(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.