(1989) Jim Pepper - Flying Eagle Live at New Morning, Paris ***

 

With: Jim Pepper (tenor saxophone & voice), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)

Record date: October and November 1989

Most of Mal's records with Jim Pepper were released under Mal's name. All but one: this Tutu disc that is capturing the quartet of those days on three live locations. The music was not only recorded at 'New Morning' in Paris, but also in Innsbruck and at the Tampere Jazz Festival in Finland. I could see why they decided to release it under Pepper's name. It's all a little more of a Pepper recording than a Waldron recording. Yet there is still a lot of Mal to dig down here and this quartet remains a pleasure to listen to.

In style you could mostly expect more of the same music they already recorded together. It's hot and steaming live postbop music. Well structured but still advanced an innovative enough to remain of interest. I like Pepper's style: he has a full and robust tone with a little smooth edge. That's his tone, but his technique and style are nice and unique too. Though all kind of influences are clear he is still pretty clearly identifiable as Jim Pepper.

This recording captures some nice uptempo bop originals like the first two songs. There are also a few of 'Pep's' classics: the traditional Somewhere Over The Rainbow and a suite called Legacy of the Flying Eagle which includes his classic Witchi Tia To. The more uptempo songs are most of interest as they truly capture the energy that this band had. Somewhere Over the Rainbow is nicely played but would have impressed more as a solo outing by Jim. The following Ski Jumping Blues sounds a little cliche here and there. It has this been there, done that feeling. Pepper's vocals are okay but still...

The duo with Mal: Soul Mates is beautiful. A nice view on their duo magic. The chemistry is big and the addition of Schuller and Betsch in the background is an nice adding. With Green Pepper the music suddenly takes a more free approach with highly percussive piano playing by Mal and Pepper's freewheelin' playing over the heavy vamps from the piano. 

There are references to his Native American heritage all over the recording: it's in the artwork, in the title, on the photographs, in the compositions and in his singing and chanting. It's most prominent on the Legacy of the Flying Eagle where Pepper starts chanting and talking to the public. It's interesting to hear a Native American influence on jazz music. Strangely enough not a combination heard a lot yet the music has a lot in common with modal jazz styles. The chanting is a fun twist in the music but on cd it fails to really catch your attention. Must have been a great live performance though. 

From all of the TUTU's this is the one I least like. The records under Mal's name are really more of interest. Still, you can't call this bad music. Like all of the TUTU discs the concert was captured in high fidelity: I love the sound of these discs. You have to be lucky to get one these days but on Discogs they go for pretty reasonable prices.

Still avaible at TUTU records

(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. 

(1988) Tom Mega - Backyards of Pleasure *

 

Record date: April 6, 1988

There's not a lot of information to find about Tom Mega. Apparently he had been a bit of a naughty boy using lots of dope and being locked up in prison in the 1970's. He's a German singer who recorded several albums before he passed away in the year 2000. I was in doubt if I was going to review this record for this music is just really not my cup of tea. But hey: if one is about to review ALL of Mal's work post 1964, one cannot skip this one of course. I decided to stay as neutral as I could be, listening with open ears and an open mind. But this stuff is just going too far for me and Mal is nothing but a session musician anyway here.

What to expect? Expect heavy outdated '80's synths and keyboards and a ditto outdated sound. The music is rock oriented with a pretty obvious pop twist. Tom Mega is probably a bit influenced by Bowie and Tom Waits but doesn't reach those levels by far. He has a very thick and bit laughable German accent. None of the session musicians sound challenging or inspired anywhere and there space is very limited. So is Mal. I don't why he decided to collaborate for this recording. Was he openminded, in need of money or did he had contractual obligations with ITM? I don't know and just wish to forget this whole record. If you want to complete your Mal Waldron collection like I did: it's cheap and available. And so does it sound.

(1987) Marty Cook Group - Red, White, Black & Blue ***

 

With: Marty Cook (trombone), Jim Pepper (tenor & soprano saxophone), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)

Record date: November 23 & 24, 1987

Marty Cook is an American trombone player who is a little underrecorded. In the 1970's he appeared mostly in freejazz or avant-garde settings with the likes of Marzette Watts, Jeanne Lee and Gunther Hampel. He moved to Munich in 1979 and that is probably how he met Mal. He formed his 'New York Sound Explosion' band there that also consisted of players like John Betsch and Jim Pepper. The whole quintet playing here knew each other from several occasions and most of them were to play on more records together. Mal recorded with Pepper before that very same year and the excellent rhythm section present here would appear on quite a few albums by Waldron. Mal does not appear on all of the tracks but only on 'Spirit War', 'Love Life', 'Grab Bag' and 'Trapeze'. 

Not a lot of avant-garde or free music to be found here. It's all a pretty big step from the New York Loft sounds of the 1970's where Cook also participated in. The music is structured and mostly in the modern bop tradition. The few outbursts by Pepper's tenor aren't very shocking. Though is group definitely has it's moments it fails to make up to it's potential. Most of the musicians sound a little uninspired. Marty Cook improvises in a very monotone and predictable way without any interesting turns or twists. Pepper sounds like he did not had his day. I miss the powerful almost paranoid like playing from his later recordings with Mal. He mostly draws between the lines perfectly but his capable of more than that. Mal is on 4 tracks but his solo space is very limited. The first place to show off a little is on the 3rd track where he is present. He mostly sounds a little restrained but does give a glimpse of the stuff that to come with the rhytm section. 

So what's there to say in a positive way about the recording? Mosty of the compositions are pretty catchy. Stuff like Spirit War, Mr. DC and Trapeze sound excellent and make a lasting impression. It's a pity that they were only played on this session, for as far as I know. Also none of the guys plays bad. It's clear that every single one of them knows what he is doing and the technical skills and licks are all great. And finally: the rhythm section. Schuller and Betsch together works like magic, hand in glove. They complement each other rhythmically and their playing here definitely lifts the music to a higher level. 

A pretty much ok recording but far from essential. If you want the complete session you'd best get the CD version on Enja or TUTU. Plenty of copies to be found. 

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

 

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

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

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

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

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

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

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

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

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

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

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

 

(1991) Smoke Gets In Your Eyes ***

With: Mal Waldron (piano), Paulo Carduso (bass 1-4, 6-8), Stafford James (bass #5), John Betsch (drums 1-4, 6-8), Eddie Moore (drums #5), Barney Wilen (tenor saxophone #5), Beat Kiffsteiner (flute #6)

Short review for this one as it’s mostly a combination of two other record. This Alfa Jazz cd is a compilation with some tracks taken from ‘No More Tears for Lady Day’ (#3, 4, 8), ‘Spring in Prague’ (#1, 7) and ‘Movie Theme’s From France’ (#5). That means it contains 2 new tracks: Lonely One and A Dream of Love. The first is a pretty straightforward almost dull short jazz standard. The second is an interpretation of a Liszt composition that isn’t really a success. Beat Kiffsteiner’s flute gives it a silly sound. So yes, of course there are some great songs on this disc but you should probably want the original releases that were all three very good. Buy this one only if you really want to complete you’re Mal collection like I did. Unnecessary release.

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

 

With: Jim Pepper (tenor saxophone & soprano saxophone), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)
Record date: October 25 & 26, 1989

In autumn 1989 Mal made two appearances that were recorded at the Utopia jazz club in Innsbruck, Austria. He played with his regular trio with Ed Schuller on bass and John Betsch on drums. On tenor saxophone the great and underrated Jim Pepper with whom Mal had played before. First in Marty Cook’s band for an Enja record, then with the all star band for Soul Note and later as a duo for ‘Art of the Duo’ which I have reviewed before. Waldron and Pepper, they match very well. They had proved that before on their duet album and also in a quartet form on Mal’s first Tutu release. In a live session with a rhythm section like this it results in some more fire power. With a repertoire full of original compositions this is one very creative jam session with some very rewarding music. It all resulted in the release of two more Tutu discs: Quadrologue at Utopia (vol.1) and More Git-Go at Utopia (vol.2). As both discs were recorded on the same nights I’ll review both of them as one.

The opener ‘Ticket to Utopia’ (actually named ‘Ticket to Tokyo’) is a hard swinging up tempo composition with a very haunted feeling. Their first recordings as a duo was great but this quartet version is way more intense. Pepper runs trough his changes like a madman. Mal’s solo starts with hitting the notes in the lowest registers of the piano making it actually sound even darker. And both Schuller and Betsch are all over the place. Betsch plays a great solo with polyrhythmic playing, hitting his drums as hard as he can without losing speed or pace. ’Time for Duke’ has a more sweet melody, a great way to honor the great composer. Pepper’s lines are more tempered here, meandering over Waldron’s chords. Same goes for the beautiful ‘Mistral Breeze’ which is loosely based on ‘Soul Eyes’. On ‘Never in a Hurry’ Pepper plays in trio form for a while which gives him even more freedom to explore the original composition. But when Mal gets back the song get’s it’s true meaning and feeling. Schuller is dancing around Mal’s left hand again with great swinging bass lines. Than it’s Mal’s time to solo, constantly setting the pace with his hard hitting left hand. His right hand just starts interacting unconsciously with his left, like an actual dialogue. The closing ‘Funny Glasses & a Mustache’ is a great opportunity for Betsch to show of his great drumming skills. Without any trouble he sets in a great polyrhythmic rhythm that really gives it that Afro-Latin vibe.

The second volume ‘More Git-Go at Utopia’ was released four years later. It’s almost as good as volume 1. Really it’s a very close call but If I’d really had to make a choice I’d probably go for the first volume. However the second volume does contain the Mal classic: Git Go. And this implementation with Pepper’s passionate saxophone playing is another masterpiece. This volume contains some more ballads like ‘You Open My Eyes; with Pepper on soprano and the second part of Misreal Breeze. Highlight number two is the hard grooving version of ‘Dancing on the Flames’ where the whole band gives everything one more time.

These Tutu releases are all great to get, some better than others, but all great. And not very expensive either. The second volume does seem to be a little more rare. It took me a while to obtain a copy for a reasonable price. Both cd’s contain nice booklets with session photography and great liner’s by producer Peter Weismuller. In the booklet of the second volume he tell’s some interesting stuff about the tour. Very personal and therefore nice to read. Sound quality is also superb by the way. Very warm and all the musicians are caught very well.This is music that one could buy without hesitation. Probably the best Mal record available with Jim Pepper on tenor saxophone. And that says something.

Buy it at the TUTU website!

(1989) Barney Wilen/Mal Waldron - French Story ****

 

With: Barney Wilen (tenor & soprano saxophone), Mal Waldron (piano), Stafford James (bass), Eddie Moore (drums)
Record date: October 2,3 1989

Another encounter with a French saxophone player…. and it’s the great Barney Wilen. To get one misunderstanding out of the air here: French Story on Alfa Jazz, Pony Canyon and M&I and Movie Themes From France on Timeless are really one and the same session. What makes it so confusing is the different title, the different song titles for some of the compositions and the fact that one of the Timeless releases mistakenly notes 1990 as the year of record. But really: it’s the same music. I know it for a fact as I own both releases (the Timeless and the M&I) because I mistakenly thought there were two records to get.

On the music now. This is some of Mal’s most atmospheric playing. Wilen is of course known for his excellent contributions to Miles’ ‘Ascenceur Pour l’Echafaud record but also for being one of Europe’s most solid tenor players. It’s that indescribable ‘film noir’, smoky jazz bar, Paris grey skies mood that dominates this session. Just like Miles’ soundtrack. And both Mal and Wilen are very capable for creating such an atmosphere. The music is pretty laidback with Wilen playing very smooth and fine solo’s and Mal being solid as a rock in the background. But it’s also the simplicity of Mal’s own solo’s that strike. They have that very same feeling as on his trio effort for Timeless. Just a huge joy listening to it. And it’s not only the beautiful ballads that are having the right vibe. The more swinging efforts like Les Liaisons Dangereuses 1960 are just as great with a hard swinging Stafford James in the background. And Mal, he just swing’s equally as hard on it. My favorite track is ‘Quiet Temples’ which really is the alternative title for Mal’s classic ‘All Alone’. In fact it was released first under that name on the 1964 Powertree release. This one is one of the few versions I know that are not played solo piano. Wilen know’s exactly how to handle this very moody Waldron original.

With almost 70 minutes of playing time, this really is worth every single penny of your money. There are quite a few versions one could choose from: the Dutch releases on Timeless that contain some nice session photography. And there’s the Japanese original on Alfa Jazz, the reissue on M&I. I have the Dutch Timeless and Japanese M&I which are both great. But I think the latest UHQCD from Japan on Pony Canyon is the best choice sound wise. Not sure as I don’t own it. The vinyl looks tempting but it’s not only expensive: you miss 2 full songs two including the beautiful ‘Quiet Temples’. To add more to all the confusion in all the different releases: there are 5 different kinds of artworks. What a mess. And there’s the song title disagreement for track 4, 5 and 6. But don’t let is scare you off, When it’s a foggy Sunday morning or a rainy autumn afternoon: it’s this record you want to put on.

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

With: Thierry Bruneau (alto saxophone, bass clarinet, bassoon), Mal Waldron (piano), Carlos Barretto (bass), John Betsch (drums)
Record date: September 13 & 14, 1989

In September 1989, Mal played at a small jazzclub in Belgium called the Kave. He gave tons of performances in small clubs like that in Europe. It must have been a wonderful experience, drinking you beer and listening to the wonderful sounds from one of Mal’s groups. This time he teamed up with a true Eric Dolphy aficionado: French reed player Thierry Bruneau. This is only one of two records where he appears. It would soon be clear why….

Wholy crap, pardon my French and unkind words but I have serious doubts about Bruneau’s capabilities... I am open to lots of styles and on alto I could enjoy the sounds of Benny Carter as well as those of Noah Howard. But the sound of Bruneau sounds just awful to me He sounds like he sincerely does not know what he is doing, playing out of tune half of the time and with a very bad timing. He doesn’t seem to listen to a thing the band is doing in the background. Mal and his band are playing great (Mal is truly on fire on Bee Vamp) but it could not save the record. Thierry is probably at his best on bass clarinet which makes Bee Vamp the best track.

The compositions chosen here are all great. McLean’s ‘Melody for Melonae’ is one of my overall favorite jazz compositions. Having the opportunity to hear it played by Mal really excited me. But Bruneau spoils it with a very bad solo. He mostly reminds me of how I played myself when I was 12 years old trying to improvise with my alto on way to complex jazz pieces. Mal’s solo on it does make up for it and as I expected his soloing goes very well on this McLean classic. Betsch and Barretto are on fire here also which gives the music some extra spice and energy. It makes you wonder what kind of record this would have been, had it been recorded with Jackie McLean or Sonny Fortune.

Perhaps I am deaf or just don’t have a nose for hidden talent… I really wonder why Mal wanted to record with such a player. This record is really only worth it for Mal’s excellent playing and the very solid backing by Barretto and Betsch. It is not one of the easiest available records. It does contain a nice booklet with some photograph’s. I personally would not bother to get it. For me this is really to complete Mal’s discography.

(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) Tiziana Ghiglioni/Enrico Rava/Mal Waldron - I'll Be Around ***

 

With: Tiziana Ghiglioni (vocals), Enrico Rava (trumpet), Mal Waldron (piano)
Record date: July 25 and August 1, 1989

Mal and Italian female singers…. there was really something between them. This was not his first, nor would it be his last recording with one. This time it’s Tiziana who sings. Fortunately not Tiziana Simona but Tiziana Ghiglioni who really is better singer in my humble opinion. Italian trumpeter Enrico Rava also joins in with his warm and lyrical trumpet playing.

Composition wise there aren’t a lot of surprises. The repertoire consists out of standards only, most of them are affiliated with Billie Holiday in some way. Tiziana has a warm and very feminine voice. She has a soft voice and is pretty accesible in that way. Mal accompanies her in the way he can accompany a singer: thoughtful chords an backings in support of the singer. Rava interacts with both Mal as with Tiziana, playing sweet lines in the background an playing solid solo’s. In no place this is a shocking album, it’s all very straightahead and a bit predictable. My main problem with these kind of albums is that it seems to kill the creativity of the other band members. Both Rava and Waldron really just play nice but don’t have an opportunity to shine. They do have some nice moments together on ‘You Don’t Know What Love is’. Rava’s warm and lyrical tone blends very well with Mal’s moody backings. And Mal’s solo is beautiful here. Part from that, it’s a bit dull at times. That probably also has something to do with the safe compositional choices. It also misses a bit of emotional depth. Where Billie could really touch or thrill me, Ghiglioni can not.

But… she can definitely sing and has a pleasant voice. I would enjoy her presence if she was singing in a local restaurant or something. This one is in the 11cd Soul Note box but copies of the issue itself are also still widely avaible. Soul Note fails to mention that not every song is in trio form. There are also duo's and a solo.

 Definitely one of the better vocal albums from the ’80’s. Not bad but just not really my cup of tea.

(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.

(1989) Crowd Scene *****

 

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

Mal has had some very, very good quintets: with Lacy and Schoof, with Rouse and Shaw, but this one should not be forgotten to. In June 1989 Mal made two records with a quintet consisting of himself, Sonny Fortune on alto saxophone, Ricky Ford on tenor saxophone and a solid familiar rhythm section with Reggie Workman on bass and Eddie Moore on drums. Both Fortune and Ford are truly overlooked masters of their instrument. Sonny Fortune is best known for his appearances with Miles Davis’ fusion groups but also his spiritual postbop records for Strata East and A&M in the ’70’s. Ricky Ford is a highly talented tenor player that can swing hard but also dares to go more outside with his playing. He was so unfortunate to break trough in a period that jazz was becoming less and less popular. He made his best output for Muse records but quite a lot of that stuff has never been issued on cd. 

Choosing two saxophonists instead of one saxophonist and one trumpeter is a very refreshing idea. Especially because the styles of both Fortune and Ford have quite a lot in common. They are both players that are with one foot in the jazz tradition, but the other foot is really explorative entering some more free territories here en there. This album consists of two very long originals with plenty of space for all the players too really stretch out. The title song starts with Mal’s dark repetitive theme in the lower registers and Workman funk things up. After the theme it’s Ricky Ford that starts with one of his most intense solo’s I have ever heard. In 6 minutes he destroys everything around him with wild overblows and rolling clusters of notes. Mal’s solo is of great brilliance first leaving the theme and soloing in all the space he gets from Workman and More. Then he returns back to that dark funky groove mostly hitting the lowest keys swinging like a madman. Last one to be heard here is the great Sonny Fortune with his very pleasant tone. I am really a big fan of his first records like ‘Waves of Dreams’ and ‘Awakening’ that had a sincere spiritual feeling. He really plays that way here. He’s a skilled and technical player but also with a deep spiritual groove. Just like Ford he loses himself in the modal theme’s, playing more intense every minute as the music progresses. Around the 19th music it builds to it’s absolute climax. Some alto players really have a shrill sound, especially when they overblow but Fortune has not. His sound stays warm and very pleasant. The song is concluded with some excellent soloing by both Workman and Eddie Moore.

The second and last composition on the album ‘Yin and Yang’ is a little different with a more traditional postbop feel in the rhythm. The rhythm really is yin and yang here moving back and forwards between slow and very fast. It’s those sudden rhythm changes that make the music even more exciting. And another showcase of Workman’s incredible bass playing running trough all the scales. This time it’s Sonny Fortune who kicks off and again he doesn’t disappoint for a second. He has no problem coping with all the rhythm changes playing all kinds of licks without losing creativity for a second. His playing is raw, bluesy and dirty. It’s loud and in your face. Ford plays a little more subdued here but still really swings hard on the hypnotic lines provided by Mal and the rhythm section. Really the only downside of the album is the limited solo space Mal takes. But part from that this such a great record.

Together with ‘Where are You’ and the quintet recordings with Charlie Rouse and Woody Shaw, this makes up the first Soul Note boxed set. I’ve got that one but as the box is quite expensive and rare these days one could also just pick up the original issues. The LP mini sleeve in my box sets does not contain any liners whatsoever. Really a pity because I would loved to have known more about these fascinating sessions. Soul Note has really produced some awesome Waldron recordings. This is definitely on of them. What’s probably most weird is that is definitely not among Waldron’s best known records. Very, very unjust. Grab this one as soon as you can.

(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).

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

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

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

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

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

 

(1988) Tiziana Simona/Mal Waldron - Flakes *

 

With: Tiziana Simona (vocals), Steve Lacy (soprano saxophone), Enrico Rava (flugelhorn), Giulio Visibelli (alto flute)
Record date: August and September, 1988

There it is, another vocal album. This time with quite a line-up. Next to Waldron there’s Steve Lacy and Italian trumpeter Enrico Rava. And yes it was a challenge for me again to listen to it.

Tiziana Simona could sing a little bit, though her voice is not something very special. The starting Flakes and Little One are really turning me off instantly. She sings a little like Irene Aebi… Very different voice but that same theatrical voice which makes you almost think you’re at some cabaret. The thick accent almost makes me laugh, but not in a good way. She goes off key a few time also on this record. Rava is nowhere to be found, Lacy only plays a small bit. Visibeli takes a bigger role but doesn’t really do something special. Mal’s role is really mainly somewhere in the background with only a little bit of space to solo. Bo If Cinese, with Tiziana singing in her native tongue is a bit better. But Flowers for Albert is really making me nauseous again. I could hardly take it serious. Really big highlight of the whole album is Lacy’s intimate dueling with Mal on the beautiful ‘Left Alone’. Mal played that song plenty of times but as far as I know this is the only one with Lacy on soprano saxophone. Very unfortunate, but at 3:28 Simona starts singing and the magic is gone.

If you’re interested, you should definitely buy the original ITM issue. The ‘reissue’ on Phantom Sound and Vision is incomplete and shares space with another session with Kenny Wheeler and without Mal. Plus: it’s a CD-R. Big shame on them for selling it as a regular cd. For lovers of Lacy and Rava: their role on this album is very, very limited. Be warned.

(1988) Mal Waldron/Jim Pepper - Art of the Duo ****

 

With: Jim Pepper (tenor & soprano saxophone), Mal Waldron (piano)
Record date: April 5,1988

Apperently Pepper’s and Waldron’s first duet on ‘Mal, Dance, & Soul’ tasted of more. They decided to do a full duo album called ‘Art of The Duo’. And just like on that first session, the chemistry is definitely there. The album consists mainly of ballads with a few fireballs in between.

Not only in between because the opening ‘Ticket to Tokyo’ really sets things on fire. It’s a hard swinging original by Mal who really plays his ass off. Pepper keeps firing fast runs and loops but Mal could easily keep up with it. The whole composition has a fantastic kind of tension. The later live version at Utopia (there titled Ticket to Utopia) is even better than this one. The version of ‘Ruby My Dear’ is another success. Pepper shows he could easily handle a Monk composition like this. He sounds at ease and Mal’s backing is very tight. I like the little ornamentations around the higher notes that Pepper play’s. His overall sound is passionate but very accessible. He plays solo tenor saxophone on ‘Somewhere Over The Rainbow’. That really is a song that could easily get bogged down in goofy nonsense. But this version sounds really sincere. Pepper picks up the soprano on ‘Spinning at Trixi’ which does not sound as great as his tenor playing. But I am afraid I am making an unjustified comparison to Steve Lacy, but that’s just a whole other player.

Mal’s solos on this disc are solid as a rock. He sounds inspired by Pepper’s sounds. His handling of ‘Ruby My Dear’ is thoughtful, easy and advanced at the same time. As in every duet, Mal is able to feel every step his musical partner wants to take. The choice of composition is full of variety with originals by both Pepper and Waldron, but also compositions by Monk, Tadd Dameron, Cole Porter and Gershwin. A bebop classic like Dameron’s ‘Good Bait’ get’s a whole new sound. And Mal’s solo reminds some of Dameron here and there if you listen closely. You’re No Bunny Unless Some Bunny Loves You’ (fantastic song title) is a more free effort. Now, I am not averse to a little free playing but I can’t say I really dig it as I miss a little interplay.

As with most of the Tutu records: it’s recommended to buy the cd version of this. If you go for the vinyl version you miss 4 songs. One could probably live without an alternate take of ‘Somewhere Over The Rainbow’ but the rest of the songs is really recommended. It’s still widely available on the internet. Recommended for both fans of Mal and Jim. And also for people who just enjoy intimate sax-piano duo’s.

Buy at Tutu website!
 

(1988) Evidence ***

 

With: Mal Waldron (piano solo)
Record date: March 14, 1988

The recording year 1988 starts with a solo album by Mal. Evidence was recorded in March for the Canadian label Dark Light Music Ltd. in Toronto. Mal plays mostly standards here, quite a few that he has played before in all kinds of settings. Of course there’s some Monk too. This means there are not a lot of suprises. When Mal plays standards he always play them very well, but mostly in a very straightforward way. This one is not an exception. Probably the most interesting are the two Rhapsodic Interludes that contain some more improvisation and inspired playing by Mal. Here he seeks more freedom in his playing and there’s more thematic variety.

One could never call the music on these kind of albums bad but to say it’s very interesting: it just is not. My short review says enough. Only one version of this album was released in 1991. They go for around 10 euros but I had to wait for years before one popped up. For completists only.