(1989) Embryo - Turn Peace ***

 

Hermann Breuer (trombone) Edgar Hofmann (soprano sax) Monty Waters (alto sax) Allan Praskin, alto (tenor sax) Christian Burchard (vibes) Mal Waldron (piano) Roman Bunka, Geoff Goodman (guitar) Paulo Cardoso (bass) Dieter Serfas (drums) Abdul Wahab (percussion)
Record date: September 1989

From the moment they first met in the 1960's until Mal's death: Mal and Christian Burchard played together trough all those years on so many occasions. Though there are not a lot of official records, the number of bootlegs circulating on the internet is countless and so is video material. They mostly played together in the band 'Embryo' of which Burchard was a member for most of his life. Mal plays only on 3 tracks on this last record with the German band: on track 6, 10 and 11. The whole album is a bit of a mixed bag with lots of musical styles, personnel changes and separate recording sessions. That is probably what this record misses most: a clear direction or feeling or unity in a musical sense. 

The non-Waldron tracks are a mix of Eastern, Indian, Middle Eastern and African sounds. Lot's of native musicians are participating in these tracks giving the music a fascinating international kind of feeling. It's world music but not in the cheap kind of way: the music is truly used to enrich Embryo's own music. They really left most of the psychedelic and krautrock of their '70's behind here. The music is experimental but mostly in the use of Eastern scales and instruments. It's interesting to hear but none of the compositions manages to really make a lasting impression. The variety keeps the music thrilling but makes it sound also a little random.

The Waldron tracks are a little more jazz oriented. 'Abdul' has definitely Mal's trademarks on it but there's little space for him to stretch out. Just like most of the music it's all a little forgettable. 'Barks' could have been better but was cut off and begins in the middle of the song. Unfortunate and a bit of a weird choice. The best and most interesting composition of the album is the last one: 'Lonely Nights' is definitely written by Mal. It combines the most interesting muscians of Embryo including Roman Bunka, Dieter Serfas, Christian Burchard and Mal's own bassist: Paulo Carduso. It's the most jazzy song of the album and contains some excellent soloing by a sensitive Mal Waldron and smooth playing Bunka. Carduso forms the base he was to become in Mal's trio. Great bassist with excellent timing and feel for soloing. 

All in all this music is far from bad. It's actually pretty good but it's mainly the the lack of connection trough all the songs which makes the whole album a kind of a weird listening experience. The tracks with Mal are ok but nothing special. Embryo has made more interesting albums, and so did Mal himself. The music is still pretty easy to obtain. 

(1966) Dusko Goykovich - Swinging Macedonia ***1/2

 

With: Dusko Goykovich (trumpet, flugelhorn), Nathan Davis (flute, soprano saxophone, tenor saxophone), Eddie Busnello (alto saxophone), Mal Waldron (piano), Peter Trunk (bass), Cees See (drums)
Record date: August 30 & 31, 1966

1966 was the year of Mal’s slow comeback to the jazz scéne in Europe. He recorded his first two albums as a leader, both in Italy before moving to Germany. In Germany he first lived in the city of Cologne before eventually settling in Munich for more than 20 years. In Cologne, Mal lived near the Yugoslavian trumpeter Dusko Goykovich and he gigged regularly with him. Goykovich was born in the town of Jajce which is located in current Bosnia Herzegovina. Those were the years of Tito, communism, the iron curtain and Yugoslavia’s no affiliation politics. There might have been a big barrier in Europe in those years but jazz really is an international language and there was a lively jazz scene in Yugoslavia.

For this album Dusko is not only accompanied by Waldron but also by the excellent and highly underrated multi reedist Nathan Davis (I love that guy). The other guys were all well established names in the European jazz scene all appearing on countless of European jazz cd’s. Peter Trunk was in Hans Koller’s band for a while and Cees See appeared more than once next to Waldron. They are all very solid players, although I find Busnello a little boring.

This is some very interesting music for the period it was recorded in, the combination of names in personnel but also the repertoire played. The Eastern European influence in pretty evident in some of the compositions and there’s a slight hint of some fine gipsy jazz here and there. The results are sometimes pretty successful. The opening Macedonia and also the Fertility dance sound exotic, creative and full of power. An excellent blend of different musical cultures. Also Mal’s percussive style fits in perfectly. ‘Saga Se Karame’ truly sounds amazing with a fantastic soprano solo by Davis. This was really some of the more advanced music with plenty of space for both See and Trunk to come out of their comfort zones. But on the more contemporary jazz compositions all the energy fades away and that is very unfortunate. Songs like ‘The Gypsy’ and ‘Old Fisherman’s Daughter’ or ‘Bem-Basha’ miss that creative spark and are really one out of a dozen of jazz records. No bad playing but just not as interesting as those more up tempo compositions with that Eastern feeling.

Dusko really is an excellent player with great technical skills. The influence by Miles is a little to big here and there (especially when he is playing the muted trumpet) but he has enough power to really make a statement. He also had fine compositional skills as most of these originals by him prove. Both Davis and Waldron are in excellent form but sounded better on their own records from those years. They mostly shine on the more original compositions where they have more space to show off their own creative forces. The rhythm section plays excellent but is mostly in the background.

This was originally released on Phillips, Columbia and Odeon. Those originals are worth quite some money. The Enja reissues are a better buying option. This record really has two faces: the compositions where the Eastern influences are more dominant are very interesting. The more contemporary jazz compositions are a little boring and feel like they are unnecessary breaks in mostly creative music.

(1996) Maturity 5: Elusiveness of Mt. Fuji ***1/2

With: Mal Waldron (piano)
Record date: July 4, 1996

The final recording of these series is a solo effort by Mal himself. It was released first as ‘Maturity’ which makes it a little confusing as this was not the first part of the later series that were also called Maturity. The 2003 issue was actually made the closing part: number 5. It was called for the famous Japanese volcano near the city of Tokyo that makes a lasting impression on every visitor: Mt. Fuji. The repertoire consists mostly of standards only except for Mal’s own original: The Seagulls of Kristiansund. Just like some other records in Japan, this was recorded in a theater but without an audience.

This is in no way an essential Mal Waldron record. All of the music goes by in a very relaxed tempo and atmosphere. Mal takes his time and space to work out everything nicely. The music is basic, yet detailed. It will not blow you off your feet and is in no way comparable to some of the solo records he made in the ’70’s. But its all very nice. Mal really sounds mature here and his sound is definite. He sounds like he has done everything already a thousand times and just goes back to the basic principles of his own style and playing. None of the standards is treated in a very creative way, but they surely come immediately recognizable out of Mal’s hands. And between the straight ahead lines he is playing are plenty of details that keeps the music interesting. The overall calmness in his playing gives this whole record a very meditative feeling. It’s an excellent pick for a late evening after a hard day’s work. Nice detail: the second version of Seagull's is accompanied by Mal's voice who is saying the lyrics. It really adds to the intimate feeling of the record. And Mal has a very warm and deep voice. He once stated that he wrote music with words in his mind.

And yes of course this 5th volume of the series is hard to find, and so is the original 1997 release which isn’t even on Discogs. I could imagine no one wants to pay 60 euros for a record like this. I paid around 30 for mine. Though it’s not essential, I still love it. And the sound is just amazing. It’s like your in Mal’s Steinway.

(1998) Maturity Vol.1: Klassics ***1/2

 

With: Mal Waldron (piano), Yoshihiko Katori (vibes), Kengo Nakamura (bass)
Record date: July 21, 1998

Now, perhaps the attentive reader noticed that I skipped a few records in the years 1995/1996. They were all recorded for ‘Dan records’ and three of them during the birthday celebration tour in Japan. The reason I skipped them at first is because I want to review them in the series that I own. When I was around 15 years old one of my first Waldron discs I bought was ‘Maturity Vol.3: Dual’ with Japanese drummer Takeo Moriyama. Not a very logical start and it really was a very impulsive buy. I was fascinated by the beautiful photograph of Mal on the cover of these series. It cost me 40 euros which was half the money I was being paid for stocking shelves in the local supermarket. And it took 3 months to arrive. The record itself was pretty good, the sound was amazing, the artwork impressive but most of all: I had the feeling I owned something pretty rare. They still are, these Maturity series. It took another 15 years when I decided to complete the series for I could not control my compulsive behavior. When one owns volume three, there’s gotta be a volume one, two, four and five too of course.

Maturity Vol.1: Klassics is the starting point in the series but wasn’t the first to be recorded. It was the last one actually. The title can be taken literally for the record contains interpretations of classical music only. There are compositions by Brahms, Chopin, Grieg and Bartok. Plus intermezzo’s that were written by Mal himself. The results are a bit mixed. Mal has clearly selected compositions that would fit in with his minimalistic and dark approach. Some of his interpretations of this rather sad music are truly beautiful. The playing goes very natural and so the transitions from the more classical oriented theme’s into more jazz improvised territories. The intermezzo’s that were written by Mal himself do not sound out of place at all and are also more based on European classical music. The thing that I really dislike is the addition of vibes and bass to it. If Mal decided to treat these solo it could have resulted in a very favorite record of mine for I love his interpretations of these old compositions. But especially Kator’s vibes really don’t add anything to the music. Quite the contrary: it makes them sound a bit silly in places. Vibes could work out pretty well in Third Stream music as Milt Jackson clearly pointed out with the MJQ. But Katori is just not capable enough to make it really work.

The parts where Mal plays in duet with bassist Nakamura are a little better. But Nakamura isn’t really a very interesting musician too. The way Reggie Workman adjusted his bass playing during those Satie interpretations: that was really something else. Nakamura just plays his part, nothing more and nothing less.

This is a pretty enjoyable effort in a lot of places. I love the way Mal interprets this classical music from centuries ago. I do not know how the real classical music lovers feel about it. What I do know is that Mal really treats them with respect. The original release was in 1999 by Tokuma Japan. It’s not even on Discogs and pretty rare. The Maturity version from 2003 on 3361*BLACK is just as rare and took me quite a while to obtain a copy. The sound of these series is incredibly good and the packaging is lovely, though I can’t read the Japanese liners of course. One of Discogs’ most opportunistic sellers called KUPIKU sometimes offers a copy for around a 1000 euros. Really what are those guys thinking? The easiest and cheapest way to get your copy is to follow them on website like Amazon Japan, Rakuten and Yahoo Japan. You could buy them trough websites like Buyee.

(1997) Soul Eyes ***1/2

 

With: Steve Coleman (alto saxophone on #1 and #2, Joe Henderson (tenor saxophone on #9), Mal Waldron (piano), Reggie Workman (bass), Andrew Cyrille (drums), Jeanne Lee (vocal on #1,#2,#10), Abbey Lincoln (vocals on #5 and #7)

Record date: August 15 & 16, 1997

Living in Brussels, Belgium, Mal felt completely free. Most people in his neighborhood had no idea who he was or who he had played with. They knew him as that kind gentleman from around the block with his warm and deep voice. But Mal's birthday never went by without notice. In 1997 he was to become 72 years old and like the years before his birthday was celebrated in a big way. Some of his old contemporaries flew over (or went by train like Jeanne Lee) to play and record with him. On his birthday, they performed a concert in Antwerp with an allstar line-up. It was recorded by Belgian radio but I have never found any recordings of it unfortunately. But in the same week they also went into the studios to record for RCA Victor. 

The results are a bit mixed in my opinion. Line-ups like this always make high expectations. And the record doesn't fully meet up to that expectation to be honest. It has a few very good moments but mostly just ok moments. The repertoire is made up mostly by real 'Mal classics' like 'Soul Eyes', 'The Git Go', 'Judy' and 'Straight Ahead'. 

The songs with Jeanne Lee are just lovely. Her warm, gentle singing is suited so incredibly well for a classic like 'Soul Eyes'. It gives such a nice warm feeling to this whole record. Also she has incredible singing technique and is capable of experimenting with her voice without getting freaky. She's probably the most accesible experimental jazz singer I know. Steve Coleman has a forceful addition to 'Judy' but fails to impress on the song that was made so famous by John Coltrane. It perhaps has something to do with the fact that Coleman recorded his attributions later. For it's mostly chemistry that is missing here. 

Then there's Abbey Lincoln with whom Mal has had a long association. Of course she recorded with Mal Waldron: for example the 'Straight Ahead' album with people like Coleman Hawkins, Booker Little, Julian Priester and Max Roach. But she was also the wife of Max Roach with which Mal has recorded even more. Abbey sounds a bit as if she's struggling to get to the notes here and there on the classic 'Straight Ahead'. But this could also be me giving her a hard time as I am (probably a bit too much) critical of singers. Her contributions on 'God Bless The Child' sound much better and she nails it without any problems. 

The very best track of this album is the one with Joe Henderson on tenor saxophone. 'The Git Go' is really the kind of track you whished of that the whole album sounded like that. It has that brooding and dark energy, the well known tension and some awesome horn blowing by Joe Henderson. Such unfortunate he only contributed to only one song. 

This is in no way a bad album, not at all. But being a vocal album mostly, to me it's not very appealing. Jeanne Lee makes up a lot for it but Lincoln fails to get me here. The solo tracks are fine but not really anything special. This could have been more than such an average record. It's pretty easy to get on the internet these. For this is Mal's last real group recording and the big names playing here this is mostly essential from a historical point of view. And I am pretty sure that vocal jazz lovers will be much pleased with it. Worth having.

(1995) Max Roach/Mal Waldron - Explorations... to the Mth Degree ***1/2

 

With: Mal Waldron (piano), Max Roach (drums)

Record date: September 20, 1995

During his 70th birthday tour Mal had a couple of concerts in his then country of residence: Belgium. He performed multiple nights in ‘de Singer’, in the city of Antwerp with very interesting line ups. There was a quartet with Steve Lacy, Reggie Workman and Andrew Cyrille. A duet with Jeanne Lee and also one with... Max Roach. I’m pretty sure everything was recorded but only the set with Max was released. Another thing I am almost sure of is that the amazing Mal Waldron documentary by Tom van Overberghe called ‘Portrait of Mal’ was recorded during these days. It was released 2 years later. If you haven’t seen it: it’s on YouTube and is highly recommended. 

 

Back on this record then. Now, Max and Mal went way back of course. They played on several occasions with each other: as sidemen in Mingus’ band but of course Mal made some appearances on some classic Roach albums like ‘Percussion, Bitter Sweet’ and ‘It’s Time’. They remained friends afterwards but did not make a record together until this one. And it’s a pretty good one.

 

It’s a free form suite that really goes like pretty much in every possible direction. Largely improvised in the spot, it’s a show off in perfect interplay. And it might have been a long time ago since they had played together: the magic is still there. They still communicate with each other like they have played together all of their life. Sometimes it’s Mal who takes the lead, then it’s Max again and sometimes it’s both of them at once. But they never try to overrule the other. And sometimes the music is structured while at other times it’s really more a freely improvised soundscape. 

 

The whole record is one with two leaders. There’s some solo space for Mal, including a lovely version of the beautiful Free for C.T. But also some excellent soloing by Max Roach. Roach’s gentle style of drumming fits perfectly with Mal’s percussive style of drumming. Every bar he drums is different but he doesn’t play out of time for a second. Sometimes you have these very dominant and loud drummers: Max is really quite the opposite. But that doesn’t mean he is boring or just only plays straight ahead. It’s just like with his group with Billy Harper and Cecil Bridgewater where he gave the music such energy without being in the center all the time.

 

Just like the piano/drum duos with Takeo Moriyama, this is recommended music. You don’t really miss a bass player as Mal provides quite a lot of bass with his low register playing. It’s a fascinating dialogue by two great musicians. It’s also music for focused listening as there’s happening a lot but that is not always immediate to be recognized. It’s probably a bit too much listening the whole two hours without a break but the music lends itself to be partitioned in two parts.

 

It was released by George Haslam’s SLAM label. So don’t expect to much of the packaging but the music is great and so is the audio quality. The cd’s mostly go for under 10 euros. That’s not a lot of money for 2 hours of great music. 

(1995) Mal Waldron/Jeanne Lee/Toru Tenda - Travellin' In Soul-Time ***1/2

 

With: Mal Waldron (piano), Jeanne Lee (vocals), Toru Tenda (flute)
Record date: August 4,10 & 22, 1995

1995 was the year of Mal Waldron’s 70th birthday. For that occasion Mal went on tour with his entire family. His second and then current wife Hiromi arranged a world tour with the complete Waldron family. This meant his ex wife Elaine was there too with their two children: Lori and Mala. Plus the children that came out of Mal’s marriage with Hiromi: Naru, Marianne, Malcolm Jr. plus the twins Michael and Sara. According to Jeanne Lee, who was also traveling with them: sometimes there were more Waldron’s on the train than Japanese. The tour included an extensive stay in Japan, the homeland of Hiromi. He recorded multiple albums during that stay including this one, another one with Jeanne Lee and Toru Tenda, a duet with his daughter and two duets with Japanese drummer Takeo Moriyama.

1995 was also a very important year for Japan. It had been 50 years ago the American air forces dropped two atomic bombs on the cities of Hiroshima and Nagasaki. Just like John Coltrane, Mal was deeply impressed with the enormous impact it had on those cities and the Japanese people. He was invited to play in temples and at memorial services and two compositions became a set part of his repertoire during those concerts: White Road and Black Rain. Both based on poems written of the devastating effects of those weapons of mass destruction. Some of the music was captured on record: this is one of them and the other is the White Road/Black Rain record on Tokuma.

This really is one of my more preferred Waldron albums that contain vocals. Jeanne Lee really is one of a kind. Her interpretation of “Seagulls of Kristiansund” is not only a very original and creative one, it’s drop dead gorgeous. The warmth of her voice sounds so well really reminding of a floating seagull. But it’s also her thoughtful imitation of the animal with her voice that sounds so refreshing. The way she goes down with her voice as she sings they ‘dive from the sky’… It’s a fun listen. Then there’s some more free improvising with her voice on songs like Circumambulation. It all remains really accessible and the way she converses with Mal is very impressive. The way they circle around each other with their subtle tones is beautiful. And there’s White Road! A composition based on a poem by a survivor of the Atomic Bomb. Part from the beautiful translated lyrics, the music is equally beautiful. It has this dark and sad mysticism over it that is so characteristic for Mal’s own writing. It’s a deeply emotional statement that truly reflects the horrors of the destroyed city of Hiroshima.

But there are also some parts where they lose me a bit as a listener. Parts like Black Rain that really gives a good resemble of the anger and darkness but fail to catch me. I like a bit of chaos in music and enjoy the freedom but still have trouble connecting with it as it contains vocals. For some reason it starts to annoy me after a few minutes. It really is the only downside to me of this record. And those that are more open minded to that kind of music probably really disagree with me.

This is some highly creative music and another fascinating turn in Mal’s career. It was released on the BVHaast label which was run by Dutch musician Willem Breuker. With a median price on Discogs of 30 euro’s this really is one of the more rare cd’s. It contains some nice liner’s by Jeanne Lee and the lyrics of the vocal parts. Quite a lot of the music from this tour is not easy to obtain unfortunately. This really is a must have if you are vocal jazz fan.

A white road
A white road in Hiroshima

Mother walked that scorching road
Barefoot
Working clothes all torn

And I, who had been born
Just 40 days before
Held in those arms
Gazed up with eyes of innocence
To where the deep blue sky
Stretched wide, she said
The white mushroom cloud
Moved like a sea slug
Growing wide, and wider still

Mid-summer phantoms
And these hateful things
That happened long ago
Are so infinitely sad

The image of that single
Long white road
Lies in the corner of my mother’s
Heart and mine
And does not even try to die
The road stretches on and on
An endless road
White dust-covered and soiled by grief

The road began that moment
The road without and end
The road we’ve walked without a pause
For fourteen years
Mother is tired
And I am tired

And when beset by waves
Of sadness and exhaustion
She lay a while to rest
Her tears fell on my face
And left their patterns in the dust

A white road
The white road of Hiroshima

A poem written by Syo Ito in 1959 (14 years old)

(1994) Jeanne Lee/Mal Waldron - After Hours ***1/2

 

With: Jeanne Lee (vocals), Mal Waldron (piano)
Record date: May 25 & 26, 1994

Mal and Jeanne have worked together plenty of times: in the studios, at live concerts and mostly as a duo or at least in a small group setting. ‘After Hours’ was the first to be put on record. Now I have said enough about my dislike of vocal jazz but Jeanne Lee really is something else. She has a voice so sweet and tender, that it’s hard not to like her. Jeanne has sung in so many settings and is one of the prime examples of female singers in the free jazz scenes. She is of course much known for her appearance with Ran Blake. Yes I still prefer other line-ups and settings but I could listen to Jeanne Lee with appreciation. For this intimate duo setting, she and Mal selected 8 standards that are mostly in a ballad style.

All of them are treated with respect to the originals but it’s not like you have heard them a thousand times before. Lee is one of the more creative singers and very much open to new ideas en perspectives. The warmth and deepness of her voice on Goodbye Pork Pie Hat is beautiful. Her technique is incredible: she could go very high yet so low without showing any sign of struggle. And then there’s here timing focussed beautifully on the chords played by Mal. Which brings us to the big downside of these kind of records: Mal has very, very limited solo space. It’s hard for me to hear such a great pianist turn into a background player. Of course: what he plays is great. There’s nobody who could accompany a singer like Mal but one wishes he would have played a little more than those deep chordings in the background. Also I still have trouble getting at ease with scatting vocals like on ‘Fire Waltz’. Jeanne does a great job, it really is something personal by myself.

This music is widely available on the internet for very low prices. Be careful, because there’s an unofficial Russian release out there too. For every lover of vocal jazz this is essential stuff. It’s definitely one of Mal’s better records with a singer.

(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!

(1991) Charlie Mariano/Mal Waldron - Autumn Dreams ***1/2

 

With: Charlie Mariano (alto saxophone), Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: August, 7,8 & 9, 1991

Charlie Mariano and Mal Waldron have quite a lot of things in common: they both played with Mingus, they both recorded with German krautrock band Embryo, they both flirted with rock music and they both resided in Germany. So playing together wasn’t really a shocking idea. They recorded their first album in 1991 called ‘Autumn Dream’s for the Japanese jazz label ‘Alfa Jazz’. As a rhtythm section they used Mal’s regular trio with John Betsch and Paulo Carduso.

The album starts with a high energy original by Mal Waldron. It’s here where most things are happening. Mariano plays some nice fiery solo’s and Mal is playing his ass off. The interpreation of the traditional ‘Greensleeves’ is another creative engagement without any predictable dullness. The band sounds inspired and there’s some nice soloing by Carduso. But after that it all collapses a little. The following standards are all played in a beautiful way and there’s lot’s of chemistry between the guys. But the tension is gone and the music just goes on without really telling something. It’s beautiful music when reading a book, but these guys would have been capable of more than that. Their choice for standards that have been played over and over again by so many others wasn’t the best choice.

These Alfa releases from Japan are pretty expensive. Always a few copies for sale on Discogs but never for less than 30 euros. This is some beautiful music but you must be prepared to pay some money for it. And both guys definitely have made more exciting work.

(1989) Mal Waldron/Christian Burchard - Into The Light (Duo, Quartet, Solo) ***1/2

 

With: Christian Burchard (vibes on 1-7 & 9), Mal Waldron (piano on 1-8), Michael Schone (bass on 5-7), Dieter Serfas (drums on 5-7)
Record date: September 1989 and February 1990

Mal Waldron and Christian Burchard go back a long time until in the sixties. For those who do not know Burchard: he’s a German vibraphone player and drummer that was a member of the etno-fusion band Embryo. Now you might know that Mal made around 4 records with that group and appeared dozens of time with them in live concerts. Waldron and Burchard were really lifelong friends and played together lots of times. But they never made a studio album together. This album was their first and also last encounter. It consists of three parts: 4 duo tracks, 3 quartet tracks and two solos: one by Mal and one by Christian.

I didn’t really expected it but this one of Mal’s most abstract and free playing records. Not constantly trough the album but in large parts (mainly the duets). On the first long song it really is a kind of free improvisation. One could hear these guys have played lots of times together as they interact on every single thing the other is doing. But without structure, a long listening time and piano and vibes only it’s hard to keep your attention with the music. The very short Waters from Waters get’s caught off while they guys are still playing and are actually creating something, a weird choice. The duet gets best at Mal’s standard ‘Left Alone’ which again starts very abstract again but gets more structured and then merges into the theme. Again it’s the interplay between the two that is really striking.

With the introduction of a bassist and drummer the music get’s more structured. But the playing is still kind of free here and there. Marja’s Ball has a more rock kind a feeling and reminds of the Embryo years. It has a repetitive loop, so that is really in Mal’s own style. His improvising on the tune really sounds at ease and he sticks close to his own stylistic elements. The first solo is for Mal on track 8. It’s a nice solo statement with playing that goes really anywhere between his dark chord vamps and his more sentimental playing. It’s Burchard’s turn on the last one. He fails to really get my attention.

This was originally released on Nebula records. I’ve got the Italian reissue on Mariali Sonori from 1999 which is fine and contains some liner notes that contain some weird conclusions (like Tokyo Bound and Reverie being ‘like the first recording Mal made for years’). There’s a difference in track length between the vinyl version and cd version according to Discogs. Especially in the solo parts. Not sure if that data is correct but I think they did cut the tracks… And that’s just plain stupid.

Nice improvising by talented musicians and a beautiful mark of their lifelong friendship. Not essential but not bad either. 

(1989) Chico Freeman/Mal Waldron - Up and Down ***1/2

 

With: Chico Freeman (tenor & soprano saxophone), Mal Waldron (piano), Tiziana Ghiglioni (vocals on 2 and 5), Rocky Knauer (bass on 3,5 and 6 )
Record date: July 25 and August 1, 1989

Mal Waldron playing in an intimate setting with a saxophone player. That mostly really turns out very well. The saxophone player must be very good. Is Chico any good? Yes he is! His works for ‘India Navigation’ in the 70’s are great. ‘Spirit Sensitive’ is one of my favorite albums from that decade. So nothing could go wrong? Well, almost nothing. This album is very much a mixed bag. 

The starting ‘Battleground’ is one of the best compositions of the album. Opening with Mal’s dark chords and voicing, then comes in Chico Freeman with some great tenor playing. But he sounds a bit tempered or something. I expected a little more fire from him. It’s Mal that is truly shining here with his nervous and dark chords in the background trying to push Chico into new directions. It still sounds like Chico is playing with the breaks on. Then on the second track there’s Tiziana again. As I already mentioned: she is not a bad singer. But following the quite fiery Battleground this really is a bummer. It all collapses into a very tame and smooth jazz ballad. On ‘Tyrolean Waltz’ Chico has some chance to show off his excellent saxophone skills. Can’t say a bad word on that as his control over the instrument is excellent. I once heard somebody say he can’t play. Well I ain’t no expert in saxophone techniques but he sounds fine to me. Also there is Rocky Knauers first appearance here (misspelled as Ricky). Rocky was with Mal in Klaus Weiss’ band. He is an excellent bassist that is most known for his affiliation with Chet Baker.

The remaining tracks aren’t making much of a difference. The exception is probably the title track with Chico, Mal and a more dominant Knauer. Here there are some signs of chemistry between the musicians and Chico’s playing sounds more inspired. He’s a little more on fire here. It has a nice funky vibe and this final track pushes my rating from 3 stars to a nice 3.5.

Definitely not a punishment listening to it but both Chico and Mal did way better. Maybe it just did not work out between them. I miss a bit of chemistry between them. They played again on a later occasion with drummer Sangoma Everett. What I can reveal is that there it also doesn’t really work out very well. Most of Mal’s stuff was brought out on Soul Note, but this one on sister label Black Saint which mostly represented the more freejazz oriented recordings. This recording is not really 'free', it’s pretty accessible. A record that contains some nice playing but fails to really impress.

(1989) Where Are You? ***1/2

 

With: Sonny Fortune (alto saxophone), Ricky Ford (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums)
Record date: June 10, 1989

Where Are You? Was recorded on the very same day as Crowd Scene with the same personnel but has a very different sound. Where ‘Crowd Scene’ is full of tension and bursts of energy, ‘Where Are You’ represents the softer side of the group. That doesn’t mean it consists of ballads or slow music but it just has a different more laidback energy.

The album start with a solo interpretation of ‘Where Are You’ by Mal himself, played in a very gentle way. The following ‘Waltz For Marianne’ is where the rest of the group enters. Mal always had an appreciation for the waltz and he wrote quite a lot of them. ‘Fire Waltz’ is probably the best known example. Just like on ‘Crowd Scene’ the two main themes are pretty long in time. With this song that is a downside. Both Ford and Fortune sound less inspired in this musical form. They both play a nice solo but there doesn’t really seem to be a start nor and ending. The same goes for the rhythm section that just plays, plays some more and then…. some more of the same. It get’s a little better on Reggie Workman’s freaky ‘Wha’s Nine’ composition. It’s again Fortune that really impresses with a very intense and energetic solo. Also there’s again some more freedom for Workman to play with.

Like the other quintet session, this one was never issued on vinyl. The one in the boxed set doesn’t have liner notes. The difference in quality between the two sessions is remarkable. I wonder what they recorded first. My guess is ‘Crowd Scene’. Nice recording but not essential.

(1988) Mal Waldron/Marion Brown - Much More ***1/2

 

With: Marion Brown (alto saxophone), Mal Waldron (piano)
Record date: November 14 and 15, 1988

Yeah! They are back again, and how! Mal’s last record in 1988 was a reunion with alto saxophonist Marion Brown. Both men had toured the USA that very year together and made another record in Paris. Just like it’s predecessor it consists mainly of very, very beautiful ballads played in a very sensitive way. But also some more uptempo bebop classics like ‘All God’s Chillun God Rhythm’ and ‘Nows The Time’.

Mal plays with stunning beauty on all of the tracks. With his ultra dark romantic lyricism he really is the perfect accompanist for Brown who plays so soft one almost couldn’t hear what he’s playing. Mal plays solo on Someone to Watch Over Me which gets a very warm treatment. Marion Brown sounds beautiful with that squeezed tone of his but also a little vulnerable. It’s his typical sound, especially in these years. Highlight of the album is the version of ‘My Funny Valentine’ that starts off with Mal’s easy but oh so beautiful approach. Then in comes Marion Brown with a beautiful soft vibrato, not even playing much more than the theme but it really is enough. Brown had his teeth fixed in this year, which took 7 months for a German dentist to repair. Sounds funny but of course as a saxophonist you’re teeth could really break or make you. The dentist is thanked in the liner notes by Brown.

This was really the era that labels wanted you to buy cd’s. Buying the vinyl version will make you miss a beautiful version of ‘My Old Flame’. Sometimes this session is hard to find but it’s not impossible. For around 20 euros you should be able to obtain a copy. If you like their first set, you gotta hear this one two. I like their first duet best. But this one is really enjoyable also. Made with thanks to Dr. Fritz Eberhard Preusse (German dentist).

(1987) David Friesen/Eddie Moore/Jim Pepper/Julian Priester/Mal Waldron - Remembering the Moment ***1/2

 

With: Jim Pepper (tenor saxophone), Julian Priester (trombone), Mal Waldron (piano), David Friesen (bass), Eddie Moore (drums)
Record date: June 25, 1987

In the summer of 1987, Mal was in the US again. In a small venue on the east coast in Portland he appeared next to Jim Pepper, David Friesen, Julian Priester and Eddie Moore for club gig that was recorded. Big names! All experienced musicians that were well established in the jazz scene. And also all names that weren’t exactly known for only playing straightahead jazz. 

This clearly is a club date and has a real jam session feel. The guys play a jazz standard and than one starts his solo. Then there’s someone else playing a solo, and then follows another one. That really is the concept of the album. They probably didn’t have much time to rehearse and choose a safe route. Nothing wrong with that but it does result in quite predictable music. Most of the soloing is also within the safe zones of jazz. Mal has the opportunity to show he does have a hell of a technique on ‘Autumn Leaves’, playing way more notes than he used to do. And also Jim Pepper, who Mal was to play with lots of times from now on, has a formidable technique. He has a very solid and tough tone yet he sounds very pleasant and accessible. Even the few overblown notes he perform does not really sound out there. Friesen swings hard all trough. And Priester… well he sounds like could have play more and better if the music was a little more challenging. Best song of the album is the up-tempo version of Miles’ All Blues. It swings very, very hard and every solo played just sounds excellent. Some great playing by all.

So a group with much potential that play an ok but not very impressing set. This Soul Note release, which is cd only, is still pretty easy to obtain online. Be careful out there for CD-R’s or so called Amazon on demand releases. There are pretty many of them circulating these days, especially from labels like Soul Note. It’s fully legal but you get a CD-R mostly for the same price as a regular cd. And not all sources are that clear of what they are selling to you. For some very vague reason this is the only Mal Waldron session that was not included in one of the Soul Note boxes…. So even when you own both of them, you still miss this one. You could live without it, but it’s some pretty solid music.

(1987) Our Colline's A Treasure ***1/2

 

With: Mal Waldron (piano), Leonard Jones (bass), Sangoma Everett (drums)
Record date: April 28 & 30, 1987

The recording year 1987 started in Europe with a trio session for Soul Note. It’s an album with 5 pretty straight ahead originals. Both bassist Leonard Jones as drummer Sangoma Everett are fairly unknown with Jones coming from the freejazz scene, playing with the great Muhal Richard Abrams and other AACM members. Sangoma Everett is a drummer that integrates lots of African and Eastern elements in his drumming. Mal was to appear later on an album by him.

Like I said before: this is a very straight ahead session. Though it consists of Waldron originals, these are mostly his more accessible ones. And where musicians like Reggie Workman were capable of searching every bit of space and freedom in even the most structured standards, Jones and Everett really just play their part. There’s not a lot of solo space for them either. Only exception is ‘The Git Go’ which is one of the more exciting songs on the album. Mal is in excellent form and the closing ‘Because of You I Live Again’ is incredibly beautiful with Mal’s gentle touch and subtle playing. One could actually hear his love for Colline trough his notes.

You cannot call this a bad record with bad music. It really is not. But Mal has definitely made much more exciting trio albums and played with more interesting musicians. Nice but not essential. It’s in the 11cd Soul Note box but without any liners (weird choice).

(1986) Eric Dolphy & Booker Little Remembered Live at Sweet Basil Vols.1 & 2 ***1/2

 

With: Donald Harrison (alto saxophone & bass clarinet), Terence Blanchard (trumpet), Mal Waldron (piano), Richard Davis (bass), Ed Blackwell (drums)
Record date: October 3 & 4, 1986

In October 1986, Mal teamed up with the original rhythm section of the classic Five Spot Quintet with Eric Dolphy and Booker Little. Both highly talented musicians of great promise, they died way too young. Little was only 23 and Dolphy 34. They were also pretty young when they performed at the Five Spot in 1961 recording some legendary music. Mal decided to hire some fresh new and young talent to replace them on this memorial album. Saxophonist Donald Harrison was 26 at this time, Blanchard only 24. They are both established musicians now held in high regard, but here they were at the beginning of their careers.

All compositions were played in 1961 too, but not everyone of these were on the original release. They were all written by Dolphy, Little or Waldron. The Prophet is one of Dolphy’s absolute classic’s with it’s edgy yet bluesy theme. Harrison proves himself to be young talent. He reminds somewhat of Dolphy’s nervous, edgy playing but really has a sound of his own. It’s a bit more laidback than Dolphy. But his outbursts of notes sound a little less natural than Dolphy. He probably sounds best on bass clarinet. Blanchard is a great trumpeter, yet he sounds a bit too schooled for me. He could probably play anything you want him to with his great technique yet I miss some soul and character. When Blackwell decides too speed things up on ‘The Prophet’ Blanchard has no problem in keeping up with the rest. His solo on Aggression is excellent and a true showcase of his talent. It’s very tempting to make a comparison to the original records but that is probably a bit unfair. Harrison and Blanchard are great musicians, Dolphy and Little were really something else.

Overall it’s a highly enjoyable listen and one should not try to make comparison’s. It’s very clear that both Harrison and Blanchard were in a new frontline of fresh talent though they never really touched me. The whole concert was a memorial that Dolphy and Little could have been proud of. For Waldron, Davis and Blackwell it really sounds like peanuts to them. This is still exciting music but all three of them had moved on from here. They sound a bit like they play on autopilot sometimes. But what they play sounds very tight. Mal’s sound on Aggression for example in the lower registers of the piano that actually sound pretty aggressive. Davis’ funky and free bass playing on Number Eight is excellent and Blackwell shines all trough. Like Waldron and Davis he developed even further as a musician. His solo's are such versatile and diverse. One of my all time favorite drummers.

These sessions were originally released on Paddle Wheel and later on Evidence also. I’ve got the two Evidence releases that are pretty good. Nice liner notes and great sound. They are both well available on the internet. Though not mind-blowing, this is some highly enjoyable music.

(1986) Mal Waldron/Jackie McLean - Left Alone '86 ***1/2

 

With: Jackie McLean (alto saxophone), Mal Waldron (piano), Herbie Lewis (bass), Eddie Moore (drums)
Record date: September 1, 1986

Friends for life, Waldron and McLean reunited quite often. There are only two official records of those reunions. The first was for Victor Japan in 1976, this one on Paddle Wheel was the last in 1986. Just like that 1976 recording this was recorded in Japan where both guys were famous for their 1960 Bethlehem recording 'Left Alone'. And just like the 1976 session Mal and Jackie decided to play mainly jazz standards. It was recorded live altough there is no audience heard between the songs. Not sure if there is even an audience as Mal has played more than only this occasion in a concert hall without an audience. It was also captured on video: the whole concert is on Youtube!

So what to think about the music? Well it's all pretty much ok. They definitly do not blow your mind and both Jackie and Mal have made far more interesting music. But it's definitly no punishment listening to it. Both musicians are in excellent form and the band is a very steady one. Drummer Eddie Moore was to appear lots of times in Mal's bands from this time. The new version of their classic Left Alone is beutifully played. Other songs like All of Me swing gently while ballads are played with feeling. But it is very, very straightforward and just like their previous recording it feels like a missed opportunity. McLean was one of the most innovative alto saxophonists in jazz history with masterpieces like 'Let Freedom Ring' and 'One Step Beyond'. And Mal... well I suppose I have said enough about his innovative qualities on this blog already. With that in mind, an album full of very straightahead jazz standards is just a little bit boring. The one song where one can really hear the potential of this golden duo is on the pretty long 'Minor Pulsation'. Here is plenty of space for every bandmember to stretch out. McLean is soloing in his oldfashioned raw bluesy style and Mal plays a very intense solo full of interaction with both rhythm section members. Exciting music!

Like most Paddle Wheel releases this record is still easy to get for a low price. Both on vinyl as cd. The cd version contains a bonus: an extra version of Left Alone. If youre a fan of both like I am you'd probably want this. But I can't say it's on the turntable a lot. It's really recommended to watch the show on Youtube. 

(1986) Mal Waldron/Doudou Gouirand/Michel Marre - Space ***1/2

 

With: Michel Marre (trumpet), Doudou Gouirand (alto saxophone), Mal Waldron (piano)
Record date: February, 1986

1986 was a year with quite a lot of highlights for Mal. It was the year his band with Woody Shaw, Charlie Rouse, Reggie Workman and Ed Blackwell was recorded. There was a recorded reunion with Jackie McLean and a Eric Dolphy/Booker Little memorial concert with his old rhythm section and some fresh new talent. And then I am not even mentioning some great dates for Soul Note. His recording year started with this record, with two not very well known French musicians. It’s creative music in the more free spectrum, though I would not say it’s necessarily very unaccesible. But a trained ear for the music is recommended.

So is it any good? Well, it’s not essential stuff but it is not bad either. The starting composition which counts for 20 minutes has some pretty interesting directions. Mal is in superb form showing he is both comfortable with both more traditional jazz as jazz that is more free in nature. This first composition really goes all between the well known and more new territories. Gouirand’s tone is warm and Marre is pretty creative sometimes playing loud then whispering trough his horn again. And that is what the music keeps interesting: sometimes it’s more free and in your face, then it’s more quiet again. And Mal’s soloing around the 17th minute is of great beauty. It’s the whole closure of this first song that is most impressive. Segala has a more march like feeling, like the music on Charlie Haden’s Liberation Music Orchestra. But it’s a little short. The next composition is even shorter and a bit unnecessary to be honest. The Last Poet is another nice changing direction. A more African based composition with a very joyous theme. The version of Soul Eyes is nice but nothing special. And it’s pretty hearable now that both guys are fine players but not excellent. They miss a bit of technical skill, perhaps even character.

It was released on a pretty obscure French label called Vent du Sud. The music is recorded pretty well but the packaging is very basic. If you happen to find it for a nice price, you know like an additional item when you’re shopping on Discogs you could get it. But you do not really miss something big if it is not in your collection.

(1985) Mal Waldron/David Friesen - Dedication ***1/2

 

With: Mal Waldron (piano), David Friesen (bass)
Record date: November 18, 1985

In November 1985 Mal made his first official recording for Soul Note in the Barigozzi Studios in Milano. It was the start of a very fruitful collaboration. The label produced some 16 albums with Waldron on it as a leader, a co-leader and a sideman. This record is the last of three duet albums with the bassist David Friesen.

The opening ‘Dedication’ was written by both Waldron and Friesen together. It really starts more like a soundscape than an actual song. It’s that ambient influence again and again it works perfectly. Waldron’s minimalistic approach combining with the electrical bass effects by Friesen works almost hypnotic. Very creative stuff that later emerges in more jazzy based compositions. In ‘All God’s Chillun Got Rhythm’ Mal uses a part from his own ‘Due Torri’ composition. Or probably it was the other way around then and he lend those chords from that original. Mal shows of he’s perfectly capable to play fast too, with a few hints of Bud Powell that really made this composition famous in his collaboration with Sonny Stitt. ‘It Never Entered My Mind’ is a bit boring at times and lacks character. Rhythmics is pretty challenging original by Mal’s with lots of interaction between both Waldron and Friesen. The music is a little more free and the compositions a bit more abstract. Then with Tapestry the more ambient feeling returns. It’s very interesting hearing Mal’s style blend with this kind of music. The closing Batik is probably the best and most beautiful on the album. Friesen's touch is very warm and personal one.

Almost every single Soul Note release by Mal is widely avaible for very reasonable prices. So is this one. It’s also included in the 11cd box-set. A nice but not essential record. If I had to pick my favorite encounter between the two it was their first on Muse.