(1993) Mina Aoe - The Shadow of Love **

 

With: Mina Aoe (vocals), Freddy Cole (vocals, piano), Grover Washington Jr. (soprano saxophone), Eddie Henderson (trumpet), Jim Powell (trombone), Ted Nash (tenor saxophone), Jerry Byrd (guitar), Mal Waldron (piano), George Mraz (bass), Billy Hart (drums), Steve Berrios (percussion)
Record date: March 3-7, 1993

I'll never get used to this kind of thing. Japanese singer Mina Aoe teams up with some of the top American jazz musicians of those days. The result is an overly sweet, old fashioned out of style and very dull record. Mina Aoe must have been quite the singer in her homeland. She has recorded lots of music back in the 1960's. She could sing okay but has this huge Japanese accent. The music played here is so not my cup of tea. In my opinion we have past this kind of thing in the 1940's. And even then: it was performed a zillion times better back in those days. Love some of the standards but not the way they are performed here. 

1 star for the music. 1 more for the excellent musicians playing here and Freddy Cole's voice. Try it yourself, maybe you will like it. I don't and mostly bought it to complete the collection. I would definitely not spend the money some Discogs sellers dare to ask for it. 

(1985) Kim Parker - Sometimes I'm Blue **

With: Kim Parker (vocals), Mal Waldron (piano), Isla Eckinger (bass), Ed Thigpen (drums)
Record date: May 28 & 29, 1985

Kim Parker was Bird's stepdaughter: she was Chan's daughter. I'm not an autobiographical expert on Bird but I am pretty sure he has written his classic 'Kim' for the singer that is present here. She has made some records with the likes of Kenny Drew, Tommy Flanagan, Phil Woods (another stepfather) and.... Mal Waldron. She wasn't very active on the scene and this record for Soul Note was one of just a few records as a leader. She composed a killer band for it with Mal at the piano, the underrated Isla Eckinger on bass and the great Ed Thigpen on drums. Unfortunately it resulted in a rather dull record.

It's pretty much the same story as with quite a lot of Mal's encounters with the female singers. Mrs. Parker could sing. She could sing in the sense that she would be a nice presence at a local restaurant singing jazz classics with a pianist at her side. But her vocal skills doesn't really pass the level of a good amateur singer. In fact, I am pretty sure she is out of tune here and there. She's doesn't have a high technical reach and her singing is little innovative. Listening to her while eating a nice steak and having a beer would be lovely. But listening to a whole record is something else.

And where the lovely Jeanne Lee easily blended with more challenging forms of jazz, Kim mostly sings in the tradition that really was the tradition in the '50's. It means for Mal and his band that they are pushed in the role the accompaning artist again and that kills most of the creativity. The solo's that he plays here are all fine as one expects from him but there is nothing exceptional in them. And Mal was definitely capable of playing exceptional things in this decade. Eckinger's and Thigpen's roles are even more modest. They hardly have any space to show off some of their excellent playing.

Got this one in the 11cd boxed set. A nice addition to complete your collection but I would not buy the seperate release as it's not a very good record.

 

(1995/1996) Sangoma Everett/Chico Freeman/Mal Waldron/Cecil McBee - The Courage To Listen To Your Heart **

 

With: Chico Freeman (tenor saxophone on 1-5), Mal Waldron (piano), Cecil McBee (bass on 1-5),  Sangoma Everett (drums, percussion)

Record date: November 9, 1995 & April 16, 1996

Now, when I saw this line up I was very curious for the music. I did not understand why it wasn’t really well known. When I gave it a spin for the first time it became a little more clear to me. The cd has some rewarding moments but overall: it’s a little disappointing and did not meet up my expectations. 

 

The opening Mombasa is an African spirited original by Everett. But where people like Dyani and Abdullah Ibrahim could really make that work out so well, Everett does not. At least not here. It sounds a little silly. The following ‘Crossroads’ sounds like it’s building towards something but then it suddenly stops. It feels very unnatural. ‘Murivel’ is a little better with a nice bass groove set up by McBee and some great modal playing by the band. Chico Freemans solo is excellent and passionate on this one. Mal himself doesn’t really sound fully at ease in this setting. His solo is ok but he could have done better.

 

Auburn Prive has this smooth almost pop music like feeling over it. It sounds like an introduction to some tv program. It really misses the point and Liberated isn’t much better. It’s just not the kinda music one expects from musicians like Waldron, Freeman and McBee. It has some kind of weird energy that’s is very unappealing and sounds outdated. Sangoma is an excellent drummer but isn’t really impressive here either. 

 

The one thing that make things a little better is the 17 minute long closing composition. It was co written by Mal and is definitely recognizable as so. It starts with some nice interplay between Everett and Waldron. Mal leads here with beautiful robuuste and dark tones. Sangoma joins him with some very rhythmic percussion playing giving it a sincere African atmospheric feel. Then Sangoma fades out and it’s Mal solo. He plays an intriguing solo part. Then Sangoma joins again with bells and other percussion. It’s an intense dialogue with Waldron even playing the snares of his piano for some time. I really don’t understand why they’ve chosen to record this as a duo only. It would have been a great opportunity for both McBee and Freeman to join in with some furious free playing. Another missed opportunity. 

 

Overall this probably would have been a better record if it was lead by any of the other musicians present here. It’s unfortunate and surprising to see how 4 musicians of this stature could produce such a boring record as this one. It was released by the Swiss TCB records and is widely avaible. This really is one of the lesser efforts of the ‘90’s. 

(1989) Thierry Bruneau Quartet/Mal Waldron - Live at the Kave **

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.

(1985) Sumiko Yoseyama/Mal Waldron - Duo and Duo 76/45 **

 

With: Sumiko Yoseyama (vocals), Mal Waldron (piano)
Record date: September/October, 1985

Okay, resit! Really I gave this one a fair chance and have to admit that it’s a little better than it’s predecessor. Why? Well first of all there is no strings to be found here nor a cocktail jazz band. It’s just Sumiko and Mal which gives it a more sincere sound. Also, there’s a little more space for Mal. And his soloing is pretty warm and nice as is his playing behind Sumiko. And the last improvement is the English of Sumiko which seems to be a little better.

But part from that: this is still pretty hard to listen to for me. I still really think Sumiko is just not a very great singer. Her timing is so so, her technique very basic and her sound is not pleasant or warm. There is no soul in her singing which is essential, especially when you sing with Mal.

There are plenty of buying options on both vinyl or cd. I’ve got the ‘Tuff Beats’ remaster from 2005 that also contains the duo 76/45 as a bonus. So no review of that album here. Which is probably better anyway.

(1985) Femi Bellomo/Mal Waldron - Since You've Gone **

 

With: Femi Bellomo (vocals), Roberto Ottaviano (soprano and alto saxophone), Mal Waldron (piano), Attilo Zanchi (bass), Gianni Cazzola (drums)
Record date: March 11 to 15, 1985

From the year 1983 Mal would regularly accompany female jazz vocalists. He did quite a few times with different Italian singers: Femi Bellomo, Danila Satragno, Tiziana Ghiglioni and Tiziana Simona. Mal had a few countries he visited very often and Italy, also on of his first European residences for a small time, was one of them where he also recorded quite a lot records. Of course he also had a pretty long association with the great Italian Soul Note label. For this session, Mal plays with an all Italian band including Roberto Ottaviano which whom he would later record a duo album for DIW.

There they are again: vocals…. I have to admit that contrary to Yoseyama, Femi Bellomo could actually sing. But do I like her voice? Nah I really don’t. It’s loud and in you’re face. She’s at her best on Mal’s Seagull’s where she sings with a more gentle approach. The band is pretty much okay but as with most of the vocal albums, hasn’t really got the opportunity to actually show off. Ottoviano is a pretty good player but a bit too smooth for my taste at times. He's definitely more interesting on the duo album he recorded with Mal. Mal’s own role is pretty modest too. He does really make clear again why is so much in favor by vocals. His timing is just incredible and so steady.

There’s only one issue released: the original Dire LP from 1985. I really think the sound quality is really bad for a studio record from that time. It sounds hollow with lot’s of echoing especially on Bellomo’s singing. Ottaviano’s soprano sounds like it's doubled times. Very weird. An interesting recording if you like vocal jazz and Mal Waldron. If you don’t really feel for that kinda thing you could skip without hesitation.

(1982) In Retrospect **

 

With: Akira Miyazawa (tenor saxophone, flute), Mal Waldron (piano), Isao Suzuki (bass), Hironobu Fuzisawa (drums)
Record date: April 23, 1982

Mal did not bring a band to Japan in 1982 so the records he made there were with Japanese musicians. Isao Suzuki was an old companion of Mal playing excellent bass parts on the great Reminiscent Suite. Both the well recorded Miyazawa as the lesser known Fuzisawa were mostly active in the Japanese jazz scene. Part from the opening ‘All Alone’ this is a standard only album. But standards could be played in a very interesting way. Unfortunately that is not really the case here.

The opening with Mal’s beautiful ‘All Alone’ is probably the best of the record. Miyazawa’s solo is thoughtful and beautiful and I dig it, even though I am not a very big flute fan. With ‘Oleo’ comes the boredom unfortunately… Really what the hell is Miyazawa doing? It’s really playing blues scale after blues scale. The predictability of his solo’s throughout the album is pretty annoying. He really sounds like a saxophonist who has just picked up the horn and practices with scales and ladders. The paths on this album have been walked on so many times. Standards could be made exciting but here they are not. One could play standards in a boring way but still impress with great technical abilities or a big personality. This album lacks both of them. Suzuki sounds uninspired here too and Mal just plays his part, nothing more and nothing less. And that goes for the whole band. They just play, play and play. But it does not really lead anywhere nor does it mean anything. The best parts in the music are the more slow pieces like ‘All Alone’ and ‘I Can’t Get Started’ where Miyazawa sounds bit better in place.

‘In Retrospect’ is very, very widely available record on both vinyl and cd. I’ve got the very cheap version on the American ‘Four Star’ label. Not only cheap in money but also in packaging, it almost looks like a cd-r. Always listen for yourself but if you ask me: this is a Mal record you might wanna skip. It really sounds like a pretty boring jam session.