(2002) Archie Shepp & Mal Waldron - Left Alone Revisited *****

With: Archie Shepp (tenor saxophone, soprano saxophone, vocals), Mal Waldron (piano)
Record date: February 9 & 10, 2002

So there it is then: Mal’s last record. Still in Paris he teamed up with legendary saxophonist Archie Shepp for 9 songs that were all more or less affiliated with Lady Day. Mal was Billie’s last pianist and lots of people still remember him that way. He sometimes admitted he was getting a little tired of the endless questions about his time with her. In every interview the first question was always: so how was it working with Billy Holiday? Mal was indeed an excellent last pianist to her and he was also a personal friend (Billie is godmother to his daughter Mala). But as this whole blog proves: Mal has moved on since then and did lots of other interesting things.

Yet Lady Day always remained a special place in his heart. Her death devastated Mal as he always looked up a little bit to her. He saw her a bit as a mother figure and loved working with her. Later he stated that if Bilie would have stayed in Europe in 1958 she would probably still be alive. I do not know about that but he sure had a special bond with her. After her death he regularly revisited compositions he had written with or for her. One of Mal’s key compositions was written with Billie on an airplane. Mal wrote the music, Billie did the lyrics. That composition was ‘Left Alone’ which was also the title of his Bethlehem album with Jackie McLean. And it also gave it’s title to his very last album.

This date really remains one of my all time favorite records by Mal, if not one of my very favorite jazz records. The chemistry with Archie Shepp is immense. He had worked before with Mal, not on official records but on gigs and there are several bootlegs circulating. And of course the recording with Tchangodei which was an official one but is pretty rare. Shepp’s raw and bluesy lyricism fits so incredibly well with Mal’s deep emotional statements on the piano. It’s like they activate the most lyrical part in each other and this whole music breaths nothing more than pure feeling.

There are the playful almost humorous phrases on standards like ‘Nice Work If You Can Get It’ or the vocal part on ‘Blues for 52nd Street’. Shepp is of course no nightingale but his raw bluesy voice suits excellent here and sounds full of joy and feeling. There are the more laidback statements on ‘Easy Living’ and ‘When Your Lover Has Gone’ that shine from pure excitement and joy. Shepp’s playing is very, very bluesy. Almost in a dirty kinda way. His tone is thick, raw and warm all at the same time. And Mal’s playing is at ease but oh so thoughtful. He carefully weigh each notes and then just let them flow out of his hands. But really the highlight of the album and also of Mal’s career is the most beautiful version of his composition ‘Left Alone’ that was ever put on record. Shepp’s solo goes right trough your bones and hit you in the heart. The sound by this duo here has such a sad feeling, but is is one of absolute beauty, Mal’s solo strikes me the most. It has this very definitive sound, like he knew this would be one of his last statements on record. And also like he is at peace with the life he has lead. Some kind of last statement. It still gives me goose bumps.

Mal had recorded quite a lot of records for Enja but it had been quite a while since he last recorded directly for that label. Yet he remained always affiliated with it trough TUTU records of course. This record is widely avaible for low prices. It’s essential and definitive Mal. It’s also essential Shepp. These are some very great last words by this remarkable pianist.

Where's the love that's made to fill my heart

Where's the one from whom I'll never part

First they hurt me, then desert me

I'm left alone, all alone

Where's the house that I can call my home

Where's the place from which I'll never roam

Town or city, It's a pity

I'm left alone, all alone

Seek and find they always say

But up till now it's not that way

Maybe fate has let her pass me by

Or perhaps we'll meet before I die

Hearts will open, but until then

I'm left alone, all alone

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

 

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

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

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

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

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

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


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

(2001) David Murray/Mal Waldron - Silence *****

 

With: David Murray (tenor saxophone, bass clarinet), Mal Waldron (piano)
Record date: October 5 and 6, 2001

Oh yes another duo album and God it’s great. In a recording studio in Mal’s hometown Brussels he teamed up with David Murray. They are both prominent figures in the jazz scene, could play inside as well as outside the boundaries of contemporary jazz and both have a thing for the blues. Murray also recorded lots of albums: just like Mal, David was not afraid to put out 3 or 4 albums a year. Yet their path’s never crossed and they also do not have a lot in common when it comes to their usual sideman. And where Mal is known for his minimalistic approach, Murray is more for his furious attack with hundreds of notes a minute. But it was a very good decision to get into the studio and record something as their style tends to blend very well together. And I must say: their selection of compositions is just lovely.

It all starts with the beautiful tribute to Cecil Taylor: ‘Free for C.T’. Do not expect anything in the style of mr. Taylor: it’s a truly beautiful ballad. But there is nobody better capable of stretching out on a ballad like this as David Murray pushing the music in and out. He starts with a warm tone in the lower registers of his bass clarinet. As the music progresses his playing get’s more intense reaching climax after climax and entering the highest registers of his instrument. Yet is very much in control of himself, partly due to Mal’s excellent accompaniment. Mal’s solo here is one of my very favorite ones: it really is all what music should be about. Of course he was getting a little older so do not expect super fast runs. His solo is a vulnerable expression of the deepest parts of his soul. It’s just like every note fits perfectly. For some reason Justin Time credits this composition also to Max Roach but part from his appearance on the 1995 SLAM encounter I do not see the connection.

The much shorter follow up title song was written by Murray and is in a more free form style. It’s here where Murray truly releases all his anger, his furious lines that are quite the opposite of the title: Silence. ‘Hurray for Herbie’ is suited so well for his playing. Murray only adds up to the tense feeling this composition already have. It really sounds like a fight and Murray is only getting faster and faster, higher and higher with intensely hard overblows with a big fat vibrato. Then there is some space to breathe with an excellent version of the jazz standard 'I Should Care'. Just pay attention to how Mal is playing in the background with thoughtful details and playing the theme with his right hand. And his chordings always sound like a warm bath where you could just glide in. 

And then there is another pleasant surprise. Jean Pierre: a composition written by Miles Davis in his fusion/pop period. Ain’t nothing fusion going on here but it is pretty funky. It has a more laid back feeling and both Waldron and David take their time to fully stretch out on it with excellent interplay and ditto timing. Mal’s solo sounds happy and very bluesy. The treatment of ‘All Too Soon’ is romantic and warm. With lot’s of false air coming from Murray’s horn. Now if this was everything it would already have been a five star album. But Mal and David decided to keep the best thing for the end of the album. The 14 minute long version of Soul Eyes, with Murray on bass clarinet is stunning. I could use hundreds of more superlatives but one should really listen for themselves. This is what jazz music is about.

This fantastic album was released posthumously after Mal’s death. Justin Time brought it out in 2008. Mal played a lot of great duets and this is definitely among my very favorites. It’s also my favorite David Murray record, and I like his music a lot. Copies are still widely available. This is essential late Mal Waldron playing.

(1995) Maturity 3: Dual ****

 

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

The same day that they recorded 'Bit', they also made this record. 4 days after his birthday Mal teamed up with Japanese drummer Takeo Moriyama and played two long sessions in Studio F with a live audience present. The 'Bit' record was already rated highly by me, and this third part of the Maturity series is also very interesting.

Just like the 'Bit' record this was recorded as a suite. But here the tracks are partitioned in 7 parts. Yet every composition flows over in another one. All the music was improvised on the spot and that leads to some very exciting and creative music. Both Mal as Takeo play on a high level of energy here and the music is pretty intense here and there. Though Mal became a little milder in sound in the 1990's this is a pretty good example of his capabilitly to explore more free territories. His attack is highly percussive and he uses big clusters of notes here and there. But the music still sounds set in structures as from the improvisations, there are still themes in the music that Mal regularly visits. And part from the high energy parts there are also some beautiful calmer bits in the music that are of equal interest.

Just like the other Dan release the music here is all about the interaction between drummer and pianist. And Mal and Takeo really feel each other and are able to communicate in an almost telepathic way. Also Moriyama is a very pleasant drummer to listen to as he works his ass of but still in no way tries to overrule Mal. He's a very balanced player, never too loud but definitely not in de background only. He just adds the right things to Mal's lead. This was an excellent duo.

This record was released in 1996 for the first time by Dan or Tokuma Japan. It was made part of the Maturity series in 2003. I can't speak for the 1996 release but the Maturity is beautiful. It's warm and balanced in sound and the photographs in the booklet are truly beautiful. Of all the Maturity releases this one seems to be avaible a little better. Highly recommended music and perhaps a good introduction to the more rare 'Bit' which is even better.

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

 

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

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

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

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

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

(1998) Mal Waldron/Nicolas Simion - Misterioso: Live in Zürich ****

 

With: Nicolas Simion (tenor saxophone, soprano saxophone, bass clarinet), Mal Waldron (piano)

Record date: June, 1998

This is Mal's last recording with the highly talented Romanian saxophonist Nicolas Simion. This time it was not recorded for TUTU or perhaps it was never released. The Romanian label 7 Dreams released it in 2014 which makes it the last Waldron release on cd. It's a live set that was recorded in Zürich, Switzerland with a fantastic selection of compositions. There's a Waldron classic like 'Seagulls of Kristiansand', nice interpretations of Monk theme's, a beautiful version of 'Good By Pork Pie Hat', a remake of a classical piece by Brahms and a funky but no fusion version of Miles Davis' 'Jean Pierre'.

The Monk tunes work out really well. Mal's thoughtful and detailed playing in the background with his excellent yet pretty loose timing and Simion's muscled tone with endless loops of alternating notes floating on it. Mal's variation on a theme from Brahm's 3rd symphony is also excellent. It has this sad feeling over it that is interpreted in a very gentle way by Mal. Don't know how this is felt by people that like to listen to classical music. Perhaps it's blasphemy but I have a feeling that Mal's playing of classical music is pretty sincere. I like it anyway. 'Mood for Eric' is probably the most free and out there effort from the concert. Simion sticks to bass clarinet here paying a tribute to the great reed player who died so young. Interesting to here how Mal is still capable of leaving more tradtional jazz patterns behind. Mal really is a very bluesy player but has no difficulty at all switching to other forms of melody.

There's also some more space for moments of beauty. 'My Duchess' is almost getting a little too sweet but bent into a more sincere emotional mood. 'Seagulls' gets a nice treatment with Simion on soprano saxophone. His soloing is excellent but it's also Mal's beautful floating piano playing in the background that is impressive. His solo statement on it is just stunning. Playing mostly with repetitive ideas and silence he says more than a thousand words. The closing funky tune 'Jean Pierre' which Mal would play more than only this time is very refreshing.

Being released on a small Romanian label, with a reed player that is not very well known: these kind of records are very much overlooked. Unfortunate as it's not really stimulating for releasing any new music. This record is very much worth having and Simion deserves wider recognition anyway. One should be able to find a copy somewhere on Discogs or similar websites. Recommended stuff!

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(1997) Soul Eyes ***1/2

 

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

Record date: August 15 & 16, 1997

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

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

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

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

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

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

(1995) Mal Waldron/Nicolas Simion - Art of the Duo: The Big Rochade ****

 

With: Nicolas Simion (tenor saxophone, soprano saxophone, bass clarinet), Mal Waldron (piano)
Record date: December 19, 1995

For his last record for the great record label TUTU, Mal encounters Roamanian saxophonist Noicolas Simion in a duet form. Simion became the replacement fo Jim Pepper, who died so young back in 1992. Mal was a bit skeptical at first but after playing a few times with Simion he was convinced this could work out. And it really did. Part from the fact that Simion really is a talented musician, there’s obviously lots of chemistry between the two players. Something that really proves that music is a universal language when one looks at the completely different backgournds of the musicians. An Afro-American, New York born piano player from the golden decades of jazz. And a much younger saxophonist that grew up in one of the most repressive communist countries of Europe. Much as their background differed, their mutual understanding is obvious in a musical but also a personal matter.

Mal is one of the best duo pianists one could think of. His very modest but solid background playing must be the dream of every saxophonist. And he did make a lot of those duo records. With singers, bassists, saxophonists and even drummers. Part from the excellent accompaniment here there’s also lots of space for Mal himself to stretch out. His playing has become a little slower but goes even deeper on an emotional level. The compositions played here are really a mixed bag in a positive manner. There’s a great version of Monk’s Dream with thoughtful interactions between the duo and an excellent solo by Simion. There are some more free efforts like Dinasour’s Dispute with Simion on bass clarinet and ‘Search For Euricdice’ where he plays the soprano. But also some very moody originals like the opening ‘Open Windows’, the beautiful ‘Song for Leo’. Those were composed by Simion and have a mysterious Slavic feel over them. And also the very dark ‘From Dark into Light’ which is a terrific solo piece by Mal himself.

What is making this encounter even better and more special is the experimenting with the roots of Simion's music. The obvious Balkan influences give the music even more energy. A different kind of energy that is very interesting to hear. 

Just like all the other TUTU discs this one is easily recommended. Not the most easy one to get a hold of but patience will be rewarded. If a copy pops up at Discogs one could buy it without hesitation. TUTU did a great job capturing such beautiful music. And they released in a beautiful way with a nice booklet with great liners and photography. They should do a TUTU boxed set!

For sale at Nicolas Simions shop!
 

(1996) Roberto Ottaviano/Mal Waldron - Black Spirits Are Here Again ****

 

With: Roberto Ottaviano (soprano saxophone), Mal Waldron (piano)
Record date: January 28 & 29, 1996

From 1996 Mal became less productive in the studios. And yes he was getting older but he maintained an extensive and probably exhausting touring schedule. But were never signs of fatigue in his playing and his work remained interesting and fresh till the very last recordings he made. Most of his last recordings consist of small group recordings, preferably duets. On this occasion he teams up with Italian saxophone player Roberto Ottaviano who sticks to soprano saxophone for the whole record. The two men recorded before on the Femi Bellomo record, which I really did not like. Here, Ottaviano’s playing really matured and he became a pretty well known figure in the Italian jazz scene.

Ottaviano has a very, very nice way of playing the soprano. Very nice but not smooth in the sense of: a little to sweet. Nor is he an advanced or experimental player like Steve Lacy. The way he plays the soprano reminds mostly of a singer, like George Haslam did on his first record with Mal. And I have to say: I like it very much. I don’t know who had selected the compositions for this record but they fit like a glove to both men. The opening ‘Memories of You’ is incredibly beautiful and so are some of the other standards like the gently swinging ‘Come Sunday’. The way Ottaviano’s soprano dances on Mal’s sweet but deep chordings is very nice to hear. But there’s also enough interesting details in Ottaviano’s playing that keeps your attention with the music. The small ‘decorations’ around some of the notes or the sometimes humorous interplay with Mal: it’s all very thoughtful. And Mal’s playing really became different during this period. It became softer, gentler and perhaps even a little warmer for as far that was even possible. But it’s never boring: it sounds like something very definite and mature. With a deep layer of feeling, emotion and the blues. And part from all the laidback playing there’s also some creative stuff. Like uptempo ending of ‘A Night in Tunisia’ or the dazzling and tense version of ‘Lonnies Lament’ which really is one of my favorite Coltrane compositions. It contains a hypnotizing solo by Mal.

This is a very accessible record, suited best for a lazy Sunday morning or afternoon. A prime example of two experienced gentleman playing a set of standards in a warm yet refreshing way. It doesn’t contain the tension or excitement of the Waldron/Lacy duo’s but this is just music for a different kind of mood. Recorded for the Japanese DIW label in 1996, this is a cd only release. A nice digipack or even a small gatefold digipack. Plenty of copies for sale on Discogs for reasonable prices (20 euros for a Japanese cd is reasonable to me). And of course some lunatics like the infamous Kupiku asking 40 to 60 euros for it. Highly recommended stuff!

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

 

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

Record date: September 20, 1995

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

 

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

 

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

 

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

 

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

 

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

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

 

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

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

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

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

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

(1995) Mal Waldron/George Haslam - Two New ***1/2

 

With: George Haslam (baritone saxophone, tarogato on #2,3 and #8), Mal Waldron (piano)
Record date: April 20, 1995

A second and on record also the last collaboration with the English reed player, George Haslam. Both guys had a cancelled tour date together and decided to make another record for Haslam’s ‘SLAM’ label. The results are engaging though not as great as their first encounter. But there’s enough beauty to dig down here.

Some of the more standard compositions here miss a little inspiration. It’s like they just play it off their sheets without even really trying to do something with it. But there’s some more exciting work as well such as’ One for Steve’ where Haslam plays the Hungarian traditional instrument called a Tarogato (Brotzmann blows that thing to once in a while). It actually sounds pretty much like a soprano saxophone but has a little more exotic feel. The Lacy influence is evident here, like Haslam himself tells in the liner notes. There’s enough chemistry and unexpected twists to keep it exciting.

This album also contains the beautiful Japanese traditional ballad called ‘Sakura’. It’s one of the most beautiful pieces Mal has played in his career and might as well have been his own composition. Is dark, deeply emotional with a slight mysterious atmosphere. Mal remains solo on it.

Like most of the SLAMS, the sound is pretty good, the packaging a little basic. There are some short liners by Haslam himself. It’s just how it looks like. It’s still easy to obtain on the internet for a very decent price. But I’d go for their first release instead. Definitely not bad, but not essential either.

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

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

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

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

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

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

(1994) Mal Waldron/George Haslam - Waldron/Haslam ****

 

With: George Haslam (baritone saxophone), Mal Waldron (piano)
Record date: February 24, 1994

Mal had already recorded for Haslam’s ‘SLAM’ label with Lacy. ‘Lets Call This…Esteem’ was brought out on that label. In 1994 he made his first duo recording with Haslam himself. Haslam is a reed blower (playing anything from a clarinet to a tarrogato) from the United Kingdom. He’s pretty adventurous in not only his playing but also his touring. He has played all over the world, from Mexico to Hong Kong and anything in between. He has played more contemporary jazz styles but also worked with quite a few people from the freejazz scene like Evan Parker, Steve Lacy and Borah Bergman.

For this session Haslam sticks to baritone saxophone and that’s an excellent choice. Mal has played so many duets with so many saxophonists but never with a baritone aside him. It work’s out very, very well. The dark but very warm tones from Haslam’s big baritone sax almost float on the meandering chords and notes from Mal’s piano. As the liner notes by Brian Morton state: it’s like Mal is still accompanying a singer in his mind, and Haslam sounds like he is singing trough is horn. I am truly pleasantly surprised by the warmth and subtlety from Haslam’s baritone sax. Without overblowing his horn or getting into anything extreme he still manages to remain an interesting listen for the full 70 minutes.

The standards here are all treated with much elegance and hearable joy. Mal sets in some chords and George just really takes it from there swinging gently. And Mal has that same gentle swing in his soloing on these jazz standards. There are also two more free form pieces which are more free improvisations than true compositions. The 18 minute closing ‘Motion in Order’ is one of them and sets these guys in another perspective. The interplay of the jazz standards really changes more into a dialogue between the two as they closely listen to each other and interact. Though free of any true structure, the music is far from chaotic or anything like that. In fact: Haslam really remains that sweet tone of his most of the time. But the music does leave the more contemporary side of jazz music and dares to push the boundaries of it. It’s an exciting piece.

Mal himself shines really with his astounding solo variation on a Brahms composition. Yet another example of how his style blends so well with the old classical composers. He treats the theme gently and beautifully but it’s in the solo part where he truly shows off.

These SLAM cd’s are pretty easy to buy anywhere on the internet. In fact, I think it is still in print. The sound of them is pretty good, the packaging a little basic. This record does contain some nice liner notes by Brian Morton, on of the authors of ‘The Penguin Guide to Jazz Records’. Definitely worth having, especially if you are fond of Mal Waldron duets.

(1991) Cristina Mazza/Reggie Workman/Mal Waldron - Where Are You ***

 

With: Cristina Mazza (alto saxophone), Reggie Workman (bass on #A1, A2), Mal Waldron (piano on #A3, B1, B2, B3)
Record date: probably somewhere in 1991

Another record with an Italian woman. But Cristina Mazza ain’t no singer, she plays alto saxophone. She is mainly active in the Italian scene but she sure ain’t no Candy Dulfer. Mazza plays more avant-garde oriented jazz and is not afraid to make crossovers with a genre like heavy metal, like she did once with John Tchicai on the ‘No Trespassing’ album. Definitely not a boring lady. Also joining is the great Reggie Workman, who fortunately joined Mal on so many occasions. On this record he does not play with Mal. And of course there’s Mal himself who was never afraid to play with new talent or experiment with new styles. But he does not play on all the selections, just a few of them.

The music played here is a little hard to describe. Jazz or jazz structures are pretty far away. In a way it really is free improvisation on some of the selections. But you don’t have to expect loud and angry freejazz. Mazza has a pretty warm and sweet tone. It’s more like Neo-classical music with an avant-garde twist. The less accessible kind. The first two selections are really in that style. It’s a kind of dialogue between Mazza and Workman. And though both play beautiful, after a few minutes it really starts to bore a little. It just misses a groove, a theme and some direction. But they do blend pretty good. It’s not like they are on some different planet. But I just don’t really understand the planet that they are on. On the third track Mal joins for a duet with Mazza. Again it’s mostly free improvisation and Mal mostly follow’s what Mazza is playing. It is again all pretty abstract but he loses some of that abstraction in his own soloing which is beautiful and contains some of the warm energy this record really needed. There’s some blues in there also which is pretty refreshing to hear. This is a composition by Ornette Coleman but it’s pretty hard to get that out of the music.

Side B is a little more structured. The starting duet between Mazza and Waldron is clearly written by Mal, hence the brooding and dark atmosphere in it. But again the total arbitrariness in Mazza’s playing fails to impress. I really miss some idea’s here. The solo piano part by Mal is definitely the best of the whole album. His hot driven almost panicking piano style with it’s constant repeating phrases make a true first statement of feeling and emotion on this record. Of course Lacy’s ‘Blues for Aida’ is also more structured but it really misses a key ingredient…. Lacy himself. Mazza’s playing is ok but could not compare that of the soprano master himself. The closing song is a little unnecessary.

What I mainly miss here is the deep soul that Mal’s records mostly contain. I miss the freedom that he could get out of structured music. I miss some blues All of the musicians play pretty well an Mazza is no exception. But I just miss the statement she wants to make with this kind of music. 

There is no source on the internet nor on the LP itself that says anything about a record date. Only that is was released in 1991 on the pretty obscure Il Posto records. 1990 was the year that Mazza’s career started of so it was probably recorded in that year or in 1991. For some weird reason Il Posto released most of it’s stuff on LP and did not issue it on cd. That was pretty unusual in those years. The sound quality is not so great for something that was recorded in those years. It’s still pretty easy to obtain on the internet. One has to pay around 30 euros at least for it. If you ask me, there are better ways to spend them on another Mal record.

(1992/1993) I Remember Thelonious ***1/2, Japan Dream ****, Let's Call This Esteem ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: June 28, 1992

Mal and Steve were affiliated with each other trough their whole life. From their first meeting in the late ’50’s until Mal’s death in 2002. And Steve was to die only a few years later unfortunately. They played in all kinds of settings: duo’s, trio’s, quintets and sextets and made lots of records together. In the years 1992 and 1993 3 of their live encounters were recorded. It made sense too me to merge them into one review as they have the same tendency. But don’t get me wrong, every single one of these records is something different. And with all their duets recorded I could still say: you could buy every one of them without hesitation..

This first concert in June 1992 was recorded at The Jazz In’It festival in Vignola in Italy. Both Mal and Steve had a special relationship with that country and the love was completely mutual. They recorded lots of records there, both live as in the studio. And the idea of the duo came from an Italian producer according to the liners of ‘Hot House’. This concert was made in honor of Thelonious Monk, the pianist that is probably the biggest influence on both men. They played a lot of his tunes troughout their career but this is the only album that is completely filled with his compositions. All but one: I’ll Keep Loving You which is by Bud Powell of course.

From all of their records together this is probably the one I found least interesting. That still means it’s very good because these guys never made a bad or uninspired record. But compared to other work it’s definitely not their best. They know like no other how to play a Monk tune and some of their performances of them are among the very best I know. But they are especially nice as one of the songs on an album. I miss a composition by Mal or Lacy here as they are usually more adventurous and provide a little more freedom. The playing here is very subdued and the version of ‘Round Midnight for example misses that vibe that their version at the Bimhuis had in 1982. It’s like they just didn’t really had their night.

Overall their playing is still great and this a very accessible record to listen to and a must have for every Monk fan that’s around. It was brought out on the Italian ‘Nel’ label and is avaible for a very low price. It was reissued by Jazzaround with hideous artwork. The original Nel release comes with an extensive booklet but all liners are in Italian. Really, if you are able to buy it for the 3 euros some sellers are asking for it: just get it.

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: November 1, 1992

Where the Italian festival concert was one of their more accessible efforts, their concert in a small jazz revenue in Saitama, Japan is a little more exciting here and there. That is partly because of the compositional choices with again some work by Monk but also some originals by Mal and Steve themselves. ‘Monk’s Dream’ starts off pretty abstract but slowly merges more and more into the theme we all know. Yet these guys did get a little milder as their age progressed. ‘Powell’s ‘I’ll Keep Loving You’ is of great beauty like all of their versions together. On ‘Blues for Aida’ , it’s Lacy’s sad sounding soprano that gives the song an extra emotional dimension. Backed by Waldron’s subtle chords in the background it creates a sad soundscape. The album has an ideal balance in more straightforward compositions and the more abstract or tense one’s like Lacy’s ‘Blinks’. Some of the best moments are in Lacy’s ‘Blues for Aida’ with a beautiful solo by Mal who is touching his keys so gently the piano almost whispers the notes. As he drops out completely it’s Lacy on his own and that always works beautifully.

Released on the pretty obscure Japanese ‘Egg Farm’ label it’s not one of the most easy to get records. The sound is great but expect nothing special from the packaging. Those who want to get to know their work should probably start with the more known records. This is a very good record but not their best. If you’re a fan of this duo it, you’re collection could not lack this one.

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: May 16, 1993

Recorded in the next year during their first UK tour together. This one is my very favorite of the three with 78 minutes of astonishing music going from beautiful soft dialogues to intense free playing. It also has the ideal balance in compositions with some by the Mal and Steve themselves but also the known works by Monk, Strayhorn and Ellington. The concert was initiated by British reed player George Haslam who run’s SLAM records for which it was recorded. Mal was to record two duets with him in the next years for his label.

Now, this disc is already interesting for their unique outing of Duke’s beautiful ballad: ‘In a Sentimental Mood’ which is played in their own thoughtful way. Lacy run’s smoothly over the soft backings provided by Mal. There’s another tense version of their classic ’Snake Out’ where Lacy has the chance to go a little bit more out. Big surprise is when it slowly merges into Free for C.T. which is not mentioned in the album information. A mind-blowing version of ‘Blues for Aida’ where Steve is partly on his own again: a very deep listening experience. One could easily loose sense of direction without any company but Lacy never does, thinking carefully of every step he takes. Mal is also on his own starting with dark ominous tones from his piano. Just like Lacy he only plays a few notes but you just don’t want him to play any more. And as the icing on the cake a duo version of Mal’s funky ‘What it Is’ which works out fine without a rhythm section to set a funky beat.

This is Lacy and Waldron at their best with that chemistry that is almost like an indescribable thing but is always there. One of their essential records, do not hesitate to buy a copy for the ridiculous low prices on the internet. Do not expect anything from the packaging: SLAM’s records look a little like CD-R’s in booklet quality and no liner notes or whatsoever. But the music makes more than up to it. Essential stuff!

(1990) Steve Lacy & Mal Waldron - Hot House ****1/2

 

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

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

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

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

(1989) 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. 

(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) 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!