Record date: October 5 and 6, 2001
Oh yes another duo album and God it’s great. In a recording studio in Mal’s hometown Brussels he teamed up with David Murray. They are both prominent figures in the jazz scene, could play inside as well as outside the boundaries of contemporary jazz and both have a thing for the blues. Murray also recorded lots of albums: just like Mal, David was not afraid to put out 3 or 4 albums a year. Yet their path’s never crossed and they also do not have a lot in common when it comes to their usual sideman. And where Mal is known for his minimalistic approach, Murray is more for his furious attack with hundreds of notes a minute. But it was a very good decision to get into the studio and record something as their style tends to blend very well together. And I must say: their selection of compositions is just lovely.
It all starts with the beautiful tribute to Cecil Taylor: ‘Free for C.T’. Do not expect anything in the style of mr. Taylor: it’s a truly beautiful ballad. But there is nobody better capable of stretching out on a ballad like this as David Murray pushing the music in and out. He starts with a warm tone in the lower registers of his bass clarinet. As the music progresses his playing get’s more intense reaching climax after climax and entering the highest registers of his instrument. Yet is very much in control of himself, partly due to Mal’s excellent accompaniment. Mal’s solo here is one of my very favorite ones: it really is all what music should be about. Of course he was getting a little older so do not expect super fast runs. His solo is a vulnerable expression of the deepest parts of his soul. It’s just like every note fits perfectly. For some reason Justin Time credits this composition also to Max Roach but part from his appearance on the 1995 SLAM encounter I do not see the connection.
The much shorter follow up title song was written by Murray and is in a more free form style. It’s here where Murray truly releases all his anger, his furious lines that are quite the opposite of the title: Silence. ‘Hurray for Herbie’ is suited so well for his playing. Murray only adds up to the tense feeling this composition already have. It really sounds like a fight and Murray is only getting faster and faster, higher and higher with intensely hard overblows with a big fat vibrato. Then there is some space to breathe with an excellent version of the jazz standard 'I Should Care'. Just pay attention to how Mal is playing in the background with thoughtful details and playing the theme with his right hand. And his chordings always sound like a warm bath where you could just glide in.
And then there is another pleasant surprise. Jean Pierre: a composition written by Miles Davis in his fusion/pop period. Ain’t nothing fusion going on here but it is pretty funky. It has a more laid back feeling and both Waldron and David take their time to fully stretch out on it with excellent interplay and ditto timing. Mal’s solo sounds happy and very bluesy. The treatment of ‘All Too Soon’ is romantic and warm. With lot’s of false air coming from Murray’s horn. Now if this was everything it would already have been a five star album. But Mal and David decided to keep the best thing for the end of the album. The 14 minute long version of Soul Eyes, with Murray on bass clarinet is stunning. I could use hundreds of more superlatives but one should really listen for themselves. This is what jazz music is about.
This fantastic album was released posthumously after Mal’s death. Justin Time brought it out in 2008. Mal played a lot of great duets and this is definitely among my very favorites. It’s also my favorite David Murray record, and I like his music a lot. Copies are still widely available. This is essential late Mal Waldron playing.
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