(1987) The Super Quartet Live at Sweet Basil *****

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums)
Record date: August 28 & 29, 1987

Back in the USA, Mal was to perform at Sweet Basil during the Greenwich Village Jazz Festival. As the cover states correctly he really performed with a ‘Super Quartet’. He teams up with his life long companion Steve Lacy on soprano, but this time not in a duo setting. On bass is the incredible Reggie Workman and on drums we’ve got Eddie Moore who soon would be a regular performer in Mal’s groups. It resulted in one of the most intense and best recordings that Mal made in the ’80’s.

The compositional choices are great and make a lot sense. It’s 2x Monk and 2x Waldron. It starts off with ‘What it Is’ , a typical Waldron composition that fits Lacy very well too. With it’s dark funky loop it swings hard and remind’s a bit of Monk’s compositions. Lacy starts with an excellent solo still staying pretty much inside but exploring every single piece of space that’s to be found. He’s haunted by a dark playing Mal Waldron, a grooving Reggie Workman and a tight Eddie Moore. Though ‘Evidence’ was composed by Monk it sounds like a composition that is pretty much in the same vein as ‘What it Is’. And it has to be said again: nobody interprets Monk like Waldron and Lacy do, not as a duo but also not in a group form with such an excellent rhythm section. They got that same feeling for dissonant playing, humor, repetition and playfulness.

Side B is equally great or perhaps even better than side A. It starts with the Waldron classic ‘Snake Out’. Lacy and Waldron performed it a zillion times but if I had to pick a version it would probably be this one. It’s Reggie Workman’s berserk bass playing here that adds another great dimension. Lacy is all over the place here. He starts pretty tame but gets wilder and wilder. He is squealing, growling and screaming. Then there’s Mal with a great and long solo playing around the theme, moving away from the theme and moving closer towards it. His interplay with Workman is almost like telepathy. But one must also not forget Eddie Moore who really is the backbone of the band. Solid as a rock he forces the other band members to give everything they can. But also playing an impressive solo with not much morethan one cymbal and his bass drum. After all that primitive energy the closing ‘Let’s Call This’ is more than welcome. It’s far from boring but a little more gentle.

The music was brought out in 4 different versions from Japan, Germany and the USA on three different labels. The original Japanese ‘Paddle Wheel’ vinyl sounds pretty good and there are plenty copies to be found in online stores. What really surprises me is that for example on RYM, only three people have voted for this record. I expected this record to be well known for it’s personnel and availability. I also wonder if there’s more music recorded that is not on this release and still on the vaults somewhere. Four songs in two days is very little. More music must have been played and recorded…. Who knows. If you do not know these sessions yet get it as fast as you can in any format. This is great music!

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

 

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

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

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

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

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

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

 

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

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

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

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

(1983) You And The Night And The Music ***1/2

 

With: Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: December 9, 1983

On the very same day the Satie tribute was recorded, the trio recorded another album for a different label. It’s titled You And The Night And The Music. It’s an album full of jazz standards and just one Mal original. Mal recording standards could be very interesting but also a bit dull at times. It gives him less space to stretch out and seems to limit his freedom a bit. With this record, it’s a bit of both. There are a few very interesting parts and also some that are a little boring probably. There is not a bad note to be found of course but one wonders what this group could have been capable of playing some of Mal’s originals or perhaps Workman’s compositions. It would probably have lead to a more interesting record.

Every version of every standard is very solid. And like Mal ’81 and Run About Mal with that other trio, this is very pleasant music. Even on more mainstream music like this both Workman and Blackwell are still able to find freedom in all the chords. The interplay between the musicians comes natural: the guys probably did not rehearse at all. The most beautiful song and best of the album is the version of ‘Round Midnight with Workman using his bow to provide a very deep grumbling sound that really ads something to this classic composition. Another one is the title song with Blackwell’s multi rhythmic playing and a great drum solo. The closing Waldron composition is also very beatiful. Dedicated to his mother who died in 1979. According to Mal she was a warm but very strict person. As stated before: some pretty great music but musicians of this level are definitely capable of more. They probably should have taken a bit more time.

Plenty of reissues are still avaible. The Japanese are all on Paddle Wheel/King. The US is on ProJazz, a label unknown to me. I have got the cd reissue on Paddle Wheel Japan from 2005. Great sound, basic packaging but with English liner notes! Liner notes that start with a pretty false statement: that Mal’s music became milder after his move to Europe…. Probably a mistake in translation? As it is a bit scarce in both Europe and US of course there are only Japanese sellers trying to take advantage of it asking ridiculous prices for it. As the liners are not essential one should probably grab the cheapest. Not a very challenging album but more like a pretty great jam session.