(1970) Mal Waldron Trio - Rat Now...Paris '70 *****

 

With: Mal Waldron (piano), Jean-Francois Catoire (bass), Christian Vander (drums)
Record date: March 10, 1970 

When Sam records released their Antibes recording of the Billy Harper Quintet I was very, very happy. I decided to e-mail Sam records producer Fred to give him my compliments for releasing such a beautiful piece of art. I decided to mention Mal's name as he recorded a lot in France during his live hoping Fred might ever do a Mal Waldron record. I didn't actually think it was going to happen but Fred kindly replied Mal was on his radar and that he intented to release a previously unreleased record by Mal at the end of the year 2023. It got some delay but here it is: an unreleased Mal Waldron record, recorded during his prime years live in Paris.

1970 was the year he just released his classic 'Free at Last' album. Mal was back on track from his mental breakdown in 1964, recording and composing music from 1965 after he settled in Europe: first in Italy, later in Germany and eventually in Belgium. Mal was on tour with various bands in the late '60's and played gigs with his own groups as well. He worked a lot with local musicians that never gained any real fame but were clearly selected on their excellent musicianship. 'Rat Now... Paris '70 is a recording of such an occasion: a live session with two French musicians, of whom Christian is best known as the drummer of the band Magma. The album was recorded just after his first extensive Japan tour in January and February of that year where he recorded Tokyio Reverie and Tokyo Bound. This live concert revisits one of the fascinating compositions of that last mentioned session. 1970 was also the year of records like 'Blood and Guts', 'The Opening' and 'Spanish Bitch'. A year of creative and artistic development of Mal and his music.

This session is fascinating for its compositional choices as three of them never appeared on record again after their original releases Free at Last and Tokyo Bound. There's also Champs-Elysees where Mal makes a rare revisit to one of his classic Prestige compositions and recordings. Both Rat Now and Rock my Soul are from the ECM album 'Free at Last'. They have that typical Mal Waldron swing: it's funky, a little edgy here and there but very, very catchy. Both Catoire and Vander are keeping up with Mal very well and there's plenty of space for them to improvise and seek interaction with the pianist but also duelling each other. Christian Vander gives Mal exactly that rhytmhic support his playing desires. Champs-Elysees is an interesting experience hearing Mal playing his new style over his old composition giving it a both refreshing but also very familiar sound. It gets defined in a different way: in Mal's new way of musicianship. Then at last there's the Tokyo Bound composition: Mount Fujiyama which represents a different atmosphere and side of Mal's playing. It's meditative in a more calm way with clear Japanese influences on the composition. With it's more relaxed tempo it gives Mal more space to play with his improvisitional ideas that are often repetitive and bluesy but never dull or predictible.

Now the question is of course: does this record has that typical hypnotical Mal Waldron chemistry that sucks you right in to the music? The dark lyricism, emotional depths, high level intensity, bluesy feeling? It's all right there. If you like those other albums mentioned in this review from this period this is mandatory stuff. It's another piece of that huge Mal Waldron puzzle.

Last words on the packaging and sound quality. I haven't heard or seen a bad Sam record yet. It's a lovely one man record label from Paris, France that put's music in the first place. The lp is packed in a very solid gatefold with a lovely photograph of Mal in Paris. The sound quality is amazing A+. It's not only greatly recorded but also greatly remastered and cut, by Kevin Gray of course so that means something. Fred Thomas did an amazing job contributing to keep Mal's legacy alive and more known to more jazz listeners. 

Still copies avaible at SAM!

(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. 

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

 

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

Record date: April 6 & 7, 1979

Now what is this thing with the Domicile jazz club in Münich? It seems like every record made there is a golden one. And this one is no exception. Klaus Weiss took the group he made the album 'Child's Prayer' with on tour and also played a few nights at the Domicile. This album was the result and just like the studio recording: this is some highly underrated music that should be reissued. For Waldron fans it's essential anyway for Mal's trademark on the music is huge. All of the compositions played here are from his hands and it's much in the style he played in during this decade. It might as well have been issued under his name, but Klaus Weiss surely deserves credit for it too.

The first composition played here is one of the most interesting from their studio effort. 'Shades of Coltrane' really is an intense, dark and modal composition with a highly catchy theme. On this live occasion Schwaller seems to be more at ease and his solo is excellent. He builds it up from absolute modesty to a huge climax with some nice overblowing. Mal was at one of his musical peaks here and he sounds very inspired. He seeks constant interaction with both Weiss and the excellent Rocky Knauer who uses the composition's modality to explore all of it's tonal posibilities. And Weiss' tight yet free drum playing keeps everybody on it's place. 'Back to Bach' doesn't have a lot to do with classical music but is a fine but sad sounding blues. Schwaller sounds great again here showcasing some of his technical skills. The whole song breaths this very sad but very beautiful feeling.

On side B there's a nice showcase of Weiss' excellent drumming dueling with Rocky Knauer on the short 'Klever Klaus'. 'Mingus Lives' is a beautiful ballad and the version played here is of more interest than Mal's original on the same titled Enja album that was recorded two months before. It's a nice opportunity for Möll to solo on. Though not a very original player, his laidback style and well developed technique makes it a pleasure to listen to. The closing 'Golden Golson' was of course mostly known for it's appearance a few years later on Mal's classic 'One Entrance, Too Many Exits'. It's a nice but a little predictable kind of music here and the only reason why this isn't a 4.5 star recording. 

The only buying option is the original release on 'Calig' which is not rare but you have to pay somewhere around 30 euros to get yourself a copy. The sound quality is excellent. These kind of releases really give me that restless feeling that I am missing so much great music. If Mal was not on it, I would have never listened to it let alone buy it. It's a lesson learned that one should keep on exploring jazz music in every direction, also the one's that are unknown to yourself. For there are so many hidden diamonds to dig up!

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

 

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

Record date: August ,1978

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

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

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

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

(1971) Embryo - Rocksession ****

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

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

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

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

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

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

(1970) Embryo - Steig Aus ****

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

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

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

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

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

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

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

(1979) Mingus Lives ***

With: Mal Waldron (piano solo)
Record date: February 29, 1979

In 1979 Mal was on tour with German drummer Klaus Weiss. Having released two masterpieces in the previous years he wasn’t really active in 1979 in the studios. The only record he really made was this solo live record, which was recorded in a small jazz club in Spa, Belgium. He plays originals only of which two are pretty well known: Snake Out and Here, There and Anywhere (which is mistitled and should have been Here, There and Everywhere). 

This really isn't one of his most recommendable solo works to be honest. Though there are some pretty good and interesting parts, most of this solo effort is a bit forgettable. The opening title tune misses a bit of a direction but it misses mostly that typical Mal feeling. It’s a nice effort but it’s just nothing special. One would have expected more from Mal honoring the great bassist. The version of ‘Snake Out’ is the most interesting on this album. Mal takes his time to fully stretch out on it and plays like a maniac almost destroying the pianos keys. Much energy for just a solo performance. As he speeds up he never gets out of time or off beat anywhere. A prime example of his percussive playing. The other interesting part comes with ‘Here, There and Everywhere’ which again is sped up a little and full of passion.

What is really bothering is that the piano is out of tune. In some parts it’s acceptable but in other parts it really ruins Mal’s playing. Keith Jarrett probably would have become very angry and left the concert venue. Fortunately Mal is a more modest person and did play the damn thing but one can’t make right what sounds wrong of course.

‘Mingus Lives’ was never released on cd, probably because of what I am writing in my review: it’s not a bad record at all but there are far more interesting solo sessions by Mal, both live as in the studio. It's widely available for a low price on the web. Nice to have but not essential.

(Correction: Mingus Lives now has a first time cd release! Reissue on Solid records)

(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.

(1977) Middelheim Jazz Festival 1977 *****

 

With: Steve Lacy (soprano saxophone), Manfred Schoof (trumpet), Mal Waldron (piano), Isla Eckinger (bass), Makaya Ntshoko (drums)
Record date: August 15, 1977

On August 15, 1977 Mal gave a concert at the Belgian Middelheim Jazz Festival with almost the same group as he recorded One-Upmanship with. The only change in personnel was the great Jimmy Woode that was replaced by the also great Isla Eckinger. The concert was recorded and released by the Japanese Jazztime label and issued on a cd-r. I am pretty sure it’s legit so that is the reason I will review it here. I will not review bootlegs.

Now this group was stunning in the studio recording Mal’s classic One-Upmanship. But they definitely proof they were worth every penny on this live occasion. The repertoire played here is well known territory for every Mal fan. But where the musicians probably felt restricted by the LP time capacity in those days on studio recordings, here there are no boundaries at all. And I must say, this recording always felt a bit like Mal Waldron’s Live in Japan, referring to Coltrane’s live albums which is one of my favorites. Just like that album, the tracks are long, the solos extensive, the music is very intense and while you are listening to it you almost get into some kind of trance.

The concert starts with Mal’s ‘One-Upmanship’ (not Seagulls as the album information states). It’s a very long version that eventually will fade into Seagulls of Kristiansund. On the studio album there was space but probably not enough for the bassist and drummer to really show what they were capable of. Without any boundaries in times, this is a better chance to hear the whole band in full swing. Part from the great solo’s by both Last and Schoof there is some more time for both Eckinger (which still reminds me a bit of Garrison) and the great South African drummer Makaya Ntshoko. Ntshoko played with Abdullah Ibrahim, who is a completely different player from Mal but also compares pretty well. Emotion and feeling are both key ingredients in their playing. Nthsoko plays a great solo on this first song.

The remaining songs: it’s all classic Mal with some of his best known compositions. But all in another unique form with plenty of space for all the soloists to play that what they are feeling. It’s one of Mal’s best group live performances with music that is loud and exciting from the first to the last (78th!) minute. On 'Hurray for Herbie' there's Eckinger's excellent bass solo, jamming on his bass showing knowledge of eastern scales. 'Snake Out' is partly a trio effort and it's a highly intense one. Mal play's one of his best solo's I have heard. Than halfway Lacy and Schoof fall in. The energy really bears something special here, something that is hard to describe. It really must have been a hell of a performance to attend. 

This is one of Mal’s rarest efforts on cd. It was released on CD-R only, no date of release known. It’s pretty hard to get but there is a chance obtaining it trough sites like Buyee or Kupiku. That’s how I got mine anyway. And yes, this is worth it every penny. Though the sound quality isn’t optimal, this was one of Mal’s prime groups and the music is astonishing. And the sound quality is definitely acceptable. All of the musicians are clear in the mic. So if you ever be able to get it, do not hesitate!

(1977) One-Upmanship *****

 

With: Steve Lacy (soprano saxophone), Manfred Schoof (trumpet), Mal Waldron (piano), Jimmy Woode (bass), Makaya Ntshoko (drums)
Record date: February 12, 1977

One-Upmanship was the first pre 1963 Mal Waldron album I heard and I fell in love with it immediately. It was the period that, as a listener, I was broadening my horizons trying out some free jazz records. I knew Lacy for it, Mal was still not very well known to me. I was stunned: I never heard a pianist play like this. But also the compositions: I never heard anything like them. They were loud, dark and catchy. Almost funky at places but not the funkiness you wan’t to dance to. I just wanted to sit down and listen. I still regard it as one of my all time favorite jazz albums.

The opening title song sets the tone for the rest of the album: it’s a typical Waldron composition and starts with a catchy theme after which the band slowly fades away and a huge space is created for Lacy’s solo. Lacy is playing a bit more inside than on the America or Victor release but he still surprises with the most strange sounds coming out of his horn then returning back to chord changes or playing with the blues. After his solo the band comes back again with a bridge and then it’s Schoof’s turn to play. And hell he does play a pretty good solo. The sudden break shows the more emotional and calm side of Waldron playing nothing but beautiful notes.

Following up is another Waldron classic, recorded here for the first time. It’s one of Mal’s key compositions, also one of the warm and calm ones. The music has been in my head since I heard it for the first time. The theme hints a bit of classical music but is mostly a very clear description of the Norwegian town of Kristiansund on a cold autumn day. Such atmospheric music. Lacy’s first to solo and as much as he can play beyond the boundaries of jazz he could also play the most beautiful breathtaking notes within those same boundaries. He could play in the highest registers of the instrument and still make it sound beautiful. And there’s also a kind of distance and coldness in his play which funny enough makes it even more beautiful. Mal’s solo is one of simplicity, but he doesn’t play one wrong note. He gently follow’s the changes like the seagulls float in the salty sea air.

The final composition is another Waldron classic: Hurray for Herbie. Not in it’s first appearance on record but it was a studio first time. It starts of with it’s recognizable almost majestic theme. Mal plays a very intense and repetitive solo. As he mentioned himself: “I’ll take two or three notes and really try to milk them dry before I move on to the next two or three notes”. And Mal is a perfect example of all the possible fascinating combinations that are possible with only three or four notes. It makes him the unique pianist he is in jazz, quite the opposite of such a lot of other pianists in those times.

One-Upmanship is one Mal’s better known recordings so it’s not very hard to obtain a copy. If you buy the vinyl version you got the three tracks described above. If you buy the 1998 cd version you get three bonus tracks that were also on the original “Moods” LP. They were from a different session and I will review them with that album. You should get this CD issue especially if you do not own the original Moods LP as 2 of them do not appear on the Moods cd reissue. And those tracks are definitely worth it. One of my first Mal Waldron ‘loves’ and probably one of his best studio albums with one of his strongest groups, One-Upmanship is a must have. Not only for a Mal Waldron fan, but for every jazz aficionado. This is truly essential ’70’s jazz.

(1976) Mal Waldron/Jackie McLean - Like Old Times ***1/2

 

With: Jackie McLean (alto saxophone), Mal Waldron (piano), Isao Suzuki (bass), Billy Higgins (drums)
Record date: April 12, 1976

As I mentioned before, from the year 1973 Mal became less active in recording. After one year of complete studio silence (1975) Mal recorded his last record for Victor Japan. It was a reunion with old friend Jackie McLean. It was McLean who played alto saxophone on Mal Waldron’s Bethlehem album ‘Left Alone: an album that wasn’t really noticed by anybody in the US but was a bestseller in Japan. Part from that occasion, the two musicians worked together plenty of times in the ’50’s as both were recording regularly for Bob Weinstocks Prestige label. According to Mal himself, it was Jackie who introduced Mal to Prestige records.

The album really is a remembrance of old times. While both of the musicians are known also for music that pushes the boundaries of jazz, exploring more free territories of the genre, this album is pretty straightforward. The songs of choice are all pretty safe as well with a few standards here and there. The starting J.M.’s Dream Doll with it’s waltzing theme is also one of the highlights with excellent support by Waldron and a great solo by McLean. McLean, is in pretty good shape with his tone that always sounds ice cold and cozy warm all at once. His playing is bluesy and sometimes dissonant as we know him, although the dissonance on ‘I Love You, Porgy’ is sometimes more a bit out tune to be honest. I’m A Fool To Want You is a great intimate duet between the two. And yes, their sounds are a pretty good combination. Lovely solo by Mal there too. The B side is made up of three more songs including the one that made them famous in Japan: ‘Left Alone’.

The album is not very popular on some music rating websites. I do think I know why that is. Musically and technically there’s nothing wrong with it. But for two musicians with their skills, capabilities and originality, this is a bit of a boring record. There was so much more potential. If they took some more time, wrote 4 originals and took some more time too practice this could have been a masterpiece. They also should have given Suzuki and Higgins some more space. Both Waldron and McLean definitely still had something to say in these years but on this record this don’t say so much. On the other hand: it is an album that swings and it’s a pleasure to listen to it. All of the four guys could really, really play.

Again a Victor release without a cd version. It was brought out once in 1976 but that one is not very hard to find. And as always, Victor Japan does stand for quality. Recommended for Waldron and McLean fans looking for a straight ahead bop session. But do not expect much more than that.

(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!

(1974) Candy Girl ***1/2

 

With: Mal Waldron (electric piano), Frank Abel (electric piano), Lafayette Hudson (bass guitar), Donny Donable (drums)
Record Date: 1974

This must be one of the strangest efforts in Mal Waldron’s discography. A session that is credited to Mal Waldron and brought out under his name. Yet he is not on the personnel list. He composed all of the songs and according to the liner notes on one of the reissues he was in the studios. Released on the pretty obscure French ‘Calumet’ label it was withdrawn for an official release. There’s no original artwork. When you start playing the record and give it a good listen one must conclude that in some parts there are three hands on the electric piano. And of those hands sounds exactly like Mal Waldron… So if it’s really true he is not playing on the record that must mean Frank Abel does a heck of a Waldron imitation and overdubbed his own playing. I think it’s more assumable Mal took part in the session. Fortunately multiple people on the web came to the same conclusion. Try it yourself and see how you feel about it. Maybe I am wrong but I am pretty sure I am right.

So what’s on this record? Something very, very different from everything I know by Mal. It’s electric music, but hey he did that on ‘The Call’ before. But in a stylistic manner this is really something else. It’s very funky music, more funk/soul than jazz with a very recognizable ’70’s sound. When you hear this you almost can’t believe this is the same Mal that recorded some challenging free stuff with Steve Lacy only 2 years before. But again it shows Mal’s creativity and his open mind to all kinds of styles. And his playing in this kind of style doesn’t feel awkward at all. Every composition still has that Mal feeling: the loops, the repeats, it’s all there. And both Waldron’s as Abel’s playing and soloing is awesome, as are Hudson’s thick and fat bass runs. The only break from the funky ’70’s feel is the ‘Dedication to Brahms’ composition which is more ballad like. And listen to it: if this ain’t Mal I will personally eat, digest and poop out my own running shoes (so I hope I am right and if I am not I will deny anyway).

Now this whole record is an experience itself. It’s great music, but not completely my taste. The synth’s as played by Abel are a bit outdated for me and sometimes I miss a bit of the challenging music Mal used to play in this decade. On the other hand: the music is very relaxed en well played. It grooves and swings and is perfect for those kind of moment you don’t feel for complex music but just want to tap your foot.

The original and coverless release from 1975 is very, very rare. If you have a thing for hard to get collectors items be my guest and pay a thousand euros for it. It also has been reissued by Libreville records in 5 or 6 different kind of versions, all with differing artwork. All legit and remastered from the original tapes. I’ve got the one with the naked woman on it. They really did an excellent job remastering the music: it sounds spotless and as if it was recorded this century. Plenty of copies are still for sale but they are all expensive. From a historical point of view, this is essential Mal. From a pure artistic point of view it’s not.

(1973) Up Popped The Devil ****

 

With: Mal Waldron (piano), Reggie Workman (bass), Billy Higgins (drums)
Record date: December 28, 1973

Where 1970, 1971 and 1972 were among Mal’s most productive years, the stream of records faded all of a sudden in 1973. Until 1980 he put out only one record a year, sometimes two but also none at all (at least not as a leader). I don’t know the reason for it but one must say: the stuff he did put out was of very, very high quality.

In December 1973 Mal made his first recording in an American studio since his recording of the score for 'Sweet Love, Bitter'. According to himself he left the country for it’s climate of competition, racism and the presence of drugs in the jazz scene. He once told an interviewer that if he had stayed in 1965, he’d be probably dead in a year. When he went back he recorded with two guys he never recorded with before (but he probably knew them from the early ’60’s jazz scéne. Those guys were Reggie Workman and Billy Higgins. I do not have to say anything to explain that these guys were two heavyweight giants themself playing with practically every big name in jazz in any style. And their playing goes very well with Mal’s playing style.

The album is filled with four typical Mal Waldron compositions. The opening title song is immediately recognizable as to be from Mal’s hand. It’s repetitive walk with his left hand in the lowest registers of the piano and his percussive attack with his right hand. Workman immediately dives in to it with his dark voice on bass, using his bow that really adds up to the grooming atmosphere. Higgins’ is solid as he always is. I never heard him missing a beat. He’s probably one of the most reliable drummers in jazz, able to adapt every style and play his ass off. He’s far from unconfortable with the more free oriented music on this record. The second song is less of a typical Waldron composition. It has Carla Poole on flute and has the feeling of free improvisation. It’s more of a soundscape that is created than a song and they do it in a perfect way. Though it sounds like impro it’s till very accessible and it’s again Workman that really steals the show being so much more than a bassist that just set chords.

The third composition was to become one of Mal’s trademark compositions. It’s the song that this whole blog is named after: ‘Snake Out’. It’s a constantly hunting composition that reaches climax after climax. Both Workman and Higgins swing their tits off with Higgins playing multiple rhythms at once. Mal’s solo is nervous, hard-hitting and swinging. This is the stuff he plays best. The only thing I miss here is Lacy… I am used so much to those versions I almost can’t hear it without Lacy blowing his soprano to pieces. The closing Changachangachanga (that’s a great title) is another Waldron original. Again it’s all about interplay between the musicians with Workman playing beautiful stuff on his bass. After the rhythmic more free theme Higgins set up a beat for Waldron and Workman to improvise on. Another great song.

There are several releases available but non of them is really cheap. The original LP is pretty expensive for a Enja record. I’ve got the 2003 cd but do not recommend it. It doesn’t sound very clear and Higgins is too far up the mix. I cannot speak for other versions. This one was also reissued quite recently in the Solid budget version in Japan. The whole record is easily recommended. It’s a beautiful insight in a very fruitful collaboration to come. With Higgins two more times, Workman would return multiple times at his side forming some sort of first set group by Mal with Eddie Blackwell. Their interplay is always a treat.

(1972) Mal Waldron/Terumasa Hino - Reminicent Suite *****

 

With: Terumasa Hino (trumpet), Takao Uematsu (tenor saxophone), Mal Waldron (piano), Isao Suzuki (bass), Motohiko Hino (drums), Yuhji Imamura (percussion)
Record date: August 14, 1972

Ah there it is: my one and only FAVORITE Mal Waldron record. And as a huge Waldron fan, that says a lot. If I had the possibility to just save one record from my burning house, it was this one. Not only for its rarity but mostly because i’ts so freakin’ good.

For ‘The Reminicent Suite’ Mal gathered 5 local musicians to perform with him. Some are more known like Terumasa of course but the others are mostly well known in Japan itself but not outside of it. Every single one of them has surprised me with their ability to keep up with Mal. They all sound talented and it’s a pity they never broke trough outside of Japan.

The first suite on side A start with deep droning groove played simultaneously on piano and bass. When the rest of the band starts to play the music gets more intense by the minute. The first soloist is Terumasa Hino who almost play his lungs trough his horn. But every time he almost loses it he grips it back again and rocks it's completely. Next in line is the for me unknown Uematsu who truly surprises me with his sound. He’s daring, building up tension, play both inside and outside but still sound very accessible. He also sounds pretty unique, not like a false copycat trying to imitate an American jazz saxophonist. In the meanwhile Suzuki is all over the place using every single fret of his bass pushing the band to it’s limits. Also shining is Terumasa’s younger brother on drums: Motohiko. A very solid and tight drummer who is constantly responding to what is going on. After the return of the catchy starting theme Terumasa is suddenly alone. He uses electric effects on his trumpet to make the desolate feeling even stronger. The band returns quite soon but this time with soft and gentle notes that resemble a completely different atmosphere. It’s a very sad and dark melody, reminding of Mal’s ‘All Alone’ composition. Tear jerking beautiful. Hino’s solo is more subdued and slow but still pretty loud. Uematsu strikes me a second time as a great saxophone player with a unique sound and his own identity. Again some great soloing by him. One more chorus by the whole band ends side A and leaves me blown away every time I have heard it.

On side B there is another suite: Black Forrest. It starts with some percussion sounds that remind more of the ambient influences in Don Cherry’s music (including the flute playing). It doesn’t take very long before the main theme enters. It’s a modal composition with a funky feel. The first theme has a bop influence in it too, something that was far away on side A. Then a dialogue starts between Hino and the percussionist. Hino’s solo is again of great intensity and very loud: sometimes playing changes but also experimenting with different blowing techniques and unique sounds. On ‘Black Forrest’ Mal also has some more opportunity to stretch out. His sound fits without a problem on the modal backings by the great rhythm section. Still his role is pretty modest on the whole record. Perhaps that is the only downside of it.

What makes this such a great record are the individual talents but also the enormous interplay between them. The huge varieties in tempo, theme’s and atmosphere. But also the way the band really plays on the edge and sometimes over it without losing a fraction of control. The music is so free, yet so structured. You could hear new things in every listen.

This amazing record has been reissued on both cd as on vinyl by BBE recently. If you are a real Mal fan and a music collector it’s worth every penny. There’s also some great news for everybody with a Spotify account: there’s a remastered version on it! One has to search a little as the title is in Japanese but is catalogued under Waldron’s name. A great opportunity to hear this masterpiece. Then after listening to it: write Mosaic a letter they should do a Mal Waldron 'Victor' box!

(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.

(1972) The Whirling Dervish ***1/2

 

With: Mal Waldron (piano), Peter Warren or Kent Carter (bass), Noel McGhie (drums)
Record date: May, 1972

Still in Paris, and still recording for the ‘America’ label, Mal made his second and last appearance for that label. He went into the studios and recorded what was probably his most free oriented trio recording he has recorded. ‘The Whirling Dervish’ is another unique record in Mal’s catalogue for it’s definitely Mal one can hear playing, yet he again sounds different. He always has been more of a rhythmic player than a virtuoso but on this album that percussive style is really in the spotlights. And again, just like on the other Paris records of 1972 there is a hint of Cecil Taylor in his playing. Especially on the long title track he uses lots of clusters and repeating vamps constantly seeking interplay with both the bassist as with Noel McGhie. And not in the form of melody but more in a rhythmic kind of way. McGhie is in excellent form here by the way. He’s hitting the drums like a maniac yet he still holds a tight rhythm and keeps pushing the music in new directions.

Another great session with some very intense and pretty free music. Yet I miss again some sort of direction the guys are heading. I miss that thick layer of emotion where Mal’s music is mostly build on. The compositions are okay but pretty forgettable. Mal did not fall back on one of them later in his career. Also the level of repeating vamps is sometimes a bit too much here. One might want to hear some more diversion in his playing. But this album definitely is another fascinating sight in how Mal became the pianist he was. There is another influence highlighted here: C.T. It’s another piece of the puzzle that makes up Mal Waldron.

It might already caught your attention but there is something weird going on with this album. There’s a bit of confusion about who’s playing bass. Both the liner notes as the information on the album state it’s Peter Warren. Warren was playing in and around Paris, recording for the ‘America’ label also so that would not be very strange. On the other hand there are a few sources on the web that say that Kent Carter claimed he played on this session. Now, I don’t know why Carter would lie about something like that and that story also is plausible as Carter had played bass on the other Paris sessions with Mal too. Anyway, I do not know either of the bassists well enough to pick out who it is. I’ll give both the benefit of the doubt and honestly do not really care. The one who is playing bass is doing a fine job, that is one thing I know for sure.

There are two versions available of this record. The 1972 LP is probably the easiest to obtain with multiple copies for sale on the internet. It was also released as a limited edition on cd in 2006. And tough I’m a true vinyl head myself, I really recommend that cd version. Great sound quality, some beautiful color photographs and some nice liner notes in both English and French. Unfortunately it’s pretty rare. If you do find one for a small price, do not hesitate, especially not if you’re interested in the more free side of Mal.

(1972) Mal Waldron / Steve Lacy - With the Steve Lacy Quintet ***1/2

 

With: Steve Lacy (soprano saxophone), Steve Potts (soprano & alto saxophone), Mal Waldron (piano), Irene Aebi (cello), Kent Carter (bass), Noel McGhie (drums)
Record date: May, 1972

Still staying in Paris, Mal recorded another session while he was there. Again he recorded with Steve Lacy. And just like there session of the year before: the music played is among the most avant-garde Waldron ever put on record. The guys went into the studio for the French ‘America’ label which put out dozens of brilliant free jazz records those days by Archie Shepp, Frank Wright, Clifford Thornton and many others. They really did a good job capturing the lively free jazz scene of those days in Paris.

The record starts with the only Waldron composition on the album: ‘Vio’. What is interesting is that it doesn’t sound like Waldron composition. And that is what makes this collaboration so good: Lacy really pushes Mal Waldron in different directions. Again the vamps and clusters he plays here sometimes show a little influence by Cecil Taylor, a pianist who Mal held in high regard. The music here is really leaving all conventional jazz patterns, although later in the song Mal does get back in his percussive chord playing. Lacy starts with a pretty freaky ‘out’ solo after which Mal takes over interacting with both McGhie and Carter. Then there’s Aebi…. I do not want to offend anybody but let’s say I am mostly glad she doesn’t start singing. Also her cello playing does not really move me. Steve Pott’s solo is pretty good: he goes totally out on Mal’s heavy vamp’s. 

The other two compositions were written by Lacy. ‘Jump for Victor’ is immediately recognizable as such. It has that funny Lacy timing that is sometimes just out beat and then in it again. There’s definitely no rest here for the listener as the free journey continues. Mal is pretty much all over the place. He does a good job but still feels a bit uncomfortable here and there. I think there was a reason he did not return much to this kind of music. Both Lacy’s and Pott’s solo are very loud and intense again. Lacy always surprises me in playing so far out but sounding so much in. He truly was one of the very best soprano players ever.

The original ‘America’ LP is still available for a reasonable price. But this one was also released as part of the ‘Free America’ series by Verve France. These were limited edition cd’s and I always loved their packaging: they are truly a small piece of art. Also on that cd version, there are two bonus tracks, that are definitely worth checking out. Fascinating music but not for the faint hearted: this is not the kind of music you put on when you have your parents in law over for dinner. Or perhaps it is when you want them to leave soon. It’s a great record an essential hearing when listening to the developments made by the Waldron/Lacy combo. Yet I miss some emotion, feeling and interaction between the two. They have made better records.

(1972) On Steinway ****

 

With: Mal Waldron (piano)
Record date: May 11, 1972

1972 was a year with quite some solo records by Mal (4 to be precisely). And where I always found ‘Blues for Lady Day’ a little bit overrated on websites like AllMusic and RYM, I never understood why ‘On Steinway’ was getting such low ratings. Perhaps it had something to do with the awful reissue ‘Fuel 2000’ made? More on that later.

This solo recording starts with the beautiful ‘Portrait of a Bullfighter’ which has an almost classic feeling to it. From that beautiful theme it gets into more bluesy territory and there’s a more Spanish feel in it. After that it returns to that very same beautiful starting theme. It’s one of the prime examples of how Mal could play with silence. It’s also a good example of how one can hear Mal’s classical schooling when he was young. I already named Debussy and Satie as influences on Mal but this song has more of a Chopin feel (a Mal favorite also). The second composition ‘One for Bud’ is something completely different. The way Mal let Bud Powell relive here without simply copying his playing really puts a smile on my face. The whole composition has that Powell drive, but it also shows how much Mal was influenced by Bud. Monk is always named as the prime influence but when you listen close to Mal there is always a slight hint of Bud Powell also. Especially in the way he closes a tune for example and the sometimes restless feel in the more fast compositions.

‘For Eric Satie’ is Mal’s very first tribute to the French classical composer. And though it is not a Satie composition it surely breaths a lot of Satie air. The beautiful yet so simple melody. ‘Less is more’ at it’s very best, this is breathtaking music, beautiful to listen to in a room with dimmed lights and nothing else but the music itself to listen to. It’s making clear that just a few notes could say so much. He would later record a full album of Satie in the ’80’s for the Baystate label. The last song on the album is again different, with a different feel. Again a catchy theme and some nice improvising by Mal and again there is a hint of classical influences. With 18 minutes the song is more like a suite. It’s a fascinating listen, keeping your attention from the first till the last minute.

'On Steinway' was originally released in Japan on Overseas records. That is at least what Discogs tells me. The American Paula version is the one with the better known artwork, which was also used for the Japanese reissue on cd by P-Vine. I do not know how the vinyl versions sound. What I can say is this: avoid the crappy reissue on ‘Fuel 2000’ at all costs. I always found that label pretty shady, and the terrible audio quality says it all for me. Believe me: it’s really not even worth de 3 euros you have to pay for it on Discogs. I’ve bought the ‘P-Vine’ cd version from Japan myself and though more expensive it really pays off. Beautiful and warm sound and original artwork. Definitely a recommended solo album by Mal, but be sure to buy the right version. Don’t be spooked by the relatively low scores on certain websites.

(1972) A Touch of the Blues ****

 

With: Mal Waldron (piano), Jimmy Woode (bass), Allen Blairman (drums)
Record date: May 6, 1972

In May 1972, Mal was back in his new found homeland: Germany. He appeared in trio form on the Jazz Ost-West festival with someone known and someone less known. The known person here was of course Jimmy Woode who was also on Mal’s side during the legendary sessions at ‘the Domicile’ club in Munich one year before. The less known person is Allen Blairman, an American jazz drummer living in Europe who already made an appearance with Albert Ayler and played with musicians like German vibist Karl Berger. The recording of the appearance at the festival resulted in the release of ‘A Touch of the Blues’ 5 years later on the Enja label.

The concert opens with Here, There and Everywhere which was previously recorded on ‘A Little Bit of Miles’. Apparently Mal always had some kind of set repertoire though on every album, you find new compositions. The version here is more interesting than the one on ‘A Little Bit of Miles’. And that has mostly to do with the sideman. Woode is such an experienced bassist: he sounds so much at ease with these originals by Mal. And despite the modal feel of them he still manages to sound creative and surprising with every single note he plays. During Mal’s solo’s he seems to float on the music itself heading in all directions. Again, the space he gets is pretty big and he manages it just fine. Drummer Blairman is a solid man in the background, not Mal’s most daring drummer, but a solid sideman alltrough. Part from the better musicians, the music heads in more directions also. It swings, it’s bluesy, it waltzes and sometimes freak out a very tiny bit. Finally the composition merges into ‘The Search’, a beautiful composition that also appears on the very mysterious similar titled album that is on Spotify.

Side B is filled with just one lengthy composition: the title song ‘A Touch of the Blues’. Do not expect a boring or predictable blues that just keeps on going for 19 minutes. The theme itself already is changing a few times, and so does the music. It goes anywhere from a warm meandering theme to some hard swinging here and there. Yet it does have that full bluesy feel. Both solos by Woode and Blairman are excellent with Woode hitting the snares of his bass very hard. The way he takes his space in the music reminds me a little of Jimmy Garisson sometimes. The exciting part of the whole composition comes after Woode's solo where the music reaches climax after climax. It's the kind of intensity that makes you sit at the very edge of your chair. Great song, great playing here.

Together with ‘Mingus Lives’ this is one of the lesser known Waldron’s on Enja. That is definitely not making sense as this is a great live session capturing Mal during one of his best periods with a great band. There’s a bunch of vinyl versions mostly from Japan and the original from Germany. Got the original Japanese vinyl version myself which plays perfectly fine. For cd enthusiasts: this was recently released on cd for the first time in Japan on the budget Solid label. The releases I have on that label are perfectly fine. Liners will probably be in Japanese if they exist but there are no liners on the original German release so you do not really miss anything. If you have the possibility to pick this up for a fair price do not hesitate.