(1987) Anthony Braxton - Six Monk's Compositions ****

 

With: Anthony Braxton (alto saxophone), Mal Waldron (piano), Buell Neidlinger (bass), Bill Osborne (drums)
Record date: June 30 & July 1, 1987

Speaking of fascinating musical collaborations: this is definitely one of them! Braxton recorded several albums for Black Saint, the sister label of Soul Note for which Mal mostly recorded. Braxton had already recorded tons of records but he did not record a lot of Monk. Monk's music is written for musicians like Braxton: they are tricky, complicated and demand a lot of the musician. With his excellent technique and refreshing innovations playing these tunes by Monk was an excellent idea and there was more to come. And Mal and Monk.... well I have probably told it all before: he was a key influence on Mal in the sense of using space, dissonance and his sense of timing. Mal had played of his compositions before, especially with Steve Lacy who was another Monk afficionado. Completing the band here is Bill Osborne (this is probably his only recorded performance?) and bassist Buell Neidlinger who was present at the birth of avant-garde piano playing in the 1950's with Cecil Taylor.

Though Braxton plays a very different style from Waldron they do match pretty well and mostly: they complement each other and force each other to explore other territories. The six compositions chosen are all pretty advanced pieces of music with lots of interesting directions. Braxton shines on all of them with his incredible technique. He could play so fast that you could hardly hear what he's doing in some parts. His playing on this record is fairly accesible and definitely among the more contemporary jazz music he has made. The constantly changing rhythm on 'Brilliant Corners' keeps your absolute attention to the music. And that really is to say with all of the music. Though not very inventive in sound there is a lot going on musically and technically. Also Mal shows another side of him playing very much with Monk's hands here and there. There's the dissonance, the funny time keeping, the unexpected hits and humurous elements. Monk was an influence but that influence is most clear on this very record.

One must know I am not a huge Braxton fan. In no way I would deny the enormous contributions he made to jazz music nor his great skills. It's more that his style does not really move me. For me, he just plays too many notes sometimes. On this record it's also a bit like that though this quartet setting is definitily one I prefer when I listen to him. The band is a very tight one though the focus is mainly on Braxton's and Waldron's playing. Really just listen to 'Skippy' and try not to laugh. Braxton is all over the place, playing probably something like 64th or even 128th notes. He's fast as lightning and it's a mirracle the whole band could keep up with him. It's these kind off compositions that make this record really worth having. 

This is fascinating music as the combination of these artists isn't the most logical but still works out very well. Definitely recommended for both Braxton and Waldron fans. And still widely avaible, It's also in the Cam Jazz boxes by both Waldron as Braxton.

(1979) Klaus Weiss Quintet - On Tour ****

 

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!

(1978) Klaus Weiss Quintet - Child's Prayer ****

 

With: Roman Schwaller (tenor saxophone), Mal Waldron (piano), Günter Moll (guitar), Rocky Knauer (bass), Klaus Weiss (drums)

Record date: August ,1978

Mal has worked with German drummer Klaus Weiss on multiple occasions. He was in his touring band. There are two official records of those encounters: this studio album and a live record from 1979 called 'On Tour'. The German drummer was a pretty well known figure within the German jazz scene and made lots of records for different recording companies. In 1975 he got Billy Harper and Cecil Bridgewater playing on his excellent 'The Git Go' album where he played Mal's composition even before Mal recorded it himself. He is an excellent drummer with a nice feel for more adventurous music. Never into avant-garde territory but the music is definitely more than ordinary contemporary jazz music. Most of the other German band members played mostly within their national jazz scéne except for bassist Knauer who also played regularly next to Chet Baker. Mal himself here was at an artistic peak releasing albums for Enja like One-Upmanship and Moods and running his own sextet with Steve Lacy, Terumasa Hino, Hermann Breuer, Jimmy Woode and Makaya Nthsoko.

So what kind of music is to be expected on this record: restless and adventurous postbop! The first three compositions were all written in honor of John Coltrane by Mal Waldron. And they have his (Mal's) trademarks all over them. The first composition starts more in a Trane like atmosphere but evolves slowely into a song that reminds of Mal's Git-Go composition. Schwaller's role is pretty limited here only playing the chorus. Mal is in the spotlights and he solo's like he did in those days: hunted and full of tension with a heavy left hand approach. Same goes for his excellent 'Shades of Coltrane' composition where he only uses a couple of phrases to create a hypnotic atmosphere with wide spaces for Weiss en Knauer to stretch out on. Schwaller's solo here is excellent with a creative and original approach. He definitely has a sound of its own and it sounds mature an masculine. 

Side B consists of three compositions that were not written by Mal but by the other band members. That means the music lose some of it's originality and quirky sound. It goes back into more known and mainstream territory. That means the music is still good, the band still swings but it all sounds a little less exciting than on Side A. Big exception is 'Drone' which was written by Weiss himself. It's really a showcase of the whole band's qualities with excellent solo's by Schwaller, Moll and Weiss himself.

The LP was released by Musician's Record Co. and was never reissued. It's so unfortunate that this kind of music will be forgotten for nobody thinks of reissuing it. Truly a missed opportunity for the musicians talents are evident and the music is great. Fortunately copies of the original release are widely avaible. If you ever see a copy anywhere for a low price, do not hesitate! 

(1971) Embryo - Rocksession ****

With: Edgar Hofmann (saxophone, violin), Mal Waldron (electric piano), Jimmy Jackson (organ), Siegfried Schwab (guitar), Dave King (bass), Jörg Evers (bass), Christian Burchard (drums)
Record date: February 1, 1971

Mal's second (or third if you count 'For Eva' also as an official date) record with Embryo founds him playing mostly in the same styles as on it's predecessor 'Steig Aus'. There is small difference in personell but it mostly is the same. Roman Bunka was the guitarist on 'Steig Aus'. Siegfried Schwab takes his place here. It doesn't really matter for the sound of the recording.

Again the world music influences are big but not neccisarly the dominant factor. It's just there. There's music from Africa beneath the Sahara, the Middle East and India that get's melted an mixed with psychadelic rock, jazz, blues and funk. Embryo travelled the world multiple times. They made journey's trough Africa and also trough the Asian continent. They even travelled Afghanistan and the Sha's Iran: Persia. They made all the sounds they picked up there part of their etno-fusion sound.

The first songs are both really experimental funk/fusion compositions with psychadelic influences. The compositions all have a modal and repetitive feeling. Mal play's this very weird electric piano which gives him yet another sound altough his trademarks are still clearly audible. It's also pretty clear it was Mal who wrote the piece 'Entrances' at least for the largest part. There's a constant groove in the back which is an excellent settlement for both Jackson and Mal to improvise on. I have to say that together with Burchard, those are the one's that impress me the most.

Then there's 'Warm Canto', written by Mal and first played on his excellent 'The Quest' date with Dolphy and Booker Ervin. Its played in a completely new form but it all works out pretty well. Mal's warm atmospheric touch is hearable all too yet is sounds all very different. Jackson's solo is thoughtful and him soloing with Mal in the background playing the chords just sounds great. 'Warm Canto' really is the highlight of the album. It's full of feeling and emotional depth. Great performance!

The original LP goes for over a 100 euros which is not really surprising. Reissues are avaible on both cd and vinyl but they aren't very cheap. This is another excellent example of Mal's collaborations with this great German band. Very refreshing stuff and definitely recommended!

(1970) Embryo - Steig Aus ****

With: Edgar Hoffman (violin), Jimmy Jackson (organ), Mal Waldron (electric piano), Roman Bunka (guitar), Jorg Evers, Dave King (bass), Christian Burchard (drums, vibes)
Record date: December 22, 1970

Mal has always been open to new influences to his music. He has experimented with classical music, pop music, rock and fusion. Between 1966 and 2002 he kept developing his own sound always trying out new thing. His basic sound always remained the same but from that basic sound he explored lots of territories. His experiments with Embryo date back till 1967 when that German 'krautrock' band wasn't even formed yet. In Münich he already played with Christian Burchard and other future members. I once heard some criticism of categorizing Embryo as a krautrock band and I tend to agree. I like the term etno-fusion which is used in the liner notes of my cd version. I think that pretty much describes what you can hear here altough I do not like catogorizing anyway. But if I had to call it a name: etno-fusion it is.

It's mostly fascinating music that draws influences from rockmusic, psychadelica, world music and contemporary jazz. It all blends well into creative and original music. In the liner notes Matthias Mineur talks about the uncreative and commercial music made in those years. He presents Embryo as a great alternative sound and he is right about that. I'm not necisarrily a big fusion or psychadelica fan but I can definitely dig this sincere and original music.

The band starts with a more psychadelic rock oriented composition. Roman Bunka starts on a 'saz', a guitar or lute kind of instrument from the middle east which gives it an oriental vibe. Then in comes the band with a hard vibing and downright funky Jimmy Jackson on organ. After his great solo it's Mal's turn and it's so interesting to hear him play in a setting like this. It's not a problem at all for him as he continues the path that Jackson has set out. It's funky and swings like mad. Mal's repetivie vamps sound like an excellent base for a band like Embryo to groove on.

Dreaming girls is something else: a more ambient like ballad with some beautiful playing by every single band member. It has a raga kind of feel with lots of repetition in sound and structure. Highlight is Mal's composition 'The Call'. I like the more jazzy/fusion version on his own classic JAPO album better but this one is defintely great as well. It's more rock oriented with Burchard playing some excellent drums here pushing the band to it's boundaries. I love Jimmy Jackson here who again plays downright funky, heavily influenced by the blues. Edgar Hoffman also shines on violin here.

I could definitely hear why Mal wanted to play with these guys. This is not necissarily my prime kind of music style but it's great fun to listen to. Also it sets Mal in a completely new direction, one that suits him well. Mal's affilition with them would be a live long one. With two more official albums to come an many more unoffical ones for he gigged with them trough all of his life in all kinds of settings.

Of course the original LP is pricey but reissues are widely avaible on cd for very reasonable prices. Highly recommended stuff for fans of Mal. Of course this album is in every Embryo fan's collection but it's also recommendable for all open minded jazz fans and mostly: those who like psychadelic rock.  

(1968) Benny Bailey Sextet - Soul Eyes: Jazz Live at the Domicile ****

 

With: Benny Bailey (trumpet), Nathan Davis (tenor saxophone, flute), Mal Waldron (piano), Jimmy Woode (bass), Makaya Ntshoko (drums), Charly Campbell (congas on track 2 and 3)
Record date: January 11, 1968

Paris is always said to be the creative centre of American musicians that resided in Europe. Of course that is true but Munich was also a pretty good place to be if you wanted to see some of the American top jazz musicians. Both Waldron and Bailey lived there, among others. And the Domicile was the place where they played so many nights in different settings. A bit like the ‘Village Vanguard’ of the Bavarian capital. Some very, very good music was recorded here: concerts by Charles Tolliver, Pepper Adams, Mal’s own Black Glory of course and this very record. Mal is not the only one that puts a smile on my face here. I have a real soft spot for both Jimmy Woode and Nathan Davis. Combining those names must lead to some exciting music.

Benny Bailey was a pretty busy man during his lifetime. His recording career started mostly in the bands of Dizzy Gillespie and Lionel Hampton. He really remained a bopper for the rest of his life. This record is in that style: nice uptempo hard swinging hardbop. But with such talented musicians that always leads to advanced music anyway. This is one very exciting jam session.

The first composition ‘Prompt’ is really an example of some of that fine and excellent bop. Most impressive are both the solo’s of Davis and Waldron. Davis is on tenor here and boy I just love that man’s sound. There’s a little Prez, a little Dexter Gordon but mostly a whole lot of Nathan Davis there. A powerful and advanced player who shines on every reed instrument he plays. His sound is warm, bluesy and just feels like a blanket on a cold day. His flute playing on Soul Eyes is also excellent but I would have loved to hear him on soprano here. With Davis sticking to flute the whole composition is pushed into more traditional territories while this group could have made something more interesting out of it.

The big excitement comes with Jimmy Woode’s composition: Ruts, Grooves. Graves and Dimensions. This is music that expands a little further than bop and this is where every musician is at it’s best. Bailey leaves his comfort zone here and plays a pretty advanced solo. He leaves the more traditional jazz patterns behind. Mal is lovely here too and one can hear he is truly developing his definitive sound here. He fares very well by this great modal composition by the hands of Jimmy Woode. He’s starting to sound more and more like the Mal we know with his hard hitting left hand, repetitive but swinging playing and overall very bluesy sound. Nathan is on tenor again and of course he was the very musician here that was so open to ‘the new thing’. His playing is influenced by it in a very positive way for he does not lose his own identity for a second. 12 minutes of very exciting music.

The final composition ‘Mid-Evil Dance’ was written by Nathan Davis. This was one group I would love to have seen, Davis’ robust tenor sounds fit so well with Mal’s deep chords and Woode’s free yet swinging bass playing. He could fit into a free playing group, but still swings as hard as Coleman Hawkins. What a sound! Bailey really loses himself here screaming trough his horn and Mal: he just swings like a mad man seeking constant interaction with Woode.

This is some very exciting music from the ’60’s European live jazz scene. The people that were in the Domicile that night were very lucky. It’s one of the more difficult to find MPS records. Well it’s not very difficult to find a copy, it’s mostly just that the copies are pretty expensive. Ive got the 1998 Japanese cd version myself. Can’t say I really like the sound, but that must be the recording itself for most Japanese MPS records mostly sound excellent. Highly recommended for Waldron fans, Davis fans and also Bailey fans. And a special shout out to Jimmy Woody: he was one hell of a bassist!

(1967) Embryo - For Eva ****

 

With: Christian Burchard (vibes) Mal Waldron (piano on 3-5, 8-9), Dieter Gewissler (bass #1,2,5,6) Lothar Meid (bass #3,4,5) Reinhard Knieper (bass #8 & 9), Dieter Serfas (drums)
Record date: somewhere in 1967

This really was one of the most pleasant discoveries I made in my quest for collecting all of Mal Waldron’s records. To be honest: I really kept this one as one of my last purchases for I did not expected much of it. I mostly bought it to complete the collection. I was pretty wrong about it for there is some excellent music on this disc.

Mal’s affiliation with Embryo was a life long one and that came mostly trough his friendship with vibist Christian Burchard. Burchard already lived in Munich in 1966 and played with some of the American jazz residents who lived there or stayed there for a long time. The southern German city had a pretty lively jazz scene with residents like Pony Pointdexter, Carmell Jones, Benny Bailey and later of course: Mal Waldron. At one night Mal was playing at the Domicile club and Burchard joined in. From that moment they were to become livelong friends. I am not sure if the artist on the cover really should have been Embryo as Burchard states in the liner notes that the German krautrock group was formed later. But this definitely was it’s birth. As Burchard stated: ‘This is an example how we sounded before the Embryo project was founded’. The music is more jazz oriented and rock influences are nearly absent. Mal did not record a lot of stuff in 1967 but he sure was not inactive. He was already gigging all across Europe and mostly in Germany.

Mal doesn’t play on all of the songs. The first two compositions are without him but are both very interesting. ‘Sugar Lump’ is a very good tribute to one of jazz forgotten vibraphone wonders: Walt Dickerson. It breathes the same air as his music and his influence is evident on Burchard’s playing. The music has some kind of free atmosphere as both bassist Gewissler and drummer Serfas are moving away from more traditional jazz patterns. They sound pretty advanced to me and are surprisingly original in their sound. Burchard himself utilizes the given space in an excellent way interacting with both his band mates and not losing himself in a technical show off.

Unfortunately the sound quality of the Waldron selections is not as good as the first two songs. But this is a fascinating look into the music Mal made in those years. Just like his 1966 records you could hear he’s really trying to create his own sound experimenting with loops, repetition and percussive playing. He’s not yet the pianist he was to become in the years after but you could really hear those roots here. Also there’s a very first recording of his ‘Blood and Guts’ composition: it’s titled Anka’s Trance here. It’s the only track that does not really work out that well as it sounds there are some miscommunications in the group. The other tracks are excellent. Some have a more traditional jazz sound but it’s mostly a little more advanced than that. Mal listened a lot to what was going on at the American freejazz scéne at the time. And although his music never became that free, he was seriously influenced by it. He swings insanely hard on ‘Bud Study’, a composition that is very Waldronesque but has this Bud Powell feeling over it. He show’s his more sentimental side on ‘For Bob’ and revisits his classic ‘Fire Waltz’ for the first time.

Disconforme is one of those public domain labels. I really dislike them for they do not pay any royalties to the one’s who the music belong to. But also they push the regular labels out of business with their subpar but cheap products. As this disc was compiled by Christian Burchard himself (he also wrote the liner notes) I could live with it. The liner’s and photographs are very nice so it’s really worth having. The sound quality differs really by session. Some of them are surprisingly good but track 3,4 and 5 do not sound so good. But it’s definitely acceptable. I could imagine hardcore ‘Embryo’ lovers will not be impressed by the music presented here. But for those interested in Burchard’s more jazzy side, this is interesting stuff!

(1995) Maturity 4: White Road, Black Rain ****

 

With: Mal Waldron (piano), Jeanne Lee (vocals), Toru Tenda (flute)

Record date: August 6 & 21, 1995

This is the last record to be reviewed from Mal's 1995 birthday tour in Japan. The personell is the same as on the BVHaast disc: 'Travelin Soul-Time'. We've got the great singer Jeanne Lee and Japanese flautist Toru Tenda. And it also has some tracks in common with that record. The two songs that were written in remembrance of the atomic bombs that were dropped on Hirsohima and Nagasaki during WWII, based on Japanese poems. 

But there are also different tracks here: Like the starting Japanese lullaby with it's sweet yet sad sounding, perfectly fit for the Waldron/Lee duo. Jeanne Lee meanders sotfly over Mal's chords in the background, improvising in a language that does not really contain words. Very nice. 'White Road' is probably the piece I like best by them. With it's dark atmopshere, and Jeanne Lee almost 'telling' this impressive and sad poem on Mal's subdued chords. It really is a reminder of the horror's of that very day in Hiroshima. Jeanne Lee is a singer of pure feeling and she makes it possible to almost relive those events in your head. 'Black Rain' is less structured and is clearly representing the horrors in the hours after the drop of the big one. I personally do not like the more free form singing here but that is a matter of taste. But everyhing is made even better with the closing jazz standard 'Sometimes I Feel Like a Motherless Child'. It get's a very thoughtful treatment and Lee's soft and sweet voice just hits all the right notes. 

I am no vocal jazz fan but this is great stuff. I have to say that Mal's role in it is a bit limited. Yet he is able to create the right atmosphere with his moody voicings in the background. Biggest downside is probably it's short length. It was initially released on Dan or Tokuma Japan in 1995 and in 2003 made Volume 4 in the Maturity series. Unfortunatly it doesn't contain as much photograph's as the previous two volumes. The sound is great anyway. Like all of those Tokuma discs it is not very easy to pick one up. Prices mostly start around 50 euros. Chances are probably best again trough websites like Buyee or something like that. For everyone that likes the voice of Jeanne Lee: this is recommended stuff.  

(1995) Maturity 3: Dual ****

 

With: Mal Waldron (piano), Takeo Moriyama (drums)
Record date: August 20, 1995

The same day that they recorded 'Bit', they also made this record. 4 days after his birthday Mal teamed up with Japanese drummer Takeo Moriyama and played two long sessions in Studio F with a live audience present. The 'Bit' record was already rated highly by me, and this third part of the Maturity series is also very interesting.

Just like the 'Bit' record this was recorded as a suite. But here the tracks are partitioned in 7 parts. Yet every composition flows over in another one. All the music was improvised on the spot and that leads to some very exciting and creative music. Both Mal as Takeo play on a high level of energy here and the music is pretty intense here and there. Though Mal became a little milder in sound in the 1990's this is a pretty good example of his capabilitly to explore more free territories. His attack is highly percussive and he uses big clusters of notes here and there. But the music still sounds set in structures as from the improvisations, there are still themes in the music that Mal regularly visits. And part from the high energy parts there are also some beautiful calmer bits in the music that are of equal interest.

Just like the other Dan release the music here is all about the interaction between drummer and pianist. And Mal and Takeo really feel each other and are able to communicate in an almost telepathic way. Also Moriyama is a very pleasant drummer to listen to as he works his ass of but still in no way tries to overrule Mal. He's a very balanced player, never too loud but definitely not in de background only. He just adds the right things to Mal's lead. This was an excellent duo.

This record was released in 1996 for the first time by Dan or Tokuma Japan. It was made part of the Maturity series in 2003. I can't speak for the 1996 release but the Maturity is beautiful. It's warm and balanced in sound and the photographs in the booklet are truly beautiful. Of all the Maturity releases this one seems to be avaible a little better. Highly recommended music and perhaps a good introduction to the more rare 'Bit' which is even better.

(1995) Maturity Vol.2: He's My Father ****

 

With: Mal Waldron (piano), Mala Waldron (piano, vocals)
Record date: August 21, 1995

I mentioned the year 1995 before as the year of Mal’s 70th birthday celebration tour. That tour largely took place in Japan and Mal was joined by his whole (2!) families. Not only Hiromi, but also his ex wife Elaine joined him. And also his 2 daughters from his first marriage. One of those daughters is Mala Waldron who is the only one of Mal’s children that is really active on the jazz scene. She still performs regularly in NYC and the surrounding area. Her website is in the list of links on my blog. Just one day after Mal’s birthday he recorded a duet album with his oldest daughter called ‘He’s My Father’. It was originally released in 1996 by Tokuma and later made part of the Maturity series. It’s that disc that I own.

So what to expect of this record? Mala might be an active live singer, she has not recorded a lot of music. But I have to say: she is a fine singer. And a good piano player too. As she is a singer I expected a real vocal album but she is not singing on all of the tracks. In fact she mostly sticks to piano. She only sings on two tracks. Her piano playing reminds one of her father’s playing: it’s not technical, a bit minimalistic and repetitive in parts. The way she interacts with her fathers playing is excellent and the whole album breathes a comfortable but still interesting air. Both the jazz standard ‘My Funny Valentine’ as the Waldron original ‘Clouds’ are very meditative with deep and long chords. The soloing by both Mal as Mala is subdued and calm but very beautiful. It has this very warm atmosphere with still that dark undertone that Mal’s music is known for. No vocals on these two long outings.

Then there’s ‘Castle in The Sky’ which was written by Mala. It has more of a pop music feeling. Mala starts singing here and her voice is pleasant. And that says a lot coming from someone that generally does not like those vocals. She might not be the new Ella Fitzgerald by I am pretty sure Mal was proud of her. The whole song might be a little shoddy here and there bit I like it as it sounds very sincere. With ‘Cat and Mouse’ the whole album takes another turn. From sweet sounding poppy music into more free territory. Both Mal’s as Mala’s piano actually sound like a cat chasing a mouse. This is more experimental free improvising music. It’s interesting to hear how much Mala has been influenced by her father as the two are sometimes hard to distinguish. The whole interpretation of ‘A Night In Tunesia’ is probably the least interesting as it’s all a bit predictable. The closing title song is a thoughtful one suited perfect as a closing title for this father/daughter collaboration.

Like all of the Maturity discs this one is quite difficult to obtain. The biggest chance for a success remains websites like Buyee where you are able to buy from Japanese stores. I like it for it’s intimacy and the fact that this a collaboration with his daughter. But there’s some pretty good playing here too.

I know a man, he’s a strong man
A very complicated man
Music is his life, and how he inspires
With the power in his hands

And this man’s my father
And how I’ve watched him
From the time I was old enough to understand
He’s my father
For as long as I live
And he’ll never be replaced by any other man
He’s my father

A life on the road, he’s traveled far and wide
And as kids sometimes we’d come along
I always was amazed at how he mesmerized
With his melodies so strong

He’s my father
And it feels good to say it
When there are so many dads who do not know their own
An tough he’s far away
And we don’t talk so much
I hope he knows he’ll never have to be alone
He’s my father

(1998) Mal Waldron/Nicolas Simion - Misterioso: Live in Zürich ****

 

With: Nicolas Simion (tenor saxophone, soprano saxophone, bass clarinet), Mal Waldron (piano)

Record date: June, 1998

This is Mal's last recording with the highly talented Romanian saxophonist Nicolas Simion. This time it was not recorded for TUTU or perhaps it was never released. The Romanian label 7 Dreams released it in 2014 which makes it the last Waldron release on cd. It's a live set that was recorded in Zürich, Switzerland with a fantastic selection of compositions. There's a Waldron classic like 'Seagulls of Kristiansand', nice interpretations of Monk theme's, a beautiful version of 'Good By Pork Pie Hat', a remake of a classical piece by Brahms and a funky but no fusion version of Miles Davis' 'Jean Pierre'.

The Monk tunes work out really well. Mal's thoughtful and detailed playing in the background with his excellent yet pretty loose timing and Simion's muscled tone with endless loops of alternating notes floating on it. Mal's variation on a theme from Brahm's 3rd symphony is also excellent. It has this sad feeling over it that is interpreted in a very gentle way by Mal. Don't know how this is felt by people that like to listen to classical music. Perhaps it's blasphemy but I have a feeling that Mal's playing of classical music is pretty sincere. I like it anyway. 'Mood for Eric' is probably the most free and out there effort from the concert. Simion sticks to bass clarinet here paying a tribute to the great reed player who died so young. Interesting to here how Mal is still capable of leaving more tradtional jazz patterns behind. Mal really is a very bluesy player but has no difficulty at all switching to other forms of melody.

There's also some more space for moments of beauty. 'My Duchess' is almost getting a little too sweet but bent into a more sincere emotional mood. 'Seagulls' gets a nice treatment with Simion on soprano saxophone. His soloing is excellent but it's also Mal's beautful floating piano playing in the background that is impressive. His solo statement on it is just stunning. Playing mostly with repetitive ideas and silence he says more than a thousand words. The closing funky tune 'Jean Pierre' which Mal would play more than only this time is very refreshing.

Being released on a small Romanian label, with a reed player that is not very well known: these kind of records are very much overlooked. Unfortunate as it's not really stimulating for releasing any new music. This record is very much worth having and Simion deserves wider recognition anyway. One should be able to find a copy somewhere on Discogs or similar websites. Recommended stuff!

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(1995) Mal Waldron/Nicolas Simion - Art of the Duo: The Big Rochade ****

 

With: Nicolas Simion (tenor saxophone, soprano saxophone, bass clarinet), Mal Waldron (piano)
Record date: December 19, 1995

For his last record for the great record label TUTU, Mal encounters Roamanian saxophonist Noicolas Simion in a duet form. Simion became the replacement fo Jim Pepper, who died so young back in 1992. Mal was a bit skeptical at first but after playing a few times with Simion he was convinced this could work out. And it really did. Part from the fact that Simion really is a talented musician, there’s obviously lots of chemistry between the two players. Something that really proves that music is a universal language when one looks at the completely different backgournds of the musicians. An Afro-American, New York born piano player from the golden decades of jazz. And a much younger saxophonist that grew up in one of the most repressive communist countries of Europe. Much as their background differed, their mutual understanding is obvious in a musical but also a personal matter.

Mal is one of the best duo pianists one could think of. His very modest but solid background playing must be the dream of every saxophonist. And he did make a lot of those duo records. With singers, bassists, saxophonists and even drummers. Part from the excellent accompaniment here there’s also lots of space for Mal himself to stretch out. His playing has become a little slower but goes even deeper on an emotional level. The compositions played here are really a mixed bag in a positive manner. There’s a great version of Monk’s Dream with thoughtful interactions between the duo and an excellent solo by Simion. There are some more free efforts like Dinasour’s Dispute with Simion on bass clarinet and ‘Search For Euricdice’ where he plays the soprano. But also some very moody originals like the opening ‘Open Windows’, the beautiful ‘Song for Leo’. Those were composed by Simion and have a mysterious Slavic feel over them. And also the very dark ‘From Dark into Light’ which is a terrific solo piece by Mal himself.

What is making this encounter even better and more special is the experimenting with the roots of Simion's music. The obvious Balkan influences give the music even more energy. A different kind of energy that is very interesting to hear. 

Just like all the other TUTU discs this one is easily recommended. Not the most easy one to get a hold of but patience will be rewarded. If a copy pops up at Discogs one could buy it without hesitation. TUTU did a great job capturing such beautiful music. And they released in a beautiful way with a nice booklet with great liners and photography. They should do a TUTU boxed set!

For sale at Nicolas Simions shop!
 

(1996) Roberto Ottaviano/Mal Waldron - Black Spirits Are Here Again ****

 

With: Roberto Ottaviano (soprano saxophone), Mal Waldron (piano)
Record date: January 28 & 29, 1996

From 1996 Mal became less productive in the studios. And yes he was getting older but he maintained an extensive and probably exhausting touring schedule. But were never signs of fatigue in his playing and his work remained interesting and fresh till the very last recordings he made. Most of his last recordings consist of small group recordings, preferably duets. On this occasion he teams up with Italian saxophone player Roberto Ottaviano who sticks to soprano saxophone for the whole record. The two men recorded before on the Femi Bellomo record, which I really did not like. Here, Ottaviano’s playing really matured and he became a pretty well known figure in the Italian jazz scene.

Ottaviano has a very, very nice way of playing the soprano. Very nice but not smooth in the sense of: a little to sweet. Nor is he an advanced or experimental player like Steve Lacy. The way he plays the soprano reminds mostly of a singer, like George Haslam did on his first record with Mal. And I have to say: I like it very much. I don’t know who had selected the compositions for this record but they fit like a glove to both men. The opening ‘Memories of You’ is incredibly beautiful and so are some of the other standards like the gently swinging ‘Come Sunday’. The way Ottaviano’s soprano dances on Mal’s sweet but deep chordings is very nice to hear. But there’s also enough interesting details in Ottaviano’s playing that keeps your attention with the music. The small ‘decorations’ around some of the notes or the sometimes humorous interplay with Mal: it’s all very thoughtful. And Mal’s playing really became different during this period. It became softer, gentler and perhaps even a little warmer for as far that was even possible. But it’s never boring: it sounds like something very definite and mature. With a deep layer of feeling, emotion and the blues. And part from all the laidback playing there’s also some creative stuff. Like uptempo ending of ‘A Night in Tunisia’ or the dazzling and tense version of ‘Lonnies Lament’ which really is one of my favorite Coltrane compositions. It contains a hypnotizing solo by Mal.

This is a very accessible record, suited best for a lazy Sunday morning or afternoon. A prime example of two experienced gentleman playing a set of standards in a warm yet refreshing way. It doesn’t contain the tension or excitement of the Waldron/Lacy duo’s but this is just music for a different kind of mood. Recorded for the Japanese DIW label in 1996, this is a cd only release. A nice digipack or even a small gatefold digipack. Plenty of copies for sale on Discogs for reasonable prices (20 euros for a Japanese cd is reasonable to me). And of course some lunatics like the infamous Kupiku asking 40 to 60 euros for it. Highly recommended stuff!

(1994) Mal, Verve, Black & Blue - Live at Satiricon ****

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: October 10, 1994

In 1992, saxophonist Jim Pepper died of Lymphoma in a Portland hospital. The powerful tenor man was Mal’s set saxophonist for years and part from that a personal friend. The year of his death was supposed to be the year of the third American tour with the Mal Waldron Quartet. But unfortunately at only 50 years old, his life came to an end. Mal was devastated by the death of his friend and companion but also had to look for another saxophone player to fill in for him. It was Mal’s tour manager at the time that came up with the name Nicolas Simion. Simion, a Romanian native, had already recorded for the Tutu label and played in the Europe club scene. But he wasn’t very well known. It appeared to be an excellent choice and he remained Mal’s companion for 4 years.

I know that the man might still be a little obscure, but believe me if I tell you he can play. He has this thick an masculine voice on the tenor but with a deep emotional feeling in it. But he’s also a technical player that could easily keep up with any composition, no matter the complexity. He really is a fine successor to Jim Pepper. ‘Judy Full Grown’ is an extended version of Mal’s original waltz that he played with that classic quintet at the Village Vanguard. It’s an exciting version with lots of changes in rhythm and dynamics. And Mal plays a fiery and excellent solo on it. Simion’s ‘Transylvanian Dance’ is probably even more exciting. It starts with some beautiful arco bass playing by Schuller, creating an atmosphere that is really reminds of Eastern European influences. And so does the beautiful rhythmically challenging theme. From that theme the composition really goes back and forward from straight ahead beauty to intense uptempo freebopping. Just like Pepper, Simion has this loud but beautiful overblow. An overblow he uses in a modest but perfectly fitting way.

The version of Soul Eyes is `nice but I have heard better versions. Schuller’s ‘I See You Know’ is more interesting with a very catchy tune that sounds a little inspired on nothing more than ahem… Gerry Rafferty’s Baker Street! Again it’s Mal who really steels the show with a very bluesy solo. Though he was getting older here, he shows not a sign of decline in his playing. He still manages to keep up with these young lions or even better: take the lead. I should also not forget to mention the excellent playing by Schuller and Victor Jones: both solid as a rock.

Without any exception, the TUTU discs are all great. This one is not the best but it is very, very good. It’s pretty unjust that most of them are not so well known. And like all of the TUTU’s the cd is a big pleasure to have: extensive and very interesting liner notes. The liners are mostly telling something about Mal and the concert itself. Focussing not again for the zillionth time on his work as a sideman for Prestige records and being the last pianist of Lady Day. But really telling new stories about this highly underexposed period in his life. And that’s not all: some beautiful photography as well. All of the Tutu’s are still available, not new but mostly second hand. If you are a Waldron fan: just get them all. Pieter Wiesmueller has the perfect description for them: ‘It’s not a sensation, not a spectacle. But just simply an intense experience’. This really is what jazz is all about.

(1994) Mal Waldron/George Haslam - Waldron/Haslam ****

 

With: George Haslam (baritone saxophone), Mal Waldron (piano)
Record date: February 24, 1994

Mal had already recorded for Haslam’s ‘SLAM’ label with Lacy. ‘Lets Call This…Esteem’ was brought out on that label. In 1994 he made his first duo recording with Haslam himself. Haslam is a reed blower (playing anything from a clarinet to a tarrogato) from the United Kingdom. He’s pretty adventurous in not only his playing but also his touring. He has played all over the world, from Mexico to Hong Kong and anything in between. He has played more contemporary jazz styles but also worked with quite a few people from the freejazz scene like Evan Parker, Steve Lacy and Borah Bergman.

For this session Haslam sticks to baritone saxophone and that’s an excellent choice. Mal has played so many duets with so many saxophonists but never with a baritone aside him. It work’s out very, very well. The dark but very warm tones from Haslam’s big baritone sax almost float on the meandering chords and notes from Mal’s piano. As the liner notes by Brian Morton state: it’s like Mal is still accompanying a singer in his mind, and Haslam sounds like he is singing trough is horn. I am truly pleasantly surprised by the warmth and subtlety from Haslam’s baritone sax. Without overblowing his horn or getting into anything extreme he still manages to remain an interesting listen for the full 70 minutes.

The standards here are all treated with much elegance and hearable joy. Mal sets in some chords and George just really takes it from there swinging gently. And Mal has that same gentle swing in his soloing on these jazz standards. There are also two more free form pieces which are more free improvisations than true compositions. The 18 minute closing ‘Motion in Order’ is one of them and sets these guys in another perspective. The interplay of the jazz standards really changes more into a dialogue between the two as they closely listen to each other and interact. Though free of any true structure, the music is far from chaotic or anything like that. In fact: Haslam really remains that sweet tone of his most of the time. But the music does leave the more contemporary side of jazz music and dares to push the boundaries of it. It’s an exciting piece.

Mal himself shines really with his astounding solo variation on a Brahms composition. Yet another example of how his style blends so well with the old classical composers. He treats the theme gently and beautifully but it’s in the solo part where he truly shows off.

These SLAM cd’s are pretty easy to buy anywhere on the internet. In fact, I think it is still in print. The sound of them is pretty good, the packaging a little basic. This record does contain some nice liner notes by Brian Morton, on of the authors of ‘The Penguin Guide to Jazz Records’. Definitely worth having, especially if you are fond of Mal Waldron duets.

(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.

(1992) Charlie Mariano/Mal Waldron - New Horizon (Dedicated To A Changing Europe) ****

 

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.

(1992/1993) I Remember Thelonious ***1/2, Japan Dream ****, Let's Call This Esteem ****1/2

 

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!

(1990) Spring in Prague ****

 

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.

(1989) Quadrologue at Utopia ****1/2 & More Git Go at Utopia ****

 

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.

Buy it at the TUTU website!