(1993) My Dear Family ****

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.