(1995) Mal Waldron & Steve Lacy - The Mighty Warriors ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Reggie Workman (bass), Andrew Cyrille (drums)
Record date: 30 september, 1995

I can't believe how happy I am being able to write something for my Mal Waldron blog again. Because that must mean there's a new recording out in the wild! That makes me want to thank Zev Feldman first as he seems to be the one responsible releasing another Mal Waldron release. It took a while but Mal finally seems to get some attention with the Grenoble Concert released two years ago and a Craft reissue of Mal 2. But this release really made my heart beat a little faster, and that's all thanks to the lineup. Mal and Steve Lacy haven't made any bad records together. But add one of the best possible rhythm sections behind them, and it can only be a success, right?

In 1995, Mal turned 70. He toured the world and recorded several albums during that tour in Japan and Europe. He collaborated with Jeanne Lee, Takeo Moriyama, Max Roach, and this group as well. At the Singer in Antwerp, he played a duet with Max Roach, which was later released on the Slam label: Music in the Mth Degree. An excellent live recording spanning 2 CDs. Mal was in top form during this tour. The duets with Takeo Moriyama are also essential, but strangely underrated (probably because they are difficult to obtain).

During the live concert on September 30, 1995, in Antwerp, the band chose a number of Waldron/Lacy classics and some lesser known compositions. The band kicks off with the wonderfully brisk 'What It Is'. It has been recorded by these gentlemen before, but with Eddie Moore on drums instead of Andrew Cyrille. Everything works in this combination: Mal producing dark heavy clusters, Reggie Workman dancing over them, and Lacy beautifully soloing on top. Cyrille ensures that everyone stays in their place. This is followed by another Waldron/Lacy classic: Monk's Epistrophy. Short but powerful: it seems more like an intermezzo, but one that dares to grab the listener's attention. Monk is in the blood of both Lacy and Waldron, coming out in different ways, but the combination with each other is sublime. Then comes a composition by Steve Lacy that has not been recorded by these two before. ‘Longing’ fully breathes the DNA of the soprano master. It has a similarly simple but enormously catchy theme as the compositions that came from Mal's wrist. CD 1 closes with 'Monk's Dream'. After a wonderful solo by Lacy, it's time for Waldron to shine again in simplicity. It's fantastic to hear how he can pay tribute to Monk, revive Monk without actually sounding like a false copy of him.

CD 2 starts with somewhat freer tones. Yet, at its core, it remains structured, and it's the interaction between the four that also makes Reggie Workman's composition a success. It yields the more intimate pieces of the concert, such as a delightful duet between Steve Lacy and Andrew Cyrille. Then comes an equally intense duet between Mal and Reggie Workman. In his own way, Mal announces his forthcoming ode to Cecil Taylor by seeking more freedom and then repeatedly returning to his own familiar style. This over 25-minute track is one of the most interesting of the entire recording. 

But this applies to the entire second part of the concert. The second suite starts with the always intense 'Snake Out', the namesake of the blog. I think I must have about 20 different versions of this from these gentlemen, but even in this one, I hear new things. It never gets boring! It encompasses all the chemistry these musicians can have: it's dark, warm, ominous, exciting, raw, energetic, playful. It's spending minutes on the edge of your seat. I feel jealous of everyone who was in the audience. The interaction between the musicians is from another planet. After a drum solo by Cyrille that leaves blisters on your buttocks or ears, the session is beautifully concluded in a sober style by Mal with his ode to Cecil Taylor. The entire composition has little to do with Mr. CT's free play, but a more beautiful tribute one cannot receive. It is a direct insight into Mal's musical soul: tearfully beautiful.

In summary, this is a delightful record that easily fulfills all expectations. The live atmosphere enhances the listening pleasure even more. It's wonderful to listen for an hour and a half to such legends, each with their own stubborn sound. They are all stubborn, but it all comes together beautifully. And that's how this band sounds like no other: together! Everyone gets plenty of room to solo: the record could just as easily be under Cyrille's or Workman's name.

Elemental has done a beautiful job with it. The booklet contains interviews and essays with, among others, Vijay Iyer, Evan Parker, Hiromi Waldron (Mal's last wife), Zev Feldman himself, Reggie Workman, and Andrew Cyrille. And more besides. The interviews with Workman and Cyrille are a joy to read. These men had so much fun playing together and touring together. You can see it in Tom Overberghe's beautiful documentary: the joy radiates from them. In all the stories, it's clear that there is a common image of Mal: he was calm, reserved, friendly, warm, and had a great sense of humor. Overall, the stories don't provide much new information. Adam Shatz's essay is a repetition of the stories that come up in every booklet about Mal. But it doesn't matter: Elemental has released a fantastic record. The sound is everything you'd expect from a live recording from the 1990s: delightful. Initially, I went for the CD version myself. I'll wait for the reviews before I go for the vinyl. In whichever format: this record belongs in every serious jazz collection. And if you're a fan of any of these four legends: then you must have it. This record gives you another good reason to watch Tom Overberghe's beautiful documentary. If you want to know what this record entails: skip to 8:38. What wonderful guys!

Buy your copy here (or somewhere else)

(1978) Searching in Grenoble : The 1978 Solo Piano Concert ****1/2

 

With: Mal Waldron (piano solo)

The interest in jazz seems to be rising last years or at least, and that's great news as well, remain stable. Low but stable. The whole vinyl revival thing might have somtehing to do with it with the big labels like Blue Note and Verve introducing their Classics, Tone Poet and Acoustic Sound Series. There's Pure Pleasure records shining light on the awesome Strata-East and Nimbus West catalogs. And the great one-man Paris based Sam records releasing unreleased stuff by underrated talents like Nathan Davis and Billy Harper. Horace Tapscott also seems to finally get the appreciaton and recognition he deserves. Oh well he deserves even more. As a Waldron fan I hoped the same would happen with the music of this underrated piano master. I know trough this blog and the internet there is a serious and pretty big fan base. Plus there is a serious ammount of great bootlegs circulating on the internet. But until october 2022, there was nothing released and Mal got ignored by every single music label. The latest release of interest was the duet with David Murray. There was the solo Vancouver stuff that was released online only but that one wasn't that interesting plus the sound quality was very poor. But hey let's forget about that because last summer I got this in my mail: the American Tomkins Square is about to release a 2cd solo Mal Waldron set: a previously unissued set of songs recorded live at the Grenoble jazz festival. Hooray for Mal!

So what is there to say about the music on this 2cd set? From a Mal solo record you could really expect everything. The studio solo albums are generally less interesting than the live ones and the live solo albums are generally very, very good. The 70's were also a very strong decade for Mal's music. So this 1978 solo live concert is exactly what you might expect: it's very, very good!

The almost 24 minute long opener is one of his most interesting solo pieces. It might as well been called: the Mal Waldron medley or Mal Waldron suite as it's really a musical summary of his own music. All kinds of Mal compositions pass by in 24 minutes of breathtaking piano soloing. The music moves from emotional bluesy ballad style playing to his brooding high tense vamping in the more intense parts. Then when the music is just about to hit it's absolute intense climax it fades again into a more gentle and warm ballad kind of playing. All the stuff is connected to each other in an impressive way with hints of classical composers like Satie and Debussy here and there. With it's minimalistic approach here and there this is really music to sit down for and just listen without doing anything else. 

The two discs are fairly divided between originals and jazz standards. The jazz standards played here are all suited excellent for Mal's eased but deeply emotional piano playing style. 'You Don't Know What Love Is' of course reminds one of his years with Lady Day and he has played it a lot since her death. Yet every version is unique in it's own way. Mostly because you could still feel her spirit in Mal's own playing. The way he takes his time, creating space gives a unique look into his music. 

The originals chosen are well known ones (Soul Eyes, Fire Waltz) and lesser known ones (Petit Gemeaux and Here There and Everywhere). Some of them have that hard hitting intense dark energy like Snake Out and Sieg Haile yet All Alone has that moody repetitive minimalistic approach that is so recognizable for some of his ballad work. Even though Mal is an excellent performer of standards, it's always on his own stuff where he sounds even better. It's where his soul truly reflect trough every aspect of the music. 

It's also mentioned in the liner notes and this is exactly what makes Mal such a wonderful pianist. Mal really is just.... Mal. He has such a distinctive voice in jazz piano, one could identify him within seconds. Sure there are hints of jazz pianists like Bud Powell, Monk and Cecil Taylor and the obvious influence of classical composers like Erik Satie, but Mal really plays mostly like himself. You have to like that style but if you do you become addicted to that intense repetitive and deeply emotional vibe. Mal never tries to blow you away with technical abilities, fast loops or other tracks. He is one of the most sincere jazz musicians I know. He just takes a sit behind the piano, light his cigarettes and plays everything exactly as he feels it. 

Then finally something about the packing: Tompkins Square did an awesome job. Unfortunately no vinyl version (yet) but the cd digipack looks very nice. The highly informative booklets contains beautiful photography and interesting essays/interviews by and with Matthew Shipp, Ran Blake and of course his daughter Mala Waldron. I only dislike the fact that the cd's are placed directly into the cardboard without protection. I know from experience that for instance with the cardboard sleeves from HatHut damage to the cd is easily done when you slip a cd into it and there's a small piece of dirt on the cd or in de cardboard. Part from that beautiful packaging and more important: the sound is really excellent. Gary Hobish did a tremendeous job.

Thanks to Zev Feldman and Josh Rosenthal this music is finally available for everyone. There should be way more Waldron reissues and releases out there but unfortunately as the liner notes truly state: Mal Waldron remains an underrated and underexposed musician. Hopefully this new release shines a little light one this unique pianist. 

(1969) Nathan Davis Quartet - Jazz Concert in a Benedictine Monastery ****1/2

With: Nathan Davis (tenor saxophone, soprano saxophone, flute), Mal Waldron (piano), Jimmy Woode (bass), Art Taylor (drums)
Record date: July 11, 1969

Nathan Davis, oh how I love his sound. He and Mal played regularly together and in different groups. For this live record, Nathan is the leader with an awesome group. I am a little in doubt about the recording location as the cover clearly states it was recorded in Paris at the Scholastic’s Contorum while sources like Discogs and jazzdisco.org say it was recorded in a monastery in Switzerland. The whole recording does have an echo over it like it was recorded in a large hall or a church like building. But hey these are just details that are not so important. What is important is the music on this recording: it’s just fantastic. (Small addition: the music was recorded at the concert hall of the Schola Cantorum in Paris. That concert hall is a former church of Benedictines. Nathan Davis taught jazz history and improvisation there. Information provided by user Corto Maltese on the Organissimo jazz forums)

Nathan Davis pretty much continued where he had left with his 1967 record ‘Rules of Freedom’. He is experimenting with eastern scales, absorbing influences from Coltrane and more free players but his playing style remains very, very bluesy. In fact the opening ‘Frogg’ In’ is so bluesy it almost sounds dirty. Davis plays with this very thick tenor sound, almost reminding of the R&B players from the 1940’s. But his technique is really more in the 1960’s. And while Coltrane’s influence is evident (on the whole record) Davis really has one unique sound that is immediately recognizable. ‘Song For Agnes’ is a tearjerking beautiful ballad with Davis on soprano saxophone. It really is more a classical composition (written by Elias Gistelinck) and shows Davis’ most sensitive sound. The subpar sound quality even gives it an extra dimension as his soprano sounds like it’s crying. This is the first opportunity for Mal to shine and he grabs the opportunity. This was the period he was really developing that definitive sound. He sounds mature and confident and his solo is excellent. Same goes again for the great and underrated Jimmy Woode. The freedom he sets with his loose yet so structured bass playing gives the whole band a different sound.

‘Uschimaus’ has this very airy feel over it with Davis on flute. It feels warm, optimistic and joyful. Taylor’s waltzing drums attribute to that kind of feeling. He plays an excellent solo here. The B side opens with a beautiful straightforward ballad written by Davis. It again shows Waldron in excellent form. It’s the way he plays these ballads. Sometimes sticking to chords only but playing with timing and phrasing. The last composition is another waltz, which could have been written by Mal (but was written by Freddie Hubbard). It’s another lovely outing with some excellent soprano playing by Davis. It’s another showcase of his excellent technique but fortunately he was more than just that. You could hear his soul trough the whole composition.

Unfortunately this LP is not easy to obtain, at least not for a reasonable price. I paid a 130 dollars for it, which is the largest amount I spent on a single LP. But I had to have this for both Waldron and Davis. I haven’t regretted it for a moment but I could understand one must really dig this music before one actually wants to buy it. Some of the music is on Youtube so you have to listen for yourself. I would call this essential stuff for both Waldron as Davis fans. The sound quality is pretty bad but the music is incredibly good you forget about that pretty soon. And on the plus side: every musician is pretty forward in the mix.

(2002) One More Time ****1/2

 

With: Mal Waldron (piano), Steve Lacy (soprano saxophone on #3, #8), Jean-Jacques Avenel (bass on #2, #3, #4, #5, #6, #8)
Record date: January 28 & 29, 2002

Mal did save some of his best music for his last recordings. 2002 was the year this humble jazz giant left our earth. But not before he left us with two more fantastic records. This first one was recorded in France and reunited Mal for another and unfortanely last time with his lifelong friend and associate Steve Lacy. Also present is the excellent French jazz bassist Jean-Jacques Avenel who is of course mostly known for his association with Lacy. The music presented here is somewhere in between jazz, improvised music and classical music. It’s far from contemporary kind of jazz and it show’s that even in 2002, Mal was still able to innovate and move in other directions. There’s this very dark and moody atmosphere trough the whole album and an indescribable sadness that is also sometimes present on his duet with Shepp from the very same year.

The album starts with one his most beautiful interpretations of his own composition All Alone. While the theme remains the same, the variations in between are all new and different. And part from that it just remains a landmark in Mal Waldron’s compositional career. It’s one of his saddest songs with incredible emotional layers in it that just go right trough the bone. Melodically or technically the whole composition is not a very difficult one. It’s just that every note is in exactly the right place. All Alone flows over perfectly into ‘Rites of Initation’ where Mal is joined by Avenel on bass. It all starts of as a conversation between them with Mal saying something with his hard and dark lower clusters in the lower regions of the piano. Avenel responds in the same registers of his bass. As the song progresses the music gets less structured and more free. It’s probably Mal’s most free playing in his later years. After reaching a climax things get more eased up again.

Lacy makes his first appearance on the romantic waltzing ‘You’ which was written by Mal. Mal and Avanel set a beautifully flowing waltzing line for Lacy to improvise on. Lacy sticks to the regular registers of his instruments showing he fully understands the directions Mal wants to go with it. Mal’s own solo is one of beautiful simplicity with carefully chosen loops en motifs. His playing still sound very secure. The ‘Blues for JJ’s Bass’ is a nice possibility for Avenel to show off his excellent bass playing skills. Excellent technique, creative both rhythmically as melodically his sound really adds a lot to this record. Then in comes Mal with some bluesy repetitive playing. With Avenels tight playing in the background he swings like hell.

There’s also a revisit of the classic ‘Seagulls of Kristiansand’ and this version is just another masterpiece in a different setting. Mal duels with Avenel’s bass, with Avenel picking up his bow sometimes imitating sounds by seagull’s than picking his bass again constantly responding to Mal’s warm legato notes. I only wish Lacy would have joined in here. Mal goes solo on ‘In the Land of Clusters’ where his playing is again more in a free kind of form. He regularly falls back on more recognizable patterns then getting back to more free improvisation making extensive use of dissonance and clusters (hence the title). And oh yeah Mal closes this recording session with a tearjerking and very definitive version of his own classic Soul Eyes. After introducing the theme with his own fluent playing, in comes a very playful Avenel who just dances around the sweet chords coming from Mal’s piano. And yes thank God there’s Lacy with a very modest but oh so beautiful contribution to it. I could hardly believe these were their last words on record together. The end of such a beautiful companionship.

This record is easy to obtain on websites like Discogs for very friendly prices. It’s essential late Mal. It has this weird feeling trough it. A kind of definitive feeling. Like Mal felt he would not be longer on this earth. There are no liner notes but only some words by Mal himself. They probably say it all…


‘Measured against eternity,
our life span is very short,
so I am extremely happy
to have this record as a high point of mine’ - Mal Waldron

(1995) Takeo Moriyama/Mal Waldron - Bit ****1/2

 

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

During the birthday celebration tour, Mal recorded two albums with the great Japanese drummer Takeo Moriyama. Perhaps not very well known in the West, Moriyama is really one of the best drummers around in Japan and recorded plenty of records there. Moriyama is a drummer that is able to play contemporary jazz but also the more free kind of stuff like and played on quite a few occasions with Yosuke Yamashita. That means he know’s how to accompany a piano player.

This really is one enjoyable record. The long ‘LAUD suite’ takes almost 50 minutes but isn’t boring for a second. The telepathical interplay between the two and huge variety in style, tempo and feeling makes this a fascinating journey where both musicians are able to give their best. A piano drums combination might sound unconventional but it doesn’t sound so. That is quite special as Mal really mostly builds lots of his energy on a bass player. But you don’t really miss a bass player here. The music goes everywhere from more free oriented playing to beautiful subdued melodies. There are some nice remarks of Waldron compositions here and there: something reminding of the Git-Go, a preview of ‘In the Land of Clusters’ (which appeared later on ‘One More Time’) and a clear version of ‘Snake Out’.

Mal has played with so many musicians in so many groups. And sometimes his own playing becomes just a very small part of the music itself and his solo space is limited. On this record there’s plenty of space for him to show off what he was still capable off. With only a drummer to duel with, Mal really gets in good shape here. He’s playing with both melodic ideas as rhythmic ideas, carefully building them out to something funky, catchy and swinging. The repetitiveness in his playing gives the music an almost hypnotizing effect. Yet not one phrase is exactly the same. And Moriyama understands it all so well. He is obviously doing a lot of things yet he still sounds very tender. He’s really more about rhythm than power.

This is one very exciting duet and it is very unfortunate it’s so hard to track down. Copies at Discogs go from around 50 euros. That is a lot money. But believe me if I tell you it’s money well spent. Then there’s also the great sound quality. These 3361* Black records really sound very, very good. Great mix with Moriyama in the foreground somewhat which gives the music some extra energy. Liners are in Japanese of course and mine smell of cigarettes. But the music is very good. Highly recommended.

(1994) From Dark Into The Light ****1/2

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: April 4 and 8, 1992 and October 10 and 11, 1994

Just like ‘Mal, Verve, Black & Blue’ this was recorded live at the Satiricon jazz club in Essen, Germany. It’s the same quartet with Nicolas Simion on tenor saxophone. Part of it was recorded in 1992 during the Jim Pepper Memorial tour. Pepper died that year in a Portland hospital from Lymphoma. He was a dedicated friend to Waldron and played on several tours and records with him. Nicolas Simion replaced him and he was definitely a worthy successor to the ‘Flying Eagle’.

Like the previous record this is some highly exciting club music. It’s not neccserialy revolutionary in sound or techniques. But it’s a showcase by 4 highly talented musicians who are able to communicate almost thelapatically with each other. It’s the living evidence that Mal was still going strong, listening to other musicians. The opening ‘What Will Ever Be Again’ is actually ‘What it Is’ which is one of Mal’s most significant compositions. It has that famous tension/release moment that makes his music so exciting. And those nice dissonant notes at the end of every sentence. Clifford Jordan kicked ass on it, so did Lacy and Simion isn’t much worse. He really blows away things with his powerful soloing. And listen to the steaming hard bopping music on ‘Mal-Factor’ with Jones’ groovy poly-rhythmic cymbal hitting in the background, Schuller’s hard driving bass playing and a hard swinging Mal. The music is fiery, energetic and exciting in every moment. Simion as always is a pleasure to listen to. He has great technical skills, lot’s of emotional depth in his playing but also a very pleasant tone. But the absolute highlight of the album is the closing ‘Funny Glasses’ which reminds some of the classic ‘Ticket to Tokyo’. It’s an incredibly fast and intense composition with every band member playing at maximum capacity. Really, just listen to it.

There’s also some nice ballads on this live session. The first is ‘You Don’t Know What Jazz is’. On ‘Between the Lines’ there’s some hinting to Thelonious Monk’s playing in Mal’s solo’s. And of course there’s ‘Somewhere Over The Rainbow’, which was one of the favorite tunes of Jim Pepper. It starts with a very sincere unaccompanied solo by Simion. Then the rest of the band enters with a gentle approach without sounding to sweet.

Whats probably the most nice thing about these Tutu discs is the enormous amount of solo space for Mal. And he really, rocks every single second of his playing. He’s the haunting, bluesy, repetitive, dark vamping piano God we all know. And his playing still sounds fresh. Though the basic principles of his style remained the same, Mal changes constantly since the 1970’s. He was always open to new ideas and thoughts and was inspired by the company with which he played.

This was one of the last official Waldron releases with new material. It was released in 2007 by the Tutu label. Like all of their Mal Waldron releases: it’s a no brainer, buy with confidence. And of all those great sessions, this one is among my favorites. 70+ minutes of intense Mal Waldron live music, great liner notes and beautiful photography. Highly recommended.

Samples and cd here avaible!

(1994) Steve Lacy/Mal Waldron - Communiqué ****1/2

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: March 8 & 9, 1994

Another duo recording by Waldron and Lacy…. Will it ever stop? Yes, at least the recording would. This was their last duo that was recorded officially. So is it any good? Still worth having? There’s only one answer to that question: I am afraid it is. It consists mainly of compositions these guys never played before. Communique has 11 compositions, some by Waldron and some by Lacy. But also some by Monk, Mingus and by one of my all time favorite pianists: the great and underrated Elmo Hope. The Monk compositions played here were also never recorded by the two. This promises something good.

Just like all of their music together there’s a constant quality in their playing from the first minute to the last. There’s interplay, there’s dialogue. There’s emotion, there’s feeling. There’s humor, there’s unpredictability. There’s suprise, there’s comfortable predictability. There’s elegant beauty, there’s raw simplicity. Some mind-blowing complexity as well. This music just contains everything one looks for in music. And it just keeps amazing me how a simple soprano-piano duo can do all those things. Just listen to the sweetness in their playing on Mingus’ Smooch. The cold beauty of Lacy’s horn on top of those warm voicings from Mal’s piano. But next to the more sentimental pieces there’s also the more complex and unpredictable bop compositions like Elmo Hope’s ‘Roll On. Those versions really reflect their deep knowledge of musical theory and every single note sounds creative and original. 

The Lacy compositions represent the more free and avant side of the duo. There's some pretty exciting dueling on Esteem. But also again a real treat: a solo effort by Lacy called 'Prayer'. It really has the intimacy of a personal prayer. Lacy solo is always a pleasure listening to. There's some weird feeling of despair or desolation in his playing. It's one of the most intimate experiences I could think of. It's followed by Waldron playing a beautiful solo piano piece called 'Fondest Recollections' which is dedicated to his family. It has this deep emotional feel in it that contrasts to that of Lacy and blends at the same time. 

Like almost every duo record by these two superb musicians, this again is highly recommended. And like most of the Soul Note/Black Saint records: it’s pretty easy to get yourself a copy for just a small price. It’s also in the 11cd boxed set by CAMjazz but again: no liner notes. I really see that as a defect of that boxed set. I am pretty sure the original 1997 release does contain them as most of the Soul Notes do. Anyway, do not hesitate to add this one to your collection.

(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) Steve Lacy & Mal Waldron - Hot House ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: July 12 & 13, 1990

The early ’90’s weren’t Mal’s most productive years as one compares it to the beginning of the ’70’s or the end of the ’80’s. Mal was getting older of course but in the mid nineties he still produced around 6 albums a year. In 1990 there were only two: the trio record ‘Spring in Prague’ and another reunion with Steve Lacy. Now, these guys really knew how to select some compositions. For ‘Hot House’ they selected some of the nicest compositions by some of jazz’ greatest and most innovative musicians. There’s some Herbie Nichols, a hint of Monk, a little bit of Powell but also some Duke and even a little Sydney Bechet. All of course figures that inspired both men.

‘House Party Starting’ was written by one of those underrated jazz musicians and composer’s: Herbie Nichols. Lacy had made multiple albums to honor the great pianist. Mal wrote his classic ‘Hurray for Herbie’ for him. On this occasion they’ve got the opportunity to stretch out on it and they manage so fine. They exactly capture the playfulness of Nichol’s composition and also it’s unpredictability. Composition’s like Monk’s ‘Friday the 13th’ and Lacy’s own Retreat capture their more edgy and advanced interplay, while Bud Powell’s I’ll Keep Loving you is just tear jerking beautiful. And so is Mal’s original and solo statement: Mistral Breeze. As always Steve get’s the best out of Mal and vice versa. Mal’s solo’s are creative, inventive and thoughtful. A little less based on repetitveiness and a little more on the blues. Steve plays pretty subdued here in the sense that he doesn’t make use of his wide pattern of overblowing techniques. But in no way he sounds dull or uninspired. He get’s the opportunity to play solo on the last track: ‘Retreat’. I am not a huge fan of solo saxophone records but Lacy just does it really well. He sounds even more desolate like this. With headphones on it’s like you’re in his horn. A strange ominous feeling that yet feels very warm at the same time.

The album was released by Novus and is widely available in any form. I bought mine for 3 euros… You’d pay more for a McDonalds menu. If I was hungry I’d still choose this record. I really just can’t get enough of this duo. As this album is again filled with new material and newly chosen compositions it’s again something else but also sounds so familiar. It is definitely one of their more accessible works. So probably a good one to start with if you are interested in what these guys have made together.

(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!

(1988) No More Tears (For Lady Day) ****1/2

With: Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: November 1,2 & 3, 1988

For his first Alfa release (I think Alfa Japan was the first to release it, as the Timeless versions are licensed from them) Mal went into the studios to record with one of his finest trio’s. It’s his third album that’s made in honor of Lady Day. On bass is Paulo Carduso, a Brazilian bassist that is fairly unknown. And he should be better known as his bass playing with Mal is always superb. John Betsch is better known, yet he remains very much underrated in comparison to other jazz drummers from the ’70’s spiritual jazz scene. On this trio both play subdued as the music is very straight-ahead. But the details they bring into the music are formidable.

As I mentioned: this is a very straightforward piano trio session and definitely one of Mal’s more accessible one’s. Quite a difference from albums like Black Glory for example. I dare to state that this one of Mal’s albums you could easily give a spin at dinner with your parents in law. You could also read the Saturday morning paper with it. But the music is never dull and definitely not in the category of background music. It has a beautiful simplicity over it. The way Carduso dances around Mal’s simple yet so effective statements on the piano is so nice to listen to. Mal’s solos are shining excellence, piece by piece, no exceptions. When he plays standards solo it gets a bit too much of the same but in trio form he sounds more creative. The little details Betsch provide in the background, giving solid support, is quite a contrast with his more free drumming. But it shows just what a versatile drummer he is.

This really is one of my all time favorite Waldron records. Not groundbreaking or exciting like some of his other works but I could listen to this for hours without getting bored for a second. Mal made a couple of albums for Alfa Jazz in trio form, with Charlie Mariano and a bigger group. I think this release was also originally released on Alfa Jazz but can’t find that one Discogs. I think the info there is not correct. I myself got the Timeless release which sounds great, with Carduso nice up front in the mix to give it an extra swinging feel. The liner notes are nothing special by the way. Solid Japan released a budget version this year. This is highly recommended music and a nice look into the gentle side of Mal Waldron. A side that became more and more visible in his later years.

 

(1987) Tchangodei/Archie Shepp/Mal Waldron - Three for Freedom ****1/2

With: Archie Shepp (tenor saxophone), Tchangodei (piano), Mal Waldron (piano)
Record date: May 12 & 15, 1987

Mal teamed up with Shepp quite a few times as evidenced by some of the bootlegs circulating on the internet. And of course there is the famous encounter for Enja close before Mal’s death. But their first official encounter on record was on Tchangodei’s album: Three for Freedom. Tchangodei, a French pianist, born in Casablanca from Benin descent, is one of the most underrated pianists I know. He recorded quite a lot of stuff but mostly all for his own small Volcanic label. It’s a pianist with an original sound, a hard hitter with emotional depth in his playing that is deeply rooted in African music. He has not only recorded multiple times with both Shepp and Waldron but also played with the likes of Steve Lacy, George Lewis and Kent Carter. He is perfectly balanced between freejazz and more structured, traditional playing.

One saxophonist, two pianists… It’s a pretty interesting set-up for a pretty interesting recording. The starting ‘Africa Struggle’ is beautiful African centered piece with some very soulful playing by Tchangodei. He has a very typical sound: it’s very melodically diverse but he hits the piano real hard. He’s a virtuoso with a great feeling for the blues as the next two pieces prove. Mal is in a very modest mood here mostly playing in the background and with some beautiful but basic soloing. Both pianists blend so well that sometimes it’s hard to tell who’s playing. Mal actually releases some of his own sound here and there. But the absolute highlight on this album is the fantastic version of Mal’s classic: Seagulls of Kristiansund. It contains some of Shepp’s best and most passionate playing for year’s. I consider myself a Shepp fan but the eighties weren’t actually his most fruitful and interesting decade if you ask me. But here he’s really his old self with that raw, bluesy sometimes almost angry sound. His interpretation of Mal’s classic is very, very deep. So is Tchangodei’s soloing in the background and Mal’s thoughtful additions.

Closing credits are for Tchangodei with a very beautiful and sensible solo statement. It has that same warm feeling as Abdullah Ibrahim’s playing but really is something different. Modality takes a central place in his playing and compositions with beautiful meandering and melodic soloing around a theme. His vocals on the last track are atmospheric and give it an even more African vibe. The gentle modal theme is suddenly interrupted for some more free playing in the lower register's of the piano. Just like Mal, Tchangodei is a real percussive player. Later on he return's to that African vibe. It's a great closing of this not so well known record.

The vinyl version is pretty expensive and rare. The cd’s are much better affordable but they are pretty rare. I waited myself for 8 years before one popped up. Do not expect anything from packaging, which is really basic and does not contain any liner notes or background info. This really is highly recommended music and also a great welcome to a highly under appreciated name in jazz: Tchangodei. Mal's role is a bit modest, but he's definitely there!

(1986) The Git Go ****1/2

 

With: Woody Shaw (trumpet), Charlie Rouse (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: September 16, 1986

This is the second (or the first) set of that wonderful night At The Village Vanguard. A place where so much essential and groundbreaking jazz has been recorded. From Coltrane to Bill Evans. And from Sonny to…. Mal Waldron. Of course this review will not be as long as the one for ‘Seagulls’ as it is the same session but there’s still some left to tell.

This second album is almost as good as the Seagulls album. Really, it’s a very close call and probably a very personal matter: a matter of taste. This shorter album starts with a true Mal classic that he has not played since it’s record date in 1961 (at least not on record). Status Seeking is from his classic ‘The Quest’ album. One of my very favorite pre 1964 albums by Mal with the great Eric Dolphy on reeds and flute. Now this version misses those famous outbursts by Dolphy but the tension is probably even higher. Mal starts building that tension with that very dark walking theme, building it up till it’s finally released by a great solo from Rouse. Both Rouse and Shaw again really take it away but it’s Workman again with that hard swinging groove that really gives it the final touch. Blackwell’s solo is also great with a march like feeling focussing on his snare drum. The Git Go is also a Waldron composition which has been played before by this very same group. It’s first appearance was on a Klaus Weiss record with Cecil Bridgewater and the great Billy Harper in 1975 on MPS. Mal has played it on several occasions and made two records as a member of Weiss’ band which will be reviewed later. It’s a very moody original with plenty of space for the bassist to work with. It's really some more proof that Workman was truly one of jazz' most innovative and original bass players.

Just like with most Soul Note albums this one is not very hard to find. This was one of the best live sessions by Mal Waldron ever. Both albums are essential stuff, not only for Waldron fans but for any serious jazz fan.

(1986) Update ****1/2

 

With: Mal Waldron (solo piano)

Record date: March 10, 1986

In March 1986, Mal recorded one of his best studio solo outings for the Italian Soul Note label. Mal solo is almost always an enjoyment to listen to. But there are quite a few sessions where he recorded standards only and those were a bit dull at times. When Mal plays his own material solo the chances of succes are bigger. Albums like 'The Opening' and 'Meditations' are essential Mal. For this solo album, Mal has chosen for a mixed repertoire: it contains some of his own work and some standards. But the standards played here do get a very creative twist which makes this record a fascinating more than 50 minute long journey.

It opens with Free For C.T.: a tribute to Cecil Taylor and the first reference to that pianist on this album. What Mal does excellent is not trying to copy his style but just include elements of his style in his own playing. The whole composition is a fascinating trip going from free oriented jazz to almost classical passages. It's full of new directions and just when you think Mal settles with a melody or style he goes into another direction. This should probably have been titled: variations on a theme by Cecil Taylor (I'll explain later why). The version of 'A Night In Tunisia' starts completely different than the steaming bebop original from the '40's. It starts almost like a melancholic ballad with Mal subtly introducting the theme playing louder and more percussive as the music progresses. It's one of the best versions I know and such a contrast with all those versions with horns. It shows Mal's compositional skills as he can twist any note in the direction he wants rebuilding the original with a diffrent sound. This is how I like him to play jazz standards!

Frank Loesser's 'Inch Worm' (here stated mistakenly as Inch Work) is another huge difference with Coltrane's energetic version from his selftitled album. It's again more in a ballad style with a gentle touch and hints of classical repertoire by Satie for example. A bit confusing is 'Variations on a Theme by Cecil Taylor' which probably should have been titled 'Free for C.T. as the theme is recognizable as the one that was played on later albums as 'Free for C.T.'. Track 1 also really has more variations than the more thematic track 4. Soul Note is a bit sloppy with the title tracks on this one. It's a beautiful melody, with a very Waldronesque sound. It's dark and touching, almost sad. The closing standards are a beautiful way to bring the album to it's end, especially the pretty basic version of 'I Should Care'.

Soul Note has released some real Waldron classics and this is definitely one of them! It's not very hard to obtain a copy on any format. If you like Mal's solo work, this one is essential. If you consider yourself a Mal afficinado it's also essential. 

(1986) Mal Waldron/Steve Lacy - Sempre Amore ****1/2

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: February 17, 1986

This was the very first studio recording by the great Lacy/Waldron duo. They had performed together many times, both as a duo as in larger groups. In a duo setting, it was always live: at Dreher, the Bimhuis and at the Jazzbuhne. The only records that were already released at the time of this duo was the stuff at Dreher. And there’s more that makes this recording unique. It consists only of Billy Strayhorn and Duke Ellington compositions. It leads to a sound that is familiar on one hand but is also very different from their previous works. It’s definitely the most accesible one of their work together.

Accessible yes, but boring? No way! It’s another fantastic recording which I revisit over and over again. The starting ‘Johnny Come Lately’ has that ice cold dark atmosphere set by Lacy with his beautiful tone on the soprano. Even when he plays so dissonant it all makes sense. The composition gets a whole new sound. Songs like a ‘Prelude to a Kiss’ and ‘Star Crossed Lovers’ are just incredibly beautiful with both Lacy and Waldron picking each note carefully. It’s Lacy in it’s most melodic accessible way, clearly respecting the tradition these songs were written in, yet still sounding creative and innovative.

What is central again on this record is the interplay between them. It’s like they are one and the same person constantly interacting, talking to each other and reacting on even the smallest details the other is playing. I would not be surprised if one of them would actually be capable of predicting what the other is about to play. And that is very impressive as both are not very predictable musicians. One of the best examples of this is also one of the most beautiful songs on the album: ‘A Flower is a Lonesome Thing’. One of the other things that stands out is that this music isn’t so much about technical skills (while both musicians have them) but more about emotional depth and feeling. These compositions really get a new meaning instead of just being played.

This was released on the great Italian ‘Soul Note’ label. It’s excellent in sound and widely available in any form. This one is credited to Mal, being the first artist mentioned, but that really was a random choice. Some of their records mention Mal first, others Steve. It’s really like their music: fully balanced with both playing an equally important part. This really is essential music and one of the best sax-piano duo’s I know.

(1984) Steve Lacy/Mal Waldron - Live in Berlin ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: June 15, 1984

One year after the release of the great Bimhuis encounter, another duet was released posthumously. One might think you could have enough Waldron/Lacy duets or having one is having them all but it really is quite the contrary. This ‘Jazzwerkstatt’ is another highly recommended recording by this golden duo. It was released 5 years after Waldron died and only three years after Lacy’s death. It’s in a suite form with beautiful transitions from one composition into the other.

The opening ‘Improvisation’ is hearing two master musicians creating something fascinating on the spot. Sometimes Lacy leads and Mal follows. Then Mal takes over and Lacy follows. Sometimes they both lead and sometimes no one really does. Mal’s improvisation is very intense on this one. It flows over in ‘Blinks’. Which is a typical Lacy composition: a complex original with lots of suprises and floating within and without structures. It’s where Mal actually stops playing chords but playing the piano more at the service of Lacy’s improvisation. Lacy play’s the most incredible sounds: sometimes he sounds angry, then happy again, sometimes sad and then jumpy again. ‘A Flower is A Lonesome Thing’ is beautiful way of getting to hear what was to come on ‘Sempre Amore’: the Billy Strayhorn tribute. And as much as their interpretations of Monk work, so does their interpretation of that great composer. Lacy’s tune is full of beauty and compassion, his solo is mild and tender. So is Mal’s solo that just contain a few notes but say more than a thousand words. The closing Monk tunes are standard repertoire by the duo and as always: they nail it.

A record that Is widely available and highly recommended. It’s one of the few albums that is actually still in print. If you’re a fan of this duo, this is essential stuff. Jazzwerkstatt did a great job releasing this beautiful music.

(1981) What It Is ****1/2

 

With: Clifford Jordan (tenor saxophone), Mal Waldron (piano), Cecil McBee (bass) Dannie Richmond (drums)
Record date: November 15, 1981

A few days after the Monk tribute concert, Mal went into the Vanguard Studios in NYC to record hist last album for Enja. Well, his last until the 2001 duet with Archie Shepp 30 years later. For “What it Is’ he teamed up with some of the very best jazz artists from the American jazz scene. The great Clifford Jordan on tenor saxophone, the amazing Cecil McBee on bass and the very solid Dannie Richmond on drums.

The album consists of three compositions, 1 by Clifford Jordan and 2 by Mal Waldron. The starting ‘Charlie Parker’s Last Supper’ is probably the most straight-forward. It’s a nice blues and sounds mostly like a warming up for the rest of the album. The following ‘Hymn From the Inferno’ is much more free. It starts with Mal setting up the theme then the band joins him. On this song one could hear Clifford Jordan playing more beyond the boundaries of contemporary jazz than he usually does. Of course he was no conventional bop player anymore since making fantastic albums like ‘In The World’ and ‘Glass Bead Games’. But here he really goes wild hitting of scale after scale and even overblowing his horn. Richmond, Waldron and McBee are also really putting him in that direction. And it doesn’t feel uncomfortable at all, it all goes quite naturally. There’s also some space for one of my favorite bassists of all time: Cecil McBee. His free yet so structured playing is a perfect base for Waldron to play on. Mal Waldron’s solo is again something completely different. Instead of repetition his solo is more focused on hard clusters of sound reacting on Richmond’s awesome playing.

The closing title tune is probably the best of them all. The composition itself is very, very catchy and it it became somewhat of a Waldron standard. It had already been recorded by German drummer Klaus Weiss with a superb group including Billy Harper and Cecil Bridgewater. After Jordan playing that very badass melody in comes Mal with a stunning solo. As always he does not need a lot of notes but the ones he is using are all making sense. But it’s also very much McBee and Richmond that really make the solo for what it is. McBee is going off every single register of his instrument, really heading everywhere without losing Mal for a second. Richmond is just playing to what McBee and Waldron are doing and becomes a full part of the music instead of just someone creating a beat or rhythm. His extensive use of the bass drum really pushes the music forward. He really is one beast at the drumming kit. Not very strange he fits in so well with Mal as Don Pullen who he played with so often is also a very percussive player. His solo’s on this album really want to make you jump out of your chair and yell and cheer. The incredible interplay between the three creates climax after climax. Then finally there is one treat left: a superb solo by Jordan with his bluesy tone and awesome technique. He is a very exciting saxophonist without getting too freaky. And he clearly feels what Mal is trying to say adding up to the dark atmosphere of the composition. It’s nice to hear him getting a little outside his own comfort zone.

There are several versions available on vinyl on the web. Only one cd version was released by Enja Germany that mistakenly notes that the title song only lasts for 5 minutes. Fortunately it is almost 20 minutes! Mine was signed by Mal. Unfortunately I never met Mal nor seen him live (I was 11 when he died), it’s how I bought it. And I am pretty sure it’s really his signature as I do not see a reason to falsify it. This is one of the standout Mal records that should be in every jazz collection. The only reason for me that it doesn’t get 5 stars is the opener which is ok, but doesn’t have the same level as the two Waldron compositions. This really should have been Mal’s touring band for a while. Their interplay is like magic.

(1978) Moods ****1/2

 

With: Terumasa Hino (trumpet), Hermann Breuer (trombone), Steve Lacy (soprano saxophone), Mal Waldron (piano), Cameron Brown (bass), Makaya Ntshoko (drums)
Record date: May 6 and 8, 1978

One-Upmanship’s follow up album one year later was named Moods. It’s almost equally as great, almost…. The personnel is a true reflection of our worlds inhabitants, a United Nations in jazz with Hino from Japan, Breuer from Germany, Lacy, Waldron and Brown from the U.S.A and Ntshoko from South Africa. That diversity gives the music an extra dimension. Moods is partly filled with solo sessions, and three sextet performances. There are a few well known Mal compositions like ‘Sieg Haile’, 'A Case of Plus 4s' and the first appearance of 'Soul Eyes' by Mal as a leader.

The group parts are probably the biggest highlight of the album. It’s a killer group with experienced musicians. ‘Sieg Haile’ has always been a fantastic piece of music, in any form. But with a group like this it’s coming close to perfection. That perfection starts with Brown’s groovy bass and Ntshoko multirythmic cymbal playing and a thick bass drum that sets the beat. Lacy plays a pretty subdued solo (at least for his doing) showing some of the skills he would use in later duets with Mal. Hino’s a pretty loud player too but his solo here is thoughtful and explorative in a pretty gentle manner. He really tries to focus his playing on the rhythms provided by the rhythm section. Mal’s solo is one of great ease and a very bluesy feel. It’s just feeling, no more and no less. And just like Hino Mal’s talking to the rhythm section constantly and they react at what he’s doing.

Minoat has a bit of a Mingus feel. And Mal was definitely inspired by the great bassist, playing with him on several of his albums including the classic ‘Pithecanthropus Erectus’. It could be the score of a movie also, reminding a bit of his Impulse! from 1967 ‘Sweet Love, Tender’. Terumasa plays a very soulful solo with lot’s of extra air trough his horn. But his tone always remain powerful and very confident. Minoat is probably one of Waldron’s most accessible works from this time. The last sextet song is ‘A Case of Plus 4’s’ which is a more brooding Mal composition appearing here for the first time. In it’s second appearance it would be a duo with Lacy and be a bit more laidback. The music here is intense with Hino playing the lungs out of his body. He plays small runs of multiple notes, then returning to loud one or two note statements interacting with both Mal and Ntshoko. Lacy plays another great, relatively inside solo. Only Breuer fails to really impress me. The one who actually steals the show is Mal himself milking those same notes again. Mal is bluesy, funky and swinging all at once. And Cameron Brown is also in prime form following the funky lines from Mal’s piano. Brown had already proven himself to be a great bass player with Archie Shepp and he really fits in this group. Great solo by him too.

The solo parts are sometimes beautiful, and sometimes just okay. Anxiety is a Waldron composition which truly reflects what it’s title stands for. It’s an interesting listen yet fails to really catch me like so many other Mal compositions did. ‘Thoughtful’ is tearjerking beautiful with it’s sad feeling all trough the piece. Amazing to hear how Mal’s left and right interact with each other. The same goes for ‘Lonely’ where Mal could say a thousand things with the spare notes he uses. Again a song with a deep emotional feel. Beautiful until it slightly merges into a blues than returning to the theme again. The solo sessions are also a nice alternation with the sextet parts. Some kind of break to take a breath. “Happy” is a more up-tempo blues with a repetitive feel. It indeed has more of a happy feeling but like the opening ‘Anxiety’ it fails to stay interesting all trough the song. Absolute solo highlight is of course the beautiful version of Mal’s best known classic ‘Soul Eyes’. Made famous by the great John Coltrane, it’s very refreshing to hear the song coming out the hands of the composer. Mal treat’s his classic with respect and love and stays close to the original theme. He show’s his more classical oriented solo style here with a pretty good technique in both hands playing fluent lines of notes. Fortunately he was to record this composition more than only this time.

As I mentioned before in my ‘One-Upmanship’ review: if you do not have the German cd issue of that session, you should get Moods on vinyl. Otherwise you miss two solo parts: Thoughtful and Duquility. They probably left those two out on the ‘Moods’ cd issue because of the time but it’s really a stupid thing to do. They should have made it a double cd instead and include the full session. I own the 24bit master edition on cd from 2006. It’s great in sound quality but lacks any liner notes which is really another missed opportunity. It’s definitely the cheapest option but not the most recommended. It’s definitely worth to buy the original LP. ‘Moods’ itself is highly recommended and among his best records. Mal was really in prime form this period.

(1974) Hard Talk ****1/2

 

With: Manfred Schoof (trumpet), Steve Lacy (soprano saxophone), Mal Waldron (piano), Isla Eckinger (bass), Allen Blairman (drums)
Record date: May 4. 1974

From the funky and groovy music back to some of the more challenging jazz! On the 4th of May, Mal performed at the Jazz Ost-West Festival with nothing less than a supergroup. Most of the guys already performed before with Mal on record, everyone except the talented German trumpeter Manfred Schoof. Schoof, a musician who was active in the German free jazz and avant-garde scene of those days is a perfect match for Mal’s challenging yet structured music.

Filled with four classic Waldron compositions, of which some make a first appearance, this album is breathtaking from the beginning to the end. Really breathtaking as there are no breaks to take a good breathe. Okay maybe on the ‘Russian Melody’. Part from that one: all of the compositions are heavy, dark and very intense. Starting with the classic ‘Snake Out’ the tone is set for the rest of the album. Schoof kicks off with a great solo: though he’s definitely an advanced and free player his playing sounds at ease and accessible. It’s a lust for the ears to be honest as he not tries to blow them up but actually say something meaningful trough his horn. Then there’s Lacy who really has a more avant-garde feel in his playing. But Lacy always make sense, even when he climbs in the highest registers of his instrument. The title song ‘Hard Talk’ runs for almost 20 minutes but definitely manages to keep the listener’s attention. The theme is very interesting both rhythmically as melodically. Trough the whole music there are multiple breaks and more silent parts where there is intimate background playing to give Lacy all the space he needs. There’s even more silence when almost the whole band fades out for Mal’s amazing classic oriented solo. Again it’s the use of silence which makes it even more beautiful. Than from that solo, as both Eckinger and Blairman join again, Mal works towards it’s climax with one of best solo’s ever captured on record. 

‘Russian Melody’ is beautiful moment to take some rest. It’s a calm and relaxed ballad with some beautiful playing by all of the musicians. On this composition it’s Mal and Isla Eckinger that steal the show. When Mal solos, Isla starts conversing with him. He’s one of the most underrated bassist I know and always surprises me with his sensitivity to others and what they are doing. If you’ve got this on vinyl, your journey ends here. That is too bad because you’ll miss one of the classic Mal Waldron compositions recorded for the first time here: ‘Hurray for Herbie’, written in honor of the great and underrated pianist Herbie Nichols. It’s not the best version Mal ever recorded but it is good… Very good!

So the cd version is definitely worth checking out for that extra track. I have got the 2013 ‘Enja Classics’ edition which I really dislike for it’s sober packaging and misprint on the side of the digipack which says: ‘Black Glory’. How the hell could someone make such a mistake and still put it out for sale? Then there’s no liner notes, no photographs and no original artwork. I never understand why labels, in the decade of steaming and downloads, do not do their best to create an appealing product. I mean really, the only reason why one would still buy a cd is the packaging right? Please convince me to buy your product….. But in the end it's all about the music of course. And this is some very, very good music! Highly recommended!

(1972) Meditations - Live at Dug ****1/2

 

With: Mal Waldron (piano)
Record date: July 12, 1972

Just like the previous year and the year before that, Mal took his annual trip to Japan. It really became an annual thing from 1970. Sometimes he stayed a month, sometimes a couple of months. Later in the '80's he had a few apartments over there and met his second wife. On July 12, 1972 he gave a solo concert at Dug’s jazz club in Tokyo. It was recorded and brought out by Victor Japan: another great record produced by that record label.

Now as I stated before: Mal solo could result in two things. Some of his solo records are a bit boring, while others are among the best music he has made. On ‘Meditations’ Mal was clearly in prime form: it’s among his best solo outings. The compositions are all well chosen, with some known compositions by Mal, some new compositions dedicated to Japan and a good old jazz standard that is played in a not so standard kind of way.

Mal starts with a true classic: ‘All Alone’. And because it’s mostly written out music, this version of course sounds a lot like all the other versions around. Yet it strikes me every time as one of his most beautiful and breathtaking compositions. It’s also a beautiful way to set the atmosphere for the rest of the night. The following Blues suite is exactly that: a long suite with a bluesy feel. The music goes in every direction: some of the phrases are more calm and others are more challenging. Mal plays with ideas and rhythm and falls back on the main theme multiple times. It’s a fascinating listen and though the music is pretty calm an straightforward: this truly is music that deserves your full attention. Because there is a lot going on, but you really need to listen to it. There is no pianist that could make silence sound so beautiful.

On the songs referring to places in Japan he plays with eastern tonality, but in a completely different way as say Alice Coltrane was doing at the time. This is still very ‘Mal Waldron’ but the Japanese influence is very evident in his sound here. On ‘Tokyo Reverie’ he didn’t really manage to catch that atmosphere, but here he does very well. ‘The Stone Garden of Ryoanji’ is just like ‘All Alone’ indescribably beautiful. Really I do not have words to describe it. It has this dark and deep feeling within it that just makes me silent. The version of ‘Summertime’ is good but nothing special. Closing up is one of Mal’s other classic’s ‘Left Alone’. And there could not be a better way to close this beautiful live record.

Also very nice: the live atmosphere. Dug was and is a small club so it’s a modest applause he gets but that really contributes to the intimate feeling of the music as are the sounds of cutlery on plates and clinking glasses.

Together with ‘Tokyo Bound’, this is the only Victor record by Mal that appeared on cd. It makes me wonder even more why they don’t reissue his other works, especially because there is a pretty high demand for it. Anyway the original LP is still available for a pretty reasonable price. Japanese label ‘Somethin’ New’ reissued it on cd in 2016. That’s the one I’ve got and it’s great. Beautiful sound, solid packaging in a replica mini LP jacket. Liner notes are of course…. In Japanese. I might start a course as I feel I’m missing so much information. One of Mal’s solo works you could buy without hesitation. But do promise to sit for it, preferable with headphones on.