With: Roman Schwaller (tenor saxophone), Mal Waldron (piano), Günter Möll (guitar), Rocky Knauer (bass), Klaus Weiss (drums)
Record date: April 6 & 7, 1979
Now what is this thing with the Domicile jazz club in Münich? It seems like every record made there is a golden one. And this one is no exception. Klaus Weiss took the group he made the album 'Child's Prayer' with on tour and also played a few nights at the Domicile. This album was the result and just like the studio recording: this is some highly underrated music that should be reissued. For Waldron fans it's essential anyway for Mal's trademark on the music is huge. All of the compositions played here are from his hands and it's much in the style he played in during this decade. It might as well have been issued under his name, but Klaus Weiss surely deserves credit for it too.
The first composition played here is one of the most interesting from their studio effort. 'Shades of Coltrane' really is an intense, dark and modal composition with a highly catchy theme. On this live occasion Schwaller seems to be more at ease and his solo is excellent. He builds it up from absolute modesty to a huge climax with some nice overblowing. Mal was at one of his musical peaks here and he sounds very inspired. He seeks constant interaction with both Weiss and the excellent Rocky Knauer who uses the composition's modality to explore all of it's tonal posibilities. And Weiss' tight yet free drum playing keeps everybody on it's place. 'Back to Bach' doesn't have a lot to do with classical music but is a fine but sad sounding blues. Schwaller sounds great again here showcasing some of his technical skills. The whole song breaths this very sad but very beautiful feeling.
On side B there's a nice showcase of Weiss' excellent drumming dueling with Rocky Knauer on the short 'Klever Klaus'. 'Mingus Lives' is a beautiful ballad and the version played here is of more interest than Mal's original on the same titled Enja album that was recorded two months before. It's a nice opportunity for Möll to solo on. Though not a very original player, his laidback style and well developed technique makes it a pleasure to listen to. The closing 'Golden Golson' was of course mostly known for it's appearance a few years later on Mal's classic 'One Entrance, Too Many Exits'. It's a nice but a little predictable kind of music here and the only reason why this isn't a 4.5 star recording.
The only buying option is the original release on 'Calig' which is not rare but you have to pay somewhere around 30 euros to get yourself a copy. The sound quality is excellent. These kind of releases really give me that restless feeling that I am missing so much great music. If Mal was not on it, I would have never listened to it let alone buy it. It's a lesson learned that one should keep on exploring jazz music in every direction, also the one's that are unknown to yourself. For there are so many hidden diamonds to dig up!
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