standards are played in a very decent way with some great soloing by both guys that are really in the spotlight. That means the rest of the group is just playing their part in the background mostly. But the overall playing is just very good. This was one very solid group. Mariano’s original has a bluesy and very sweet melody that keeps coming back like a loop. His soloing is again excellent but a little subdued. He loses some of that on Mal’s ‘Monkish Witticism’ that has this almost uneasy break that suddenly takes a move into some hard swinging territory. It’s a pretty cool composition with lots of unexpected turns and twists just like Monk’s own compositions had. There’s also another relatively short version of Mal’s Seagull’s composition. It’s treated with much elegance and passion by Mariano’s warm alto playing. Another wonderful execution of this Mal classic.
The most interesting part of the album is the almost 20 minutes long suite. Both Mariano and Waldron dare to leave the more usual conventions of jazz and start of dueling together without the rest of the band. It’s a very intimate kind of dueling with both musicians constantly responding to each other. In the ‘Discussions’ part it’s up to Carduso to interact with Mal. He does in a very thoughtful way, making it actually sound like he’s discussing stuff with Mal. Then up comes the anger in the ‘Confrontation’ part which is a nice opportunity for John Betsch to show off his drumming skills (that are very, very good). Mal fires off hard and dark clusters in this haunting duet with the drummer. Concluding the album is the whole quartet with some very intimate interplay between the four of them. Mariano’s passionate saxophone playing runs over beautiful lines that are provided by Mal and Carduso. A great conclusion of a pretty good record.
Where ‘Autumn Dreams’ was a very decent but pretty standard outing, I found this one to be a little more exciting. There’s a little bit more tension in the overall playing and both of the musicians are a little more adventurous. But most of all this is some very comfortable jazz to listen to. Quality music by four quality musicians.
This record was released only once on Alfa Jazz Japan. No reissues on labels like Timeless or Evidence. That makes it a little harder to find yourself a copy and if you do find one it’s probably not cheap for a CD. If you’re a fan of Mariano or the more gentle side of Mal this record will probably not disappoint you.
With: Cristina Mazza (alto saxophone), Reggie Workman (bass on #A1, A2), Mal Waldron (piano on #A3, B1, B2, B3) Record date: probably somewhere in 1991
Another record with an Italian woman. But Cristina Mazza ain’t no singer, she plays alto saxophone. She is mainly active in the Italian scene but she sure ain’t no Candy Dulfer. Mazza plays more avant-garde oriented jazz and is not afraid to make crossovers with a genre like heavy metal, like she did once with John Tchicai on the ‘No Trespassing’ album. Definitely not a boring lady. Also joining is the great Reggie Workman, who fortunately joined Mal on so many occasions. On this record he does not play with Mal. And of course there’s Mal himself who was never afraid to play with new talent or experiment with new styles. But he does not play on all the selections, just a few of them.
The music played here is a little hard to describe. Jazz or jazz structures are pretty far away. In a way it really is free improvisation on some of the selections. But you don’t have to expect loud and angry freejazz. Mazza has a pretty warm and sweet tone. It’s more like Neo-classical music with an avant-garde twist. The less accessible kind. The first two selections are really in that style. It’s a kind of dialogue between Mazza and Workman. And though both play beautiful, after a few minutes it really starts to bore a little. It just misses a groove, a theme and some direction. But they do blend pretty good. It’s not like they are on some different planet. But I just don’t really understand the planet that they are on. On the third track Mal joins for a duet with Mazza. Again it’s mostly free improvisation and Mal mostly follow’s what Mazza is playing. It is again all pretty abstract but he loses some of that abstraction in his own soloing which is beautiful and contains some of the warm energy this record really needed. There’s some blues in there also which is pretty refreshing to hear. This is a composition by Ornette Coleman but it’s pretty hard to get that out of the music.
Side B is a little more structured. The starting duet between Mazza and Waldron is clearly written by Mal, hence the brooding and dark atmosphere in it. But again the total arbitrariness in Mazza’s playing fails to impress. I really miss some idea’s here. The solo piano part by Mal is definitely the best of the whole album. His hot driven almost panicking piano style with it’s constant repeating phrases make a true first statement of feeling and emotion on this record. Of course Lacy’s ‘Blues for Aida’ is also more structured but it really misses a key ingredient…. Lacy himself. Mazza’s playing is ok but could not compare that of the soprano master himself. The closing song is a little unnecessary.
What I mainly miss here is the deep soul that Mal’s records mostly contain. I miss the freedom that he could get out of structured music. I miss some blues All of the musicians play pretty well an Mazza is no exception. But I just miss the statement she wants to make with this kind of music.
There is no source on the internet nor on the LP itself that says anything about a record date. Only that is was released in 1991 on the pretty obscure Il Posto records. 1990 was the year that Mazza’s career started of so it was probably recorded in that year or in 1991. For some weird reason Il Posto released most of it’s stuff on LP and did not issue it on cd. That was pretty unusual in those years. The sound quality is not so great for something that was recorded in those years. It’s still pretty easy to obtain on the internet. One has to pay around 30 euros at least for it. If you ask me, there are better ways to spend them on another Mal record.
With: Steve Lacy (soprano saxophone), Mal Waldron (piano) Record date: June 28, 1992
Mal and Steve were affiliated with each other trough their whole life. From their first meeting in the late ’50’s until Mal’s death in 2002. And Steve was to die only a few years later unfortunately. They played in all kinds of settings: duo’s, trio’s, quintets and sextets and made lots of records together. In the years 1992 and 1993 3 of their live encounters were recorded. It made sense too me to merge them into one review as they have the same tendency. But don’t get me wrong, every single one of these records is something different. And with all their duets recorded I could still say: you could buy every one of them without hesitation..
This first concert in June 1992 was recorded at The Jazz In’It festival in Vignola in Italy. Both Mal and Steve had a special relationship with that country and the love was completely mutual. They recorded lots of records there, both live as in the studio. And the idea of the duo came from an Italian producer according to the liners of ‘Hot House’. This concert was made in honor of Thelonious Monk, the pianist that is probably the biggest influence on both men. They played a lot of his tunes troughout their career but this is the only album that is completely filled with his compositions. All but one: I’ll Keep Loving You which is by Bud Powell of course.
From all of their records together this is probably the one I found least interesting. That still means it’s very good because these guys never made a bad or uninspired record. But compared to other work it’s definitely not their best. They know like no other how to play a Monk tune and some of their performances of them are among the very best I know. But they are especially nice as one of the songs on an album. I miss a composition by Mal or Lacy here as they are usually more adventurous and provide a little more freedom. The playing here is very subdued and the version of ‘Round Midnight for example misses that vibe that their version at the Bimhuis had in 1982. It’s like they just didn’t really had their night.
Overall their playing is still great and this a very accessible record to listen to and a must have for every Monk fan that’s around. It was brought out on the Italian ‘Nel’ label and is avaible for a very low price. It was reissued by Jazzaround with hideous artwork. The original Nel release comes with an extensive booklet but all liners are in Italian. Really, if you are able to buy it for the 3 euros some sellers are asking for it: just get it.
With: Steve Lacy (soprano saxophone), Mal Waldron (piano) Record date: November 1, 1992
Where the Italian festival concert was one of their more accessible efforts, their concert in a small jazz revenue in Saitama, Japan is a little more exciting here and there. That is partly because of the compositional choices with again some work by Monk but also some originals by Mal and Steve themselves. ‘Monk’s Dream’ starts off pretty abstract but slowly merges more and more into the theme we all know. Yet these guys did get a little milder as their age progressed. ‘Powell’s ‘I’ll Keep Loving You’ is of great beauty like all of their versions together. On ‘Blues for Aida’ , it’s Lacy’s sad sounding soprano that gives the song an extra emotional dimension. Backed by Waldron’s subtle chords in the background it creates a sad soundscape. The album has an ideal balance in more straightforward compositions and the more abstract or tense one’s like Lacy’s ‘Blinks’. Some of the best moments are in Lacy’s ‘Blues for Aida’ with a beautiful solo by Mal who is touching his keys so gently the piano almost whispers the notes. As he drops out completely it’s Lacy on his own and that always works beautifully.
Released on the pretty obscure Japanese ‘Egg Farm’ label it’s not one of the most easy to get records. The sound is great but expect nothing special from the packaging. Those who want to get to know their work should probably start with the more known records. This is a very good record but not their best. If you’re a fan of this duo it, you’re collection could not lack this one.
With: Steve Lacy (soprano saxophone), Mal Waldron (piano) Record date: May 16, 1993
Recorded in the next year during their first UK tour together. This one is my very favorite of the three with 78 minutes of astonishing music going from beautiful soft dialogues to intense free playing. It also has the ideal balance in compositions with some by the Mal and Steve themselves but also the known works by Monk, Strayhorn and Ellington. The concert was initiated by British reed player George Haslam who run’s SLAM records for which it was recorded. Mal was to record two duets with him in the next years for his label.
Now, this disc is already interesting for their unique outing of Duke’s beautiful ballad: ‘In a Sentimental Mood’ which is played in their own thoughtful way. Lacy run’s smoothly over the soft backings provided by Mal. There’s another tense version of their classic ’Snake Out’ where Lacy has the chance to go a little bit more out. Big surprise is when it slowly merges into Free for C.T. which is not mentioned in the album information. A mind-blowing version of ‘Blues for Aida’ where Steve is partly on his own again: a very deep listening experience. One could easily loose sense of direction without any company but Lacy never does, thinking carefully of every step he takes. Mal is also on his own starting with dark ominous tones from his piano. Just like Lacy he only plays a few notes but you just don’t want him to play any more. And as the icing on the cake a duo version of Mal’s funky ‘What it Is’ which works out fine without a rhythm section to set a funky beat.
This is Lacy and Waldron at their best with that chemistry that is almost like an indescribable thing but is always there. One of their essential records, do not hesitate to buy a copy for the ridiculous low prices on the internet. Do not expect anything from the packaging: SLAM’s records look a little like CD-R’s in booklet quality and no liner notes or whatsoever. But the music makes more than up to it. Essential stuff!
With: Charlie Mariano (alto saxophone), Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums) Record date: August, 7,8 & 9, 1991
Charlie Mariano and Mal Waldron have quite a lot of things in common: they both played with Mingus, they both recorded with German krautrock band Embryo, they both flirted with rock music and they both resided in Germany. So playing together wasn’t really a shocking idea. They recorded their first album in 1991 called ‘Autumn Dream’s for the Japanese jazz label ‘Alfa Jazz’. As a rhtythm section they used Mal’s regular trio with John Betsch and Paulo Carduso.
The album starts with a high energy original by Mal Waldron. It’s here where most things are happening. Mariano plays some nice fiery solo’s and Mal is playing his ass off. The interpreation of the traditional ‘Greensleeves’ is another creative engagement without any predictable dullness. The band sounds inspired and there’s some nice soloing by Carduso. But after that it all collapses a little. The following standards are all played in a beautiful way and there’s lot’s of chemistry between the guys. But the tension is gone and the music just goes on without really telling something. It’s beautiful music when reading a book, but these guys would have been capable of more than that. Their choice for standards that have been played over and over again by so many others wasn’t the best choice.
These Alfa releases from Japan are pretty expensive. Always a few copies for sale on Discogs but never for less than 30 euros. This is some beautiful music but you must be prepared to pay some money for it. And both guys definitely have made more exciting work.
With: Mal Waldron (piano), Paulo Carduso (bass 1-4, 6-8), Stafford James (bass #5), John Betsch (drums 1-4, 6-8), Eddie Moore (drums #5), Barney Wilen (tenor saxophone #5), Beat Kiffsteiner (flute #6)
Short review for this one as it’s mostly a combination of two other record. This Alfa Jazz cd is a compilation with some tracks taken from ‘No More Tears for Lady Day’ (#3, 4, 8), ‘Spring in Prague’ (#1, 7) and ‘Movie Theme’s From France’ (#5). That means it contains 2 new tracks: Lonely One and A Dream of Love. The first is a pretty straightforward almost dull short jazz standard. The second is an interpretation of a Liszt composition that isn’t really a success. Beat Kiffsteiner’s flute gives it a silly sound. So yes, of course there are some great songs on this disc but you should probably want the original releases that were all three very good. Buy this one only if you really want to complete you’re Mal collection like I did. Unnecessary release.
With: Steve Lacy (soprano saxophone), Mal Waldron (piano) Record date: July 12 & 13, 1990
The early ’90’s weren’t Mal’s most productive years as one compares it to the beginning of the ’70’s or the end of the ’80’s. Mal was getting older of course but in the mid nineties he still produced around 6 albums a year. In 1990 there were only two: the trio record ‘Spring in Prague’ and another reunion with Steve Lacy. Now, these guys really knew how to select some compositions. For ‘Hot House’ they selected some of the nicest compositions by some of jazz’ greatest and most innovative musicians. There’s some Herbie Nichols, a hint of Monk, a little bit of Powell but also some Duke and even a little Sydney Bechet. All of course figures that inspired both men.
‘House Party Starting’ was written by one of those underrated jazz musicians and composer’s: Herbie Nichols. Lacy had made multiple albums to honor the great pianist. Mal wrote his classic ‘Hurray for Herbie’ for him. On this occasion they’ve got the opportunity to stretch out on it and they manage so fine. They exactly capture the playfulness of Nichol’s composition and also it’s unpredictability. Composition’s like Monk’s ‘Friday the 13th’ and Lacy’s own Retreat capture their more edgy and advanced interplay, while Bud Powell’s I’ll Keep Loving you is just tear jerking beautiful. And so is Mal’s original and solo statement: Mistral Breeze. As always Steve get’s the best out of Mal and vice versa. Mal’s solo’s are creative, inventive and thoughtful. A little less based on repetitveiness and a little more on the blues. Steve plays pretty subdued here in the sense that he doesn’t make use of his wide pattern of overblowing techniques. But in no way he sounds dull or uninspired. He get’s the opportunity to play solo on the last track: ‘Retreat’. I am not a huge fan of solo saxophone records but Lacy just does it really well. He sounds even more desolate like this. With headphones on it’s like you’re in his horn. A strange ominous feeling that yet feels very warm at the same time.
The album was released by Novus and is widely available in any form. I bought mine for 3 euros… You’d pay more for a McDonalds menu. If I was hungry I’d still choose this record. I really just can’t get enough of this duo. As this album is again filled with new material and newly chosen compositions it’s again something else but also sounds so familiar. It is definitely one of their more accessible works. So probably a good one to start with if you are interested in what these guys have made together.
With: Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums) Record date: February 19 & 20, 1990
At the end of ’80’s, Europe was on fire. Literally. Mal lived for 25 years in a Europe that was strictly divided in a capitalist Western Europe and a communist Eastern Bloc. Mal had played plenty of times on the other side, playing in the DDR, Czech Republic, Poland, Hungary and Yugoslavia. He was confronted with the Iron Curtain throughout his whole European career. The events in 1989 and 1990: the fall communism and ultimately the breakdown of the Iron Curtain made a deep impression on him. This trio album was dedicated to that new Europe as was his encounter 2 years later with alto saxophonist Charlie Mariano called: New Horizon - Dedicated to a Changing Europe. Of course the title of this trio album remembers of the Prague Spring in 1968 which unfortunately turned into a bitter cold winter for 20 more years. But this time, that spring was for good. All of the song titles refer in some way to the revolutions in Eastern Europe or the Cold War.
Mal plays with the same trio as he played with on the classic ‘No More Tears for Lady Day’. That album consisted exclusively of standards, this one contains more compositions written by Mal himself. The opening ‘Revolution’ is loosely based on Chopin’s Eturde op10-12. It swings pretty hard Mal soloing in the lower registers of the piano and Carduso walking trough the changes on his bass. The song has something of the feel of a revolution with it’s dark tones. Then comes the first standard ‘East of the Sun’ which is played in a bit of a dull way. The following ‘Let us Live’ which is dedicated to the DDR is better. It’s starts with some fiery free playing with an exceptional role for John Betsch, representing some of the anger that lived in the country those days. Then it merges smoothly in a theme that sounds a little like ‘Con Alma’. It’s something that Mal has done before: creating a new piece that is based on a jazz standard.
The title song is just plain beautiful. A ballad with some space for Carduso to interact with Mal. Carduso really plays excellent on this recording. He’s not a very well known bassist but on every single record with Mal he really shines. The two standards are like a small breath pause for the more political motivated song ‘We Demand’ which is the most intense and free on the album. Don’t expect pure chaos but the meaning of the song is well shown trough the loud playing by the band. Mal plays some Tayloresque clusters. Betsch is all over the place yet still keeping a tight rhythm in the music while Mal is dueling with Carduso. Great ending of a pretty good album. Sad thing that 31 years after this record, countries like Hungary and Poland are on their way back to becoming an authoritarian state. It would have broken Mal's heart, I am pretty sure about that. Right now on this moment there is a Polish writer who might be imprisoned for calling the president a moron. Three years in prison for telling the truth!
The session was recorded in Germany but released in Japan by Alfa Jazz. This one was not brought out in Europe on Timeless. Like with most Japanese cd’s one has to be prepared to pay a little more (in the range of 20-30 euros). Also like with most of them Japanese releases the sound quality is sublime and the liner’s are extensive but in Japanese. This is some very fine trio music by Mal with a great trio. It does not reach the level of ‘No More Tears’ but comes pretty close here and there. If you do have the opportunity to pick one up, do not hesitate.
With: Jim Pepper (tenor saxophone & soprano saxophone), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums) Record date: October 25 & 26, 1989
In autumn 1989 Mal made two appearances that were recorded at the Utopia jazz club in Innsbruck, Austria. He played with his regular trio with Ed Schuller on bass and John Betsch on drums. On tenor saxophone the great and underrated Jim Pepper with whom Mal had played before. First in Marty Cook’s band for an Enja record, then with the all star band for Soul Note and later as a duo for ‘Art of the Duo’ which I have reviewed before. Waldron and Pepper, they match very well. They had proved that before on their duet album and also in a quartet form on Mal’s first Tutu release. In a live session with a rhythm section like this it results in some more fire power. With a repertoire full of original compositions this is one very creative jam session with some very rewarding music. It all resulted in the release of two more Tutu discs: Quadrologue at Utopia (vol.1) and More Git-Go at Utopia (vol.2). As both discs were recorded on the same nights I’ll review both of them as one.
The opener ‘Ticket to Utopia’ (actually named ‘Ticket to Tokyo’) is a hard swinging up tempo composition with a very haunted feeling. Their first recordings as a duo was great but this quartet version is way more intense. Pepper runs trough his changes like a madman. Mal’s solo starts with hitting the notes in the lowest registers of the piano making it actually sound even darker. And both Schuller and Betsch are all over the place. Betsch plays a great solo with polyrhythmic playing, hitting his drums as hard as he can without losing speed or pace. ’Time for Duke’ has a more sweet melody, a great way to honor the great composer. Pepper’s lines are more tempered here, meandering over Waldron’s chords. Same goes for the beautiful ‘Mistral Breeze’ which is loosely based on ‘Soul Eyes’. On ‘Never in a Hurry’ Pepper plays in trio form for a while which gives him even more freedom to explore the original composition. But when Mal gets back the song get’s it’s true meaning and feeling. Schuller is dancing around Mal’s left hand again with great swinging bass lines. Than it’s Mal’s time to solo, constantly setting the pace with his hard hitting left hand. His right hand just starts interacting unconsciously with his left, like an actual dialogue. The closing ‘Funny Glasses & a Mustache’ is a great opportunity for Betsch to show of his great drumming skills. Without any trouble he sets in a great polyrhythmic rhythm that really gives it that Afro-Latin vibe.
The second volume ‘More Git-Go at Utopia’ was released four years later. It’s almost as good as volume 1. Really it’s a very close call but If I’d really had to make a choice I’d probably go for the first volume. However the second volume does contain the Mal classic: Git Go. And this implementation with Pepper’s passionate saxophone playing is another masterpiece. This volume contains some more ballads like ‘You Open My Eyes; with Pepper on soprano and the second part of Misreal Breeze. Highlight number two is the hard grooving version of ‘Dancing on the Flames’ where the whole band gives everything one more time.
These Tutu releases are all great to get, some better than others, but all great. And not very expensive either. The second volume does seem to be a little more rare. It took me a while to obtain a copy for a reasonable price. Both cd’s contain nice booklets with session photography and great liner’s by producer Peter Weismuller. In the booklet of the second volume he tell’s some interesting stuff about the tour. Very personal and therefore nice to read. Sound quality is also superb by the way. Very warm and all the musicians are caught very well.This is music that one could buy without hesitation. Probably the best Mal record available with Jim Pepper on tenor saxophone. And that says something.
With: Barney Wilen (tenor & soprano saxophone), Mal Waldron (piano), Stafford James (bass), Eddie Moore (drums) Record date: October 2,3 1989
Another encounter with a French saxophone player…. and it’s the great Barney Wilen. To get one misunderstanding out of the air here: French Story on Alfa Jazz, Pony Canyon and M&I and Movie Themes From France on Timeless are really one and the same session. What makes it so confusing is the different title, the different song titles for some of the compositions and the fact that one of the Timeless releases mistakenly notes 1990 as the year of record. But really: it’s the same music. I know it for a fact as I own both releases (the Timeless and the M&I) because I mistakenly thought there were two records to get.
On the music now. This is some of Mal’s most atmospheric playing. Wilen is of course known for his excellent contributions to Miles’ ‘Ascenceur Pour l’Echafaud record but also for being one of Europe’s most solid tenor players. It’s that indescribable ‘film noir’, smoky jazz bar, Paris grey skies mood that dominates this session. Just like Miles’ soundtrack. And both Mal and Wilen are very capable for creating such an atmosphere. The music is pretty laidback with Wilen playing very smooth and fine solo’s and Mal being solid as a rock in the background. But it’s also the simplicity of Mal’s own solo’s that strike. They have that very same feeling as on his trio effort for Timeless. Just a huge joy listening to it. And it’s not only the beautiful ballads that are having the right vibe. The more swinging efforts like Les Liaisons Dangereuses 1960 are just as great with a hard swinging Stafford James in the background. And Mal, he just swing’s equally as hard on it. My favorite track is ‘Quiet Temples’ which really is the alternative title for Mal’s classic ‘All Alone’. In fact it was released first under that name on the 1964 Powertree release. This one is one of the few versions I know that are not played solo piano. Wilen know’s exactly how to handle this very moody Waldron original.
With almost 70 minutes of playing time, this really is worth every single penny of your money. There are quite a few versions one could choose from: the Dutch releases on Timeless that contain some nice session photography. And there’s the Japanese original on Alfa Jazz, the reissue on M&I. I have the Dutch Timeless and Japanese M&I which are both great. But I think the latest UHQCD from Japan on Pony Canyon is the best choice sound wise. Not sure as I don’t own it. The vinyl looks tempting but it’s not only expensive: you miss 2 full songs two including the beautiful ‘Quiet Temples’. To add more to all the confusion in all the different releases: there are 5 different kinds of artworks. What a mess. And there’s the song title disagreement for track 4, 5 and 6. But don’t let is scare you off, When it’s a foggy Sunday morning or a rainy autumn afternoon: it’s this record you want to put on.
With: Christian Burchard (vibes on 1-7 & 9), Mal Waldron (piano on 1-8), Michael Schone (bass on 5-7), Dieter Serfas (drums on 5-7) Record date: September 1989 and February 1990
Mal Waldron and Christian Burchard go back a long time until in the sixties. For those who do not know Burchard: he’s a German vibraphone player and drummer that was a member of the etno-fusion band Embryo. Now you might know that Mal made around 4 records with that group and appeared dozens of time with them in live concerts. Waldron and Burchard were really lifelong friends and played together lots of times. But they never made a studio album together. This album was their first and also last encounter. It consists of three parts: 4 duo tracks, 3 quartet tracks and two solos: one by Mal and one by Christian.
I didn’t really expected it but this one of Mal’s most abstract and free playing records. Not constantly trough the album but in large parts (mainly the duets). On the first long song it really is a kind of free improvisation. One could hear these guys have played lots of times together as they interact on every single thing the other is doing. But without structure, a long listening time and piano and vibes only it’s hard to keep your attention with the music. The very short Waters from Waters get’s caught off while they guys are still playing and are actually creating something, a weird choice. The duet gets best at Mal’s standard ‘Left Alone’ which again starts very abstract again but gets more structured and then merges into the theme. Again it’s the interplay between the two that is really striking.
With the introduction of a bassist and drummer the music get’s more structured. But the playing is still kind of free here and there. Marja’s Ball has a more rock kind a feeling and reminds of the Embryo years. It has a repetitive loop, so that is really in Mal’s own style. His improvising on the tune really sounds at ease and he sticks close to his own stylistic elements. The first solo is for Mal on track 8. It’s a nice solo statement with playing that goes really anywhere between his dark chord vamps and his more sentimental playing. It’s Burchard’s turn on the last one. He fails to really get my attention.
This was originally released on Nebula records. I’ve got the Italian reissue on Mariali Sonori from 1999 which is fine and contains some liner notes that contain some weird conclusions (like Tokyo Bound and Reverie being ‘like the first recording Mal made for years’). There’s a difference in track length between the vinyl version and cd version according to Discogs. Especially in the solo parts. Not sure if that data is correct but I think they did cut the tracks… And that’s just plain stupid.
Nice improvising by talented musicians and a beautiful mark of their lifelong friendship. Not essential but not bad either.
With: Thierry Bruneau (alto saxophone, bass clarinet, bassoon), Mal Waldron (piano), Carlos Barretto (bass), John Betsch (drums) Record date: September 13 & 14, 1989
In September 1989, Mal played at a small jazzclub in Belgium called the Kave. He gave tons of performances in small clubs like that in Europe. It must have been a wonderful experience, drinking you beer and listening to the wonderful sounds from one of Mal’s groups. This time he teamed up with a true Eric Dolphy aficionado: French reed player Thierry Bruneau. This is only one of two records where he appears. It would soon be clear why….
Wholy crap, pardon my French and unkind words but I have serious doubts about Bruneau’s capabilities... I am open to lots of styles and on alto I could enjoy the sounds of Benny Carter as well as those of Noah Howard. But the sound of Bruneau sounds just awful to me He sounds like he sincerely does not know what he is doing, playing out of tune half of the time and with a very bad timing. He doesn’t seem to listen to a thing the band is doing in the background. Mal and his band are playing great (Mal is truly on fire on Bee Vamp) but it could not save the record. Thierry is probably at his best on bass clarinet which makes Bee Vamp the best track.
The compositions chosen here are all great. McLean’s ‘Melody for Melonae’ is one of my overall favorite jazz compositions. Having the opportunity to hear it played by Mal really excited me. But Bruneau spoils it with a very bad solo. He mostly reminds me of how I played myself when I was 12 years old trying to improvise with my alto on way to complex jazz pieces. Mal’s solo on it does make up for it and as I expected his soloing goes very well on this McLean classic. Betsch and Barretto are on fire here also which gives the music some extra spice and energy. It makes you wonder what kind of record this would have been, had it been recorded with Jackie McLean or Sonny Fortune.
Perhaps I am deaf or just don’t have a nose for hidden talent… I really wonder why Mal wanted to record with such a player. This record is really only worth it for Mal’s excellent playing and the very solid backing by Barretto and Betsch. It is not one of the easiest available records. It does contain a nice booklet with some photograph’s. I personally would not bother to get it. For me this is really to complete Mal’s discography.
With: Chico Freeman (tenor & soprano saxophone), Mal Waldron (piano), Tiziana Ghiglioni (vocals on 2 and 5), Rocky Knauer (bass on 3,5 and 6 ) Record date: July 25 and August 1, 1989
Mal Waldron playing in an intimate setting with a saxophone player. That mostly really turns out very well. The saxophone player must be very good. Is Chico any good? Yes he is! His works for ‘India Navigation’ in the 70’s are great. ‘Spirit Sensitive’ is one of my favorite albums from that decade. So nothing could go wrong? Well, almost nothing. This album is very much a mixed bag.
The starting ‘Battleground’ is one of the best compositions of the album. Opening with Mal’s dark chords and voicing, then comes in Chico Freeman with some great tenor playing. But he sounds a bit tempered or something. I expected a little more fire from him. It’s Mal that is truly shining here with his nervous and dark chords in the background trying to push Chico into new directions. It still sounds like Chico is playing with the breaks on. Then on the second track there’s Tiziana again. As I already mentioned: she is not a bad singer. But following the quite fiery Battleground this really is a bummer. It all collapses into a very tame and smooth jazz ballad. On ‘Tyrolean Waltz’ Chico has some chance to show off his excellent saxophone skills. Can’t say a bad word on that as his control over the instrument is excellent. I once heard somebody say he can’t play. Well I ain’t no expert in saxophone techniques but he sounds fine to me. Also there is Rocky Knauers first appearance here (misspelled as Ricky). Rocky was with Mal in Klaus Weiss’ band. He is an excellent bassist that is most known for his affiliation with Chet Baker.
The remaining tracks aren’t making much of a difference. The exception is probably the title track with Chico, Mal and a more dominant Knauer. Here there are some signs of chemistry between the musicians and Chico’s playing sounds more inspired. He’s a little more on fire here. It has a nice funky vibe and this final track pushes my rating from 3 stars to a nice 3.5.
Definitely not a punishment listening to it but both Chico and Mal did way better. Maybe it just did not work out between them. I miss a bit of chemistry between them. They played again on a later occasion with drummer Sangoma Everett. What I can reveal is that there it also doesn’t really work out very well. Most of Mal’s stuff was brought out on Soul Note, but this one on sister label Black Saint which mostly represented the more freejazz oriented recordings. This recording is not really 'free', it’s pretty accessible. A record that contains some nice playing but fails to really impress.
With: Tiziana Ghiglioni (vocals), Enrico Rava (trumpet), Mal Waldron (piano) Record date: July 25 and August 1, 1989
Mal and Italian female singers…. there was really something between them. This was not his first, nor would it be his last recording with one. This time it’s Tiziana who sings. Fortunately not Tiziana Simona but Tiziana Ghiglioni who really is better singer in my humble opinion. Italian trumpeter Enrico Rava also joins in with his warm and lyrical trumpet playing.
Composition wise there aren’t a lot of surprises. The repertoire consists out of standards only, most of them are affiliated with Billie Holiday in some way. Tiziana has a warm and very feminine voice. She has a soft voice and is pretty accesible in that way. Mal accompanies her in the way he can accompany a singer: thoughtful chords an backings in support of the singer. Rava interacts with both Mal as with Tiziana, playing sweet lines in the background an playing solid solo’s. In no place this is a shocking album, it’s all very straightahead and a bit predictable. My main problem with these kind of albums is that it seems to kill the creativity of the other band members. Both Rava and Waldron really just play nice but don’t have an opportunity to shine. They do have some nice moments together on ‘You Don’t Know What Love is’. Rava’s warm and lyrical tone blends very well with Mal’s moody backings. And Mal’s solo is beautiful here. Part from that, it’s a bit dull at times. That probably also has something to do with the safe compositional choices. It also misses a bit of emotional depth. Where Billie could really touch or thrill me, Ghiglioni can not.
But… she can definitely sing and has a pleasant voice. I would enjoy her presence if she was singing in a local restaurant or something. This one is in the 11cd Soul Note box but copies of the issue itself are also still widely avaible. Soul Note fails to mention that not every song is in trio form. There are also duo's and a solo.
Definitely one of the better vocal albums from the ’80’s. Not bad but just not really my cup of tea.
With: Sonny Fortune (alto saxophone), Ricky Ford (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums) Record date: June 10, 1989
Where Are You? Was recorded on the very same day as Crowd Scene with the same personnel but has a very different sound. Where ‘Crowd Scene’ is full of tension and bursts of energy, ‘Where Are You’ represents the softer side of the group. That doesn’t mean it consists of ballads or slow music but it just has a different more laidback energy.
The album start with a solo interpretation of ‘Where Are You’ by Mal himself, played in a very gentle way. The following ‘Waltz For Marianne’ is where the rest of the group enters. Mal always had an appreciation for the waltz and he wrote quite a lot of them. ‘Fire Waltz’ is probably the best known example. Just like on ‘Crowd Scene’ the two main themes are pretty long in time. With this song that is a downside. Both Ford and Fortune sound less inspired in this musical form. They both play a nice solo but there doesn’t really seem to be a start nor and ending. The same goes for the rhythm section that just plays, plays some more and then…. some more of the same. It get’s a little better on Reggie Workman’s freaky ‘Wha’s Nine’ composition. It’s again Fortune that really impresses with a very intense and energetic solo. Also there’s again some more freedom for Workman to play with.
Like the other quintet session, this one was never issued on vinyl. The one in the boxed set doesn’t have liner notes. The difference in quality between the two sessions is remarkable. I wonder what they recorded first. My guess is ‘Crowd Scene’. Nice recording but not essential.
The first intention for my blog was to just review all of Mal's music. But as I was working on it I decided it had to be more than that. I decided to write to some of the people Mal worked with or who knew him well. I was amazed by the warm responds I got. It leads to a new series: interviews and personal stories on Mal Waldron. The first in that series to appear was Belgian filmmaker and musician Tom van Overberghe. And the second is just here in front of you: it's an interview with bassist David Friesen.
David Friesen appears on more than 200 jazz albums. He has played with all the greats: from Stan Getz to Sam Rivers and from Dizzy Gillespie to Billy Harper. And of course with Mal Waldron. He appeared on 5 of his albums: One Entrance, Many Exits, Encounters, Dedication, Remembering Mal and Remembering the Moment. Part from those records he also toured extensively with Mal for multiple years in groups that consisted of names like Joe Henderson, Charlie Rouse, Eddie Henderson and Eddie Moore.
I had a 1.5 hour Zoom meeting with him and it was a pleasure talking to him. He's a very friendly and humble guy and told some great stories about Mal and his own musical career. Enjoy!
Pim: First of all thank you very much for wanting to participate to my blog David. I truly feel honored. Sorry if my English is not always as fluent as it should be but if you don’t understand just let me know.
David Friesen: That’s okay Pim.
Pim: May I ask something about yourself first? You grew up in Tacoma, Washington didn’t you?
David Friesen: Actually I was born in Tacoma but then we moved to Spokane, Washington. I grew up there mostly till the age of 8/9 or something like that and then we moved to Seattle around 1948/1949.
Pim: At what age did you get in touch with jazz music? Was that at an early age?
David Friesen: Well, I was around 5 years old and I was living in Spokane those years. I was playing with my little toy trucks and my sister Diane had a friend who was coming over to the house one day. We had an upright piano in the living room. He sat down and he started to play boogie woogie, you know that old style blues. I was on the floor playing with my trucks but when I heard this person play I stopped playing, looked at him and never touched my trucks again. When he left I sat down at the piano and tried to emulate what he had been playing. And that was it, from that moment I was into jazz music.
Pim: So you did not start on bass?
David Friesen: No, No, I started emulating on piano. Later some ukulele and then some accordion. I was playing guitar for a while. Finally in the army in Germany, that was where I picked up the upright bass. That must have been around ’71, ’72.
Pim: According to your biography on your website you regularly played at the Penthouse when you we’re still living in Seattle in the 1960’s. You played with quite a lot of people back than and witnessed many legends passing by. Is there an appearance you still remember that made a lasting impression?
David Friesen: Well, they all did at the time. I was playing with this group at the Penthouse, this very famous jazz club in Seattle. Wes Montgomery, Coltrane, Miles: all these musicians came trough there and I was playing opposite of them. I was hanging out with Albert Stinson, this great jazz bassist and also Jimmy Garrison who was with Coltrane. Pete LaRoca and others. I was hanging out with these people, asking questions and learning from them. Really all that time playing opposite of them was a big school for me. You know I never got my degree from university, I got my degree from the street. Street university.
Pim: You learned trough listening?
David Friesen: Yeah learned trough listening and by playing with them, absolutely yes.
Pim: I know Coltrane visited Seattle in 1965 and he also played at the Penthouse. Did you witness him playing there with the classic quintet as well?
David Friesen: Oh yeah I remember playing opposite of them. I remember Jimmy Garrison saying to me: ‘David, stay on the music stand and play with us’. And I said ‘Jimmy I am thirsty so I will go to the bar, get me some water… why don’t you guys just start play a tune and then I’ll come up and play’. Coltrane said: ‘great’, they went up and played one tune for an hour and a half. So there I was losing my opportunity to play with them. I really always was there when Coltrane was there.
Pim: Wow, that really must have been something.
David Friesen: Yeah, it was great. The biggest thing I learned from him: the first 30 or 40 seconds it was really Coltrane, Tyner, Garrison and Jones. After that time they became less and the music became more. That really is what they are doing. They are pushing there ego’s away: it really was all about the music.
It actually reminds me all a little about how I met my wife in Copenhagen (she is Danish). I met her at a record store there, when I was looking for a copy of Sonny Rollins’ ‘The Bridge’. I asked her to see Roland Kirk at Montmartre that night. But I also planned to see Coltrane at Tivoli. I told her that if she would join me I would sacrifice half of Coltrane’s concert for her. So we went to see Coltrane at Tivoli for the first half and went to Montmartre after. We were pretty much in front of the row but as the doors opened everybody passed us and we ended up without a seat.
On stage there was this black woman who asked us if we were still looking for a seat. That woman appeared to be Roland Kirks wife and she put us at the artists table next to Roland Kirk and Kenny Dorham. We watched the show from there but halfway the doors opened and Coltrane came in with his quartet. He sat down at the same table as us. So my first date with my wife (girlfriend at that time) we shared a table with Coltrane.
Pim: You must have been sure that she would be the love of your life then! And of course there is a connection between them.
David Friesen: Yeah, Mal really loved Trane. He once told me that Coltrane made his tune ‘Soul Eyes’ so popular, he could survive only on the royalties it gave him.
Pim: Yeah that composition is probably one of the things Mal is best known for. And of course his affiliation with Billie Holiday.
David Friesen: Oh yeah he loved her too. I remember when I came in his apartment in Munich for the first time there was this huge photograph of her on the wall with something written by her like: to Mal, my love. Mal really cherished his time with her. It really was a big thing to him.
Pim: Could you still remember how you first met Mal?
David Friesen: There was this jazzclub in San Francisco called ‘the Keystone Corner’. Todd Barkan was the owner of it. Todd liked my music and invited me to play on New Year’s Eve there. It was a pretty big gig with names like Kenny Burrell, Sonny Stitt was there. He wanted to peer me with Mal Waldron to play duets. That must have been in the early eighties or late seventies. It was hand in glove. A perfect match. He was about to record the album ‘One Entrance, Many Exits’ at the time. I made up the name for that album by the way. He liked it. So we teamed up with Joe Henderson and Billy Higgins and made the recording for Palo Alto.
Pim: Of course you already knew Mal back then for his affiliation with Prestige and the time before his breakdown. But were you also aware of his later work like ‘Free at Last’ for ECM or ‘Black Glory’ for Enja?
David Friesen: Well the first time I came in touch with his music was by this record…. what was it called, maybe you could help me out. (According to David it had a purple cover and the river Seine on it and it was probably solo piano. We talked later about it but could not find the exact album David means. It is probably Impressions to which we listened to later in the interview)
That really was the first album that got me in touch with his music.
Pim: Do you have another personal memory or story to share?
David Friesen: Well I remember we were on the road with Eddie Moore. Mal, Eddie Moore and me were on the road to Canada in the car for the Edmonton Jazz Festival. So we had this huge bag of cookies, the kind especially Eddie really liked. So at a moment Eddie (big Eddie) said: ‘hey Mal, would you mind pass me that bag of cookies you’ve got’? So Mal passed the bag to Eddie, who was on the back seat. After an hour or so Mal said: ‘hey Eddie, I would like to have a cookie too’. But Eddie ate all of them (laughing). It really was a huge bag. Poor Mal, he really did not knew what to say (laughing). He was so amazed by it. But that was not all. Just before we would arrive finally at our destination my car broke down. So it was me, Eddie and Mal at the high way. Of course there were no cell phones or whatsoever during those days. So we made this truck stop and it would take our car from there. But Eddie, Mal, me and the truck driver: we all had to sit on the front seat. So Eddie was next to the door, I was next to the truck driver. And Mal’s head was on the floor with his feet sticking up Eddie (laughing).
After that we went to some place in the east of Alberta. I can’t remember the name but it had this western like name, you know like a redneck town. When I told him the name of the town he and Eddie stopped talking and just looked at me. Then Mal said: ‘They are gonna hang you all along with us ‘(laughing). Traveling with them was really something.
Pim:
You have spent lots of time on the road together touring.
David Friesen: Oh yes we drove for miles and miles all across the country.
Pim: Did you only tour the Pacific coast of the U.S. or more than that?
David Friesen: Yes, Canada, Austria, Germany, Italy, Belgium and also Holland.
Pim: And did you travelled mostly by car or by train?
David Friesen: Oh in Europe mostly by train. That was the easiest way to do it.
Pim: Did Mal ever get tired of it?
David Friesen: Well I remember I was in Munich and we just finished a tour all across Europe. We were about to go our own way so I asked him ‘Mal, what are you going to do tomorrow?’ He said: ‘Well I am going to pack for I leave for Japan tomorrow’. I said: ‘Mal, we just finished a month of concerts and now you are going to leave for Japan?’ He said ‘If I don’t David, I die, because playing is how I breathe. It’s my life and breath’.
He really was loved there in Japan by the way. You know what he did? He would go and visit the fishing villages over there where people were too poor to buy a concert ticket and play for them for free!
Pim: Did you gig in Japan as well with Mal?
David Friesen: No just, the U.S., Canada and Europe.
Pim: Was it difficult to find gigs at the time in the U.S. in those years? Was it hard to make a living out of it?
David Friesen: No it was okay. We had this woman (Mal’s tour manager at the time) in Salem, Oregon at the time. And with an all star line up like we had with Charlie Rouse, Eddie Henderson, Billy Higgins, Mal and me it wasn’t hard to find a place to play. Same goes for the group with Henderson.
Pim: Mal met and married his second wife in the 1980’s: Hiromi. He was also a very busy man: lots of time on the road. How did she cope with that?
David Friesen: Well, we never had problems when he was touring with me, probably because she saw me as a good influence. I don’t do drugs, cigarettes not even alcohol. I remember playing with him, there were always these people trying to sell him drugs. Then I would get him away from it, you know, get him out of that club. When we stopped playing together, that’s when she got more possessive of him. She was worried.
Pim: How did you kill time on the road?
David Friesen: We played chess of course. He always had his chess board with him. And then Mal would have these activities in the evening (laughing) and I just did my own thing practicing my bass.
Pim:
What activities were those?
David Friesen: I think he went out having dinner with friends. All kinds of things. The time we hang out was traveling and playing together. And then there was some space at night: he did his thing and I did mine.
Pim: Did you listen to music together too?
David Friesen: Yes we did. Mal was playing duo’s with this soprano player, what’s his name again?
Pim: Steve Lacy?
David Friesen: Yeah Steve Lacy. We once did a quartet in France too with Oliver Johnson on drums, that was a great concert. Mal had a lot of tapes of him playing with Lacy, stuff that was never released officially. Very nice music. So we listened to that kind of stuff when we were on the road.
Pim: What else did you do together?
David Friesen: We made jokes. Lot’s of jokes. I could not remember one of them but they sure were funny. We laughed a lot. Also during one of those drives Mal told me about his overdose. That he just forgot how to play. And listening to his old records he wondered how he played that way. He really had to relearn everything and his playing changed.
With me he never took any drugs. I have never done any drugs myself. I don’t even drink or smoke. I collected wine for some time but never drink it. But in 1987 we were doing the recording of ‘Remembering the Moment’ for Soul Note and I introduced Mal to Jim Pepper. I was the one who put the session together. They made some nice recordings together.
Unfortunately Jim Pepper was addicted to drugs. He was a dear friend and very compassionate person. But unfortunately he was an addict. I’m not sure but I sometimes think Mal got hooked again. His Japanese wife Hiromi was pretty suspicious of it sometimes calling, being very angry and thinking that people got Mal on drugs again.
Pim: What is it that makes Mal such a great musician in your opinion?
David Friesen: His focus and concentration. He was fully immersed in the music. I remember a gig in Los Angeles, at the Hi Hat on Sunset. Shelly Manne organized jam sessions there. We had a group there with Frank Morgan on alto saxophone, Mal at the piano, myself on bass and Philly Joe Jones on drums. It was in the lobby of an hotel: there was no stage so we were all settled on the floor. I was facing Mal with Philly Joe on my right and Morgan on my left. All of a sudden a women, 16 or 17 years old, just sits down next to Mal at the piano on the piano seat. So I am watching Mal but he doesn’t move . He does not look to his left or right. He’s head buried. After finishing the tune Mal just looks at me and the management took her away. But I don’t even think Mal noticed it.
Pim: Did you play a set repertoire or did you make a program of compositions?
David Friesen: No, Mal and I played free music, in the sense that we created it on the spot. We mostly just played some compositions by himself, some standards and some Monk tunes.
Pim: The music you made on your first record as a duo, Encounters on Muse, also contains music that does not necessarily fit in more traditional jazz patterns. Songs like you’re solo bass statement: ‘For Toby’ but also ‘Imagination’and ‘Night Wind’. On my blog I called it ambient and world music like influence. We’re those influences from your hand?
David Friesen: Of course Pim but it was mainly influencing each other. When you have two people coming together and you’re listening to each other. The whole idea of practicing in my opinion gives a jazz artist confidence, technique and flexibility. In that way he could respond creatively to what he is hearing. And this was really the case with Mal and I. So the things he played influenced me and the stuff I played influenced him.
Pim: What would you say was the biggest influence he had on you?
David Friesen: I think the concentration. The intensity. Also his use of space and his timing. He had a very strong timing.
Pim: What group or record you made with Mal did you like best?
David Friesen: Well I really liked the trio I had with Mal and Eddie Moore. Also the group with Eddie Henderson, Charlie Rouse, Billy Higgins, myself and Mal. We toured the west coast multiple times. I especially liked those larger ensembles for Mal was like some sort of anker, settling and structuring everything. That really was a quality of his which he could not show when we were playing as a duo. I don’t like it more or less than the duets but it was something different.
Pim: You’re recording affiliation with Mal ended in 1987. Did you keep in touch with him?
David: Oh yeah we did. We met a couple of times in Europe and hang out. We would sometimes talk to each other on the telephone.
Pim: Do you ever listen to the music you made together and is there a recording you like best?
David Friesen: No to be honest I am very busy at the moment. I am playing with my own group nowadays with Joe Manis on tenor and soprano saxophone and Charlie Doggett on drums. In 2019 we went to Ukraine together performing with a huge orchestra playing my music. We had 4 sold out gigs there and flew to Prague the next day but then all gigs got canceled for the Covid situation. So now I am mostly at home playing with my own trio. I don’t even listen to my own music right now.
Pim: David, you have played bass with so many jazz greats: Billy Harper, Sam Rivers, Joe Henderson, Ted Curson, Kenny Drew, Stan Getz, Dizzy Gillespie and so many more. Which collaboration do you still have fond memories of?
David Friesen: Oh I really have fond memories of all of them. I was recently talking to somebody about Billy Harper. I remember driving back recently and I discovered he was in town (Seattle) with his group, The Cookers. I knew all of the guys in that band. So I really wanted to see Billy, for both he and I are real boxing fans. He has every film of the early Muhammad Ali fights. Even when he was still fighting as Cassius Clay and was still a light heavyweight. That’s how we spent time together.
So I was standing at the bar there and we had not seen each other for a while. He saw me standing and came of stage and said: ‘is that you inside there?’ (laughing). That’s typical Billy Harper.
Pim: What strikes me is the versatility in music and personalities. One must really know how to play if you could play with both Sam Rivers and Stan Getz. Is it easy for you to adjust to the musician you are playing with? How do you do that?
David Friesen: You just listen… You take your eyes off yourself and listen. You respond creatively to what you hear. Just listen and associate with the people you are playing with. I have nothing to prove. In my book I say: ‘Listening is my life preserver in an ocean of sound, without it I drown’. And that’s the truth. I don’t know that much.
If you look at the sun. Let’s say you are in Amsterdam and you are looking at the sun. You would say that sun would fit in Amsterdam. But the closer you come to the sun, the larger it gets and the smaller you become. And it’s like that with the source of music. The closer you get to the source of music, the more you find out how little you know. That’s what I mean to say.
I remember attending a class one day and said: ‘Remember, I knew more ten years ago then I know now’. Than one of the students said from the back: ‘Then why didn’t you come ten years ago?’ (laughing) I said: It would have been the same thing then (laughing)
I really can’t play music without listening. Unless I am playing solo.
Pim: Do you sometimes play solo bass?
David Friesen: Oh yeah I do that. I play this bass right now (shows his bass). It’s an amplified one with a pick up. But I don’t have a pick up on my acoustic. I am really a purist. It was made in 1795 and was used in an orchestra that Beethoven once conducted. There’s no way I am going to put a pick up on that instrument. But if I play with a drummer I can’t be heard. So that’s why I have this bass.
Pim: One last question that I also wanted to ask you: how are you coping with the whole Covid situation. How does it affect you?
David Friesen: Well you can’t play any gigs of course. But I play these live streams. There’s a concert coming up on the 29th of March with my trio. It’s especially for my European fans. The link will be on my Facebook page. It’ll be 12 o clock noon here so that’s 8 pm your time. It’s a four camera shoot and the sound will be great. My last tour got cancelled, but I am now planning a tour for the March 2022.
Part from that I am doing all kinds of stuff, mostly online like lecturing and teaching but also giving concerts on YouTube trough live streaming.
Pim: David, thank you so much for your time and participating. Please stay safe and take care!
David Friesen: Thanks Pim it was a pleasure talking to you.
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With: Sonny Fortune (alto saxophone), Ricky Ford (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums) Record date: June 10, 1989
Mal has had some very, very good quintets: with Lacy and Schoof, with Rouse and Shaw, but this one should not be forgotten to. In June 1989 Mal made two records with a quintet consisting of himself, Sonny Fortune on alto saxophone, Ricky Ford on tenor saxophone and a solid familiar rhythm section with Reggie Workman on bass and Eddie Moore on drums. Both Fortune and Ford are truly overlooked masters of their instrument. Sonny Fortune is best known for his appearances with Miles Davis’ fusion groups but also his spiritual postbop records for Strata East and A&M in the ’70’s. Ricky Ford is a highly talented tenor player that can swing hard but also dares to go more outside with his playing. He was so unfortunate to break trough in a period that jazz was becoming less and less popular. He made his best output for Muse records but quite a lot of that stuff has never been issued on cd.
Choosing two saxophonists instead of one saxophonist and one trumpeter is a very refreshing idea. Especially because the styles of both Fortune and Ford have quite a lot in common. They are both players that are with one foot in the jazz tradition, but the other foot is really explorative entering some more free territories here en there. This album consists of two very long originals with plenty of space for all the players too really stretch out. The title song starts with Mal’s dark repetitive theme in the lower registers and Workman funk things up. After the theme it’s Ricky Ford that starts with one of his most intense solo’s I have ever heard. In 6 minutes he destroys everything around him with wild overblows and rolling clusters of notes. Mal’s solo is of great brilliance first leaving the theme and soloing in all the space he gets from Workman and More. Then he returns back to that dark funky groove mostly hitting the lowest keys swinging like a madman. Last one to be heard here is the great Sonny Fortune with his very pleasant tone. I am really a big fan of his first records like ‘Waves of Dreams’ and ‘Awakening’ that had a sincere spiritual feeling. He really plays that way here. He’s a skilled and technical player but also with a deep spiritual groove. Just like Ford he loses himself in the modal theme’s, playing more intense every minute as the music progresses. Around the 19th music it builds to it’s absolute climax. Some alto players really have a shrill sound, especially when they overblow but Fortune has not. His sound stays warm and very pleasant. The song is concluded with some excellent soloing by both Workman and Eddie Moore.
The second and last composition on the album ‘Yin and Yang’ is a little different with a more traditional postbop feel in the rhythm. The rhythm really is yin and yang here moving back and forwards between slow and very fast. It’s those sudden rhythm changes that make the music even more exciting. And another showcase of Workman’s incredible bass playing running trough all the scales. This time it’s Sonny Fortune who kicks off and again he doesn’t disappoint for a second. He has no problem coping with all the rhythm changes playing all kinds of licks without losing creativity for a second. His playing is raw, bluesy and dirty. It’s loud and in your face. Ford plays a little more subdued here but still really swings hard on the hypnotic lines provided by Mal and the rhythm section. Really the only downside of the album is the limited solo space Mal takes. But part from that this such a great record.
Together with ‘Where are You’ and the quintet recordings with Charlie Rouse and Woody Shaw, this makes up the first Soul Note boxed set. I’ve got that one but as the box is quite expensive and rare these days one could also just pick up the original issues. The LP mini sleeve in my box sets does not contain any liners whatsoever. Really a pity because I would loved to have known more about these fascinating sessions. Soul Note has really produced some awesome Waldron recordings. This is definitely on of them. What’s probably most weird is that is definitely not among Waldron’s best known records. Very, very unjust. Grab this one as soon as you can.
With: Marion Brown (alto saxophone), Mal Waldron (piano) Record date: November 14 and 15, 1988
Yeah! They are back again, and how! Mal’s last record in 1988 was a reunion with alto saxophonist Marion Brown. Both men had toured the USA that very year together and made another record in Paris. Just like it’s predecessor it consists mainly of very, very beautiful ballads played in a very sensitive way. But also some more uptempo bebop classics like ‘All God’s Chillun God Rhythm’ and ‘Nows The Time’.
Mal plays with stunning beauty on all of the tracks. With his ultra dark romantic lyricism he really is the perfect accompanist for Brown who plays so soft one almost couldn’t hear what he’s playing. Mal plays solo on Someone to Watch Over Me which gets a very warm treatment. Marion Brown sounds beautiful with that squeezed tone of his but also a little vulnerable. It’s his typical sound, especially in these years. Highlight of the album is the version of ‘My Funny Valentine’ that starts off with Mal’s easy but oh so beautiful approach. Then in comes Marion Brown with a beautiful soft vibrato, not even playing much more than the theme but it really is enough. Brown had his teeth fixed in this year, which took 7 months for a German dentist to repair. Sounds funny but of course as a saxophonist you’re teeth could really break or make you. The dentist is thanked in the liner notes by Brown.
This was really the era that labels wanted you to buy cd’s. Buying the vinyl version will make you miss a beautiful version of ‘My Old Flame’. Sometimes this session is hard to find but it’s not impossible. For around 20 euros you should be able to obtain a copy. If you like their first set, you gotta hear this one two. I like their first duet best. But this one is really enjoyable also. Made with thanks to Dr. Fritz Eberhard Preusse (German dentist).
