(1995) Mal Waldron & Steve Lacy - The Mighty Warriors ****1/2

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Reggie Workman (bass), Andrew Cyrille (drums)
Record date: 30 september, 1995

I can't believe how happy I am being able to write something for my Mal Waldron blog again. Because that must mean there's a new recording out in the wild! That makes me want to thank Zev Feldman first as he seems to be the one responsible releasing another Mal Waldron release. It took a while but Mal finally seems to get some attention with the Grenoble Concert released two years ago and a Craft reissue of Mal 2. But this release really made my heart beat a little faster, and that's all thanks to the lineup. Mal and Steve Lacy haven't made any bad records together. But add one of the best possible rhythm sections behind them, and it can only be a success, right?

In 1995, Mal turned 70. He toured the world and recorded several albums during that tour in Japan and Europe. He collaborated with Jeanne Lee, Takeo Moriyama, Max Roach, and this group as well. At the Singer in Antwerp, he played a duet with Max Roach, which was later released on the Slam label: Music in the Mth Degree. An excellent live recording spanning 2 CDs. Mal was in top form during this tour. The duets with Takeo Moriyama are also essential, but strangely underrated (probably because they are difficult to obtain).

During the live concert on September 30, 1995, in Antwerp, the band chose a number of Waldron/Lacy classics and some lesser known compositions. The band kicks off with the wonderfully brisk 'What It Is'. It has been recorded by these gentlemen before, but with Eddie Moore on drums instead of Andrew Cyrille. Everything works in this combination: Mal producing dark heavy clusters, Reggie Workman dancing over them, and Lacy beautifully soloing on top. Cyrille ensures that everyone stays in their place. This is followed by another Waldron/Lacy classic: Monk's Epistrophy. Short but powerful: it seems more like an intermezzo, but one that dares to grab the listener's attention. Monk is in the blood of both Lacy and Waldron, coming out in different ways, but the combination with each other is sublime. Then comes a composition by Steve Lacy that has not been recorded by these two before. ‘Longing’ fully breathes the DNA of the soprano master. It has a similarly simple but enormously catchy theme as the compositions that came from Mal's wrist. CD 1 closes with 'Monk's Dream'. After a wonderful solo by Lacy, it's time for Waldron to shine again in simplicity. It's fantastic to hear how he can pay tribute to Monk, revive Monk without actually sounding like a false copy of him.

CD 2 starts with somewhat freer tones. Yet, at its core, it remains structured, and it's the interaction between the four that also makes Reggie Workman's composition a success. It yields the more intimate pieces of the concert, such as a delightful duet between Steve Lacy and Andrew Cyrille. Then comes an equally intense duet between Mal and Reggie Workman. In his own way, Mal announces his forthcoming ode to Cecil Taylor by seeking more freedom and then repeatedly returning to his own familiar style. This over 25-minute track is one of the most interesting of the entire recording. 

But this applies to the entire second part of the concert. The second suite starts with the always intense 'Snake Out', the namesake of the blog. I think I must have about 20 different versions of this from these gentlemen, but even in this one, I hear new things. It never gets boring! It encompasses all the chemistry these musicians can have: it's dark, warm, ominous, exciting, raw, energetic, playful. It's spending minutes on the edge of your seat. I feel jealous of everyone who was in the audience. The interaction between the musicians is from another planet. After a drum solo by Cyrille that leaves blisters on your buttocks or ears, the session is beautifully concluded in a sober style by Mal with his ode to Cecil Taylor. The entire composition has little to do with Mr. CT's free play, but a more beautiful tribute one cannot receive. It is a direct insight into Mal's musical soul: tearfully beautiful.

In summary, this is a delightful record that easily fulfills all expectations. The live atmosphere enhances the listening pleasure even more. It's wonderful to listen for an hour and a half to such legends, each with their own stubborn sound. They are all stubborn, but it all comes together beautifully. And that's how this band sounds like no other: together! Everyone gets plenty of room to solo: the record could just as easily be under Cyrille's or Workman's name.

Elemental has done a beautiful job with it. The booklet contains interviews and essays with, among others, Vijay Iyer, Evan Parker, Hiromi Waldron (Mal's last wife), Zev Feldman himself, Reggie Workman, and Andrew Cyrille. And more besides. The interviews with Workman and Cyrille are a joy to read. These men had so much fun playing together and touring together. You can see it in Tom Overberghe's beautiful documentary: the joy radiates from them. In all the stories, it's clear that there is a common image of Mal: he was calm, reserved, friendly, warm, and had a great sense of humor. Overall, the stories don't provide much new information. Adam Shatz's essay is a repetition of the stories that come up in every booklet about Mal. But it doesn't matter: Elemental has released a fantastic record. The sound is everything you'd expect from a live recording from the 1990s: delightful. Initially, I went for the CD version myself. I'll wait for the reviews before I go for the vinyl. In whichever format: this record belongs in every serious jazz collection. And if you're a fan of any of these four legends: then you must have it. This record gives you another good reason to watch Tom Overberghe's beautiful documentary. If you want to know what this record entails: skip to 8:38. What wonderful guys!

Buy your copy here (or somewhere else)

(1994) Chuck Henderson - Black Issues ***

 

With: Chuck Henderson (soprano saxophone), Mal Waldron (piano on #5,#6,#7), Raoul Walton (bass), Fred Braceful (drums)
Record date: April, 1994

Now when I first heard the name Chuck Henderson, I thought to myself: I've got to know that guy. Is he some session musician I have totally overlooked in my music collection. He's got a real jazzy name, that's for sure. But he is a pretty obscure figure only recording one sessions as a leader (this one) and appearing on a dozen other albums by musicians that were active on the German jazz scene (including Embryo). For this album he collaborates with other artists from that scene: the great Fred Braceful on drums, who also played on Mal's 'Spanish Bitch' and 'The Call' albums and bassist Raoul Walton who really has played all kinds of music. Mal was already living in Brussels at the time but was of course a well known jazz resident in Munich. He appears only on a few tracks.

So what does this group sound like and what to expect: it's mostly accessible and pretty funky modal jazz. Henderson isn't the most advanced or challenging player but he does a pretty fine job. His composition 'Realising The Difference' has this nice funky feeling with a grooving Raoul Walton on bass. Also the remake of Duke's 'Caravan' is a creative one and makes one laugh with it's repeating bass loop. Mal makes his first appearance on 'Protect the Innocent Pt.2'. The repetitiveness of the music works out pretty well for him and he plays a nice solo part. He mostly just does his thing. The title track is the best one on the disc. It has a more jazzy feeling and Mal's solo is excellent with some good old fashioned backing by Braceful's pushing drums. Henderson's soprano skills sound a little limited here. You want him to 'go out' and explore but he stays mostly on common grounds. On 'Boo Blue' Henderson takes a bluesy duet with Mal. The closing composition is a solo statement by Henderson. It's a nice and thoughtful way to close this record off.

All in all this is an enjoyable effort and an interesting collaboration. But the music isn't very special and fails to make a real lasting impression. Mal's role is limited to a few appearances and a small solo here and there. The cd is not the most easy one to obtain. It's good sound wise, contains some nice photographs of the group plus some thank you words by Henderson. There's also a Japanese inlay in mine which seams to contain some more information. Nice to have but in no way essential.

(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

(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.

(1969) Nathan Davis Quartet - Jazz Concert in a Benedictine Monastery ****1/2

With: Nathan Davis (tenor saxophone, soprano saxophone, flute), Mal Waldron (piano), Jimmy Woode (bass), Art Taylor (drums)
Record date: July 11, 1969

Nathan Davis, oh how I love his sound. He and Mal played regularly together and in different groups. For this live record, Nathan is the leader with an awesome group. I am a little in doubt about the recording location as the cover clearly states it was recorded in Paris at the Scholastic’s Contorum while sources like Discogs and jazzdisco.org say it was recorded in a monastery in Switzerland. The whole recording does have an echo over it like it was recorded in a large hall or a church like building. But hey these are just details that are not so important. What is important is the music on this recording: it’s just fantastic. (Small addition: the music was recorded at the concert hall of the Schola Cantorum in Paris. That concert hall is a former church of Benedictines. Nathan Davis taught jazz history and improvisation there. Information provided by user Corto Maltese on the Organissimo jazz forums)

Nathan Davis pretty much continued where he had left with his 1967 record ‘Rules of Freedom’. He is experimenting with eastern scales, absorbing influences from Coltrane and more free players but his playing style remains very, very bluesy. In fact the opening ‘Frogg’ In’ is so bluesy it almost sounds dirty. Davis plays with this very thick tenor sound, almost reminding of the R&B players from the 1940’s. But his technique is really more in the 1960’s. And while Coltrane’s influence is evident (on the whole record) Davis really has one unique sound that is immediately recognizable. ‘Song For Agnes’ is a tearjerking beautiful ballad with Davis on soprano saxophone. It really is more a classical composition (written by Elias Gistelinck) and shows Davis’ most sensitive sound. The subpar sound quality even gives it an extra dimension as his soprano sounds like it’s crying. This is the first opportunity for Mal to shine and he grabs the opportunity. This was the period he was really developing that definitive sound. He sounds mature and confident and his solo is excellent. Same goes again for the great and underrated Jimmy Woode. The freedom he sets with his loose yet so structured bass playing gives the whole band a different sound.

‘Uschimaus’ has this very airy feel over it with Davis on flute. It feels warm, optimistic and joyful. Taylor’s waltzing drums attribute to that kind of feeling. He plays an excellent solo here. The B side opens with a beautiful straightforward ballad written by Davis. It again shows Waldron in excellent form. It’s the way he plays these ballads. Sometimes sticking to chords only but playing with timing and phrasing. The last composition is another waltz, which could have been written by Mal (but was written by Freddie Hubbard). It’s another lovely outing with some excellent soprano playing by Davis. It’s another showcase of his excellent technique but fortunately he was more than just that. You could hear his soul trough the whole composition.

Unfortunately this LP is not easy to obtain, at least not for a reasonable price. I paid a 130 dollars for it, which is the largest amount I spent on a single LP. But I had to have this for both Waldron and Davis. I haven’t regretted it for a moment but I could understand one must really dig this music before one actually wants to buy it. Some of the music is on Youtube so you have to listen for yourself. I would call this essential stuff for both Waldron as Davis fans. The sound quality is pretty bad but the music is incredibly good you forget about that pretty soon. And on the plus side: every musician is pretty forward in the mix.

(1967) Embryo - For Eva ****

 

With: Christian Burchard (vibes) Mal Waldron (piano on 3-5, 8-9), Dieter Gewissler (bass #1,2,5,6) Lothar Meid (bass #3,4,5) Reinhard Knieper (bass #8 & 9), Dieter Serfas (drums)
Record date: somewhere in 1967

This really was one of the most pleasant discoveries I made in my quest for collecting all of Mal Waldron’s records. To be honest: I really kept this one as one of my last purchases for I did not expected much of it. I mostly bought it to complete the collection. I was pretty wrong about it for there is some excellent music on this disc.

Mal’s affiliation with Embryo was a life long one and that came mostly trough his friendship with vibist Christian Burchard. Burchard already lived in Munich in 1966 and played with some of the American jazz residents who lived there or stayed there for a long time. The southern German city had a pretty lively jazz scene with residents like Pony Pointdexter, Carmell Jones, Benny Bailey and later of course: Mal Waldron. At one night Mal was playing at the Domicile club and Burchard joined in. From that moment they were to become livelong friends. I am not sure if the artist on the cover really should have been Embryo as Burchard states in the liner notes that the German krautrock group was formed later. But this definitely was it’s birth. As Burchard stated: ‘This is an example how we sounded before the Embryo project was founded’. The music is more jazz oriented and rock influences are nearly absent. Mal did not record a lot of stuff in 1967 but he sure was not inactive. He was already gigging all across Europe and mostly in Germany.

Mal doesn’t play on all of the songs. The first two compositions are without him but are both very interesting. ‘Sugar Lump’ is a very good tribute to one of jazz forgotten vibraphone wonders: Walt Dickerson. It breathes the same air as his music and his influence is evident on Burchard’s playing. The music has some kind of free atmosphere as both bassist Gewissler and drummer Serfas are moving away from more traditional jazz patterns. They sound pretty advanced to me and are surprisingly original in their sound. Burchard himself utilizes the given space in an excellent way interacting with both his band mates and not losing himself in a technical show off.

Unfortunately the sound quality of the Waldron selections is not as good as the first two songs. But this is a fascinating look into the music Mal made in those years. Just like his 1966 records you could hear he’s really trying to create his own sound experimenting with loops, repetition and percussive playing. He’s not yet the pianist he was to become in the years after but you could really hear those roots here. Also there’s a very first recording of his ‘Blood and Guts’ composition: it’s titled Anka’s Trance here. It’s the only track that does not really work out that well as it sounds there are some miscommunications in the group. The other tracks are excellent. Some have a more traditional jazz sound but it’s mostly a little more advanced than that. Mal listened a lot to what was going on at the American freejazz scéne at the time. And although his music never became that free, he was seriously influenced by it. He swings insanely hard on ‘Bud Study’, a composition that is very Waldronesque but has this Bud Powell feeling over it. He show’s his more sentimental side on ‘For Bob’ and revisits his classic ‘Fire Waltz’ for the first time.

Disconforme is one of those public domain labels. I really dislike them for they do not pay any royalties to the one’s who the music belong to. But also they push the regular labels out of business with their subpar but cheap products. As this disc was compiled by Christian Burchard himself (he also wrote the liner notes) I could live with it. The liner’s and photographs are very nice so it’s really worth having. The sound quality differs really by session. Some of them are surprisingly good but track 3,4 and 5 do not sound so good. But it’s definitely acceptable. I could imagine hardcore ‘Embryo’ lovers will not be impressed by the music presented here. But for those interested in Burchard’s more jazzy side, this is interesting stuff!

(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.

(1995/1996) Sangoma Everett/Chico Freeman/Mal Waldron/Cecil McBee - The Courage To Listen To Your Heart **

 

With: Chico Freeman (tenor saxophone on 1-5), Mal Waldron (piano), Cecil McBee (bass on 1-5),  Sangoma Everett (drums, percussion)

Record date: November 9, 1995 & April 16, 1996

Now, when I saw this line up I was very curious for the music. I did not understand why it wasn’t really well known. When I gave it a spin for the first time it became a little more clear to me. The cd has some rewarding moments but overall: it’s a little disappointing and did not meet up my expectations. 

 

The opening Mombasa is an African spirited original by Everett. But where people like Dyani and Abdullah Ibrahim could really make that work out so well, Everett does not. At least not here. It sounds a little silly. The following ‘Crossroads’ sounds like it’s building towards something but then it suddenly stops. It feels very unnatural. ‘Murivel’ is a little better with a nice bass groove set up by McBee and some great modal playing by the band. Chico Freemans solo is excellent and passionate on this one. Mal himself doesn’t really sound fully at ease in this setting. His solo is ok but he could have done better.

 

Auburn Prive has this smooth almost pop music like feeling over it. It sounds like an introduction to some tv program. It really misses the point and Liberated isn’t much better. It’s just not the kinda music one expects from musicians like Waldron, Freeman and McBee. It has some kind of weird energy that’s is very unappealing and sounds outdated. Sangoma is an excellent drummer but isn’t really impressive here either. 

 

The one thing that make things a little better is the 17 minute long closing composition. It was co written by Mal and is definitely recognizable as so. It starts with some nice interplay between Everett and Waldron. Mal leads here with beautiful robuuste and dark tones. Sangoma joins him with some very rhythmic percussion playing giving it a sincere African atmospheric feel. Then Sangoma fades out and it’s Mal solo. He plays an intriguing solo part. Then Sangoma joins again with bells and other percussion. It’s an intense dialogue with Waldron even playing the snares of his piano for some time. I really don’t understand why they’ve chosen to record this as a duo only. It would have been a great opportunity for both McBee and Freeman to join in with some furious free playing. Another missed opportunity. 

 

Overall this probably would have been a better record if it was lead by any of the other musicians present here. It’s unfortunate and surprising to see how 4 musicians of this stature could produce such a boring record as this one. It was released by the Swiss TCB records and is widely avaible. This really is one of the lesser efforts of the ‘90’s. 

(1994) From Dark Into The Light ****1/2

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: April 4 and 8, 1992 and October 10 and 11, 1994

Just like ‘Mal, Verve, Black & Blue’ this was recorded live at the Satiricon jazz club in Essen, Germany. It’s the same quartet with Nicolas Simion on tenor saxophone. Part of it was recorded in 1992 during the Jim Pepper Memorial tour. Pepper died that year in a Portland hospital from Lymphoma. He was a dedicated friend to Waldron and played on several tours and records with him. Nicolas Simion replaced him and he was definitely a worthy successor to the ‘Flying Eagle’.

Like the previous record this is some highly exciting club music. It’s not neccserialy revolutionary in sound or techniques. But it’s a showcase by 4 highly talented musicians who are able to communicate almost thelapatically with each other. It’s the living evidence that Mal was still going strong, listening to other musicians. The opening ‘What Will Ever Be Again’ is actually ‘What it Is’ which is one of Mal’s most significant compositions. It has that famous tension/release moment that makes his music so exciting. And those nice dissonant notes at the end of every sentence. Clifford Jordan kicked ass on it, so did Lacy and Simion isn’t much worse. He really blows away things with his powerful soloing. And listen to the steaming hard bopping music on ‘Mal-Factor’ with Jones’ groovy poly-rhythmic cymbal hitting in the background, Schuller’s hard driving bass playing and a hard swinging Mal. The music is fiery, energetic and exciting in every moment. Simion as always is a pleasure to listen to. He has great technical skills, lot’s of emotional depth in his playing but also a very pleasant tone. But the absolute highlight of the album is the closing ‘Funny Glasses’ which reminds some of the classic ‘Ticket to Tokyo’. It’s an incredibly fast and intense composition with every band member playing at maximum capacity. Really, just listen to it.

There’s also some nice ballads on this live session. The first is ‘You Don’t Know What Jazz is’. On ‘Between the Lines’ there’s some hinting to Thelonious Monk’s playing in Mal’s solo’s. And of course there’s ‘Somewhere Over The Rainbow’, which was one of the favorite tunes of Jim Pepper. It starts with a very sincere unaccompanied solo by Simion. Then the rest of the band enters with a gentle approach without sounding to sweet.

Whats probably the most nice thing about these Tutu discs is the enormous amount of solo space for Mal. And he really, rocks every single second of his playing. He’s the haunting, bluesy, repetitive, dark vamping piano God we all know. And his playing still sounds fresh. Though the basic principles of his style remained the same, Mal changes constantly since the 1970’s. He was always open to new ideas and thoughts and was inspired by the company with which he played.

This was one of the last official Waldron releases with new material. It was released in 2007 by the Tutu label. Like all of their Mal Waldron releases: it’s a no brainer, buy with confidence. And of all those great sessions, this one is among my favorites. 70+ minutes of intense Mal Waldron live music, great liner notes and beautiful photography. Highly recommended.

Samples and cd here avaible!

(1994) Mal, Verve, Black & Blue - Live at Satiricon ****

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: October 10, 1994

In 1992, saxophonist Jim Pepper died of Lymphoma in a Portland hospital. The powerful tenor man was Mal’s set saxophonist for years and part from that a personal friend. The year of his death was supposed to be the year of the third American tour with the Mal Waldron Quartet. But unfortunately at only 50 years old, his life came to an end. Mal was devastated by the death of his friend and companion but also had to look for another saxophone player to fill in for him. It was Mal’s tour manager at the time that came up with the name Nicolas Simion. Simion, a Romanian native, had already recorded for the Tutu label and played in the Europe club scene. But he wasn’t very well known. It appeared to be an excellent choice and he remained Mal’s companion for 4 years.

I know that the man might still be a little obscure, but believe me if I tell you he can play. He has this thick an masculine voice on the tenor but with a deep emotional feeling in it. But he’s also a technical player that could easily keep up with any composition, no matter the complexity. He really is a fine successor to Jim Pepper. ‘Judy Full Grown’ is an extended version of Mal’s original waltz that he played with that classic quintet at the Village Vanguard. It’s an exciting version with lots of changes in rhythm and dynamics. And Mal plays a fiery and excellent solo on it. Simion’s ‘Transylvanian Dance’ is probably even more exciting. It starts with some beautiful arco bass playing by Schuller, creating an atmosphere that is really reminds of Eastern European influences. And so does the beautiful rhythmically challenging theme. From that theme the composition really goes back and forward from straight ahead beauty to intense uptempo freebopping. Just like Pepper, Simion has this loud but beautiful overblow. An overblow he uses in a modest but perfectly fitting way.

The version of Soul Eyes is `nice but I have heard better versions. Schuller’s ‘I See You Know’ is more interesting with a very catchy tune that sounds a little inspired on nothing more than ahem… Gerry Rafferty’s Baker Street! Again it’s Mal who really steels the show with a very bluesy solo. Though he was getting older here, he shows not a sign of decline in his playing. He still manages to keep up with these young lions or even better: take the lead. I should also not forget to mention the excellent playing by Schuller and Victor Jones: both solid as a rock.

Without any exception, the TUTU discs are all great. This one is not the best but it is very, very good. It’s pretty unjust that most of them are not so well known. And like all of the TUTU’s the cd is a big pleasure to have: extensive and very interesting liner notes. The liners are mostly telling something about Mal and the concert itself. Focussing not again for the zillionth time on his work as a sideman for Prestige records and being the last pianist of Lady Day. But really telling new stories about this highly underexposed period in his life. And that’s not all: some beautiful photography as well. All of the Tutu’s are still available, not new but mostly second hand. If you are a Waldron fan: just get them all. Pieter Wiesmueller has the perfect description for them: ‘It’s not a sensation, not a spectacle. But just simply an intense experience’. This really is what jazz is all about.

(1993) My Dear Family ****

With: Grover Washington Jr. (soprano saxophone on #1, 2 and 5), Eddie Henderson (trumpet, flugelhorn on #1,3,4 6-8), Mal Waldron (piano), Reggie Workman (bass), Pheeroan Aklaff (drums)
Record date: September 23 & 24, 1993

Like so many other jazz musicians, as the aging progressed, the sound of Mal became milder and milder. Especially the Alfa records are very accessible an mostly very much subdued. But with Mal it did not mean he was becoming a boring pianist that was sticking to standards or something like that. The innovative part of his playing was still there but more between the boundaries of straight ahead jazz. But as Mal stated himself: you always have to look forwards, because if you keep looking backwards you might stumble. This last session for Alfa Jazz Japan, recorded in the States is far from boring. But it is a very gentle Mal one hears here. Lots of ballads with only a few exceptions.

Mal was becoming so mild he even decided to work with…. Grover Washington Jr. Respecting every musician in his own way, I am not going to make offensive statements about the guy. But I really, really dislike his sound that reminds me mostly of ahum….. Kenny G. There… I said it. Smooth jazz is for me the anti jazz that freejazz was to so many conservative listeners back in the day (and also still nowadays). I just don’t like it at all. So seeing Washington’s name on the back cover did not make my heart beat faster as one might understand. But I have to say: he’s ok here.

In fact on ‘Footprints’ he actually gets a little triggered by the rest of the band to leave his safe grounds. And then it’s immediately hearable the guy could really play and has an excellent technique. Yes even some soul probably. The rest of the band hardly need an introduction. After Woody Shaw, Henderson is another trumpet giant from the States who experimented with fusion, free forms and of course mostly hard swinging postbop. A guy with fabulous technique and timing. I probably have already said enough about Workman on my blog. That leaves Pheeroan Aklaff who I personally really see as one of the top drummers of jazz today. He mostly made fame in Wadada Leo Smith’s Golden Quartet/Quintet but played with so many legends. On this record he is mostly in the background unfortunately and I really pity the fact that he did not play on more occasions with Mal. Like Andrew Cyrille or Ed Blackwell, he would have been a perfect fit. Would love to hear him with the more fiery pieces by Mal like Snake Out or Hooray for Herbie.

Mal’s classic Left Alone puts Washington back in his safe zone which is really unfortunate. His overly smooth sound with it’s predictable licks really not sound sincere. And that really spoils this oh so beautiful ballad and turns it into some honey sweet song that lacks the feeling like on the version with Archie Shepp for example. ‘Sassy’ is a laidback waltz written by Mal with some nice muted trumpet by Henderson. His playing is even better (and more beautiful) on the impressive Japanese folk song ‘Sakura Sakura’. With it’s dark and very moody atmosphere it could easily have been written by Mal himself. But it mostly showcases how Mal’s style really blend with eastern oriented music. That has always been an influence on his own work. When he’s soloing on it, conversing with Workman, constantly playing those dark low chords, that is him on his best.

The rest of the album consists mostly of slow ballads that are all equally beautiful. Again Washington’s tone on the only jazz standard here is a bit too smooth for my taste. Big exception in laid backness is Miles Davis’ funky Jean Pierre that goes surprisingly well in this setting with an all acoustic band. The version Mal recorded later on his album with David Murray was even more exciting. Mal met Miles Davis only once and Miles wasn't very nice to Mal. Miles told Mal: 'you know, you remind me of my brother' on which Mal replied 'oh yeah Miles?'. 'Yeah', Miles said. 'And he's a faggot and I hate him'. Not very friendly but Mal loved him anyway, even after that encounter.

Like most of the Alfa Jazz releases, most of the music here is very accessible. This is not the wild, funky and hard grooving Mal with some loud out there playing or something like that. It is a very pleasant record to listen to with some very, very good musicians and it does contain some beautiful tracks. Music does not always have to be fast or loud. The Alfa cd is a little bit rare. Most sellers dare to ask ridiculous prices for it like they always do with OOP Japanese releases. I do have it and is sounds great but of course as always I am not able to read any liner notes. So maybe the American Evidence release, with different cover art, is the better choice? One could pick up that one easily on Ebay or Discogs. This is Mal Waldron for when you come home after a very busy day. Or when you just want to relax.

(1992) Charlie Mariano/Mal Waldron - New Horizon (Dedicated To A Changing Europe) ****

 

With: Charlie Mariano (alto saxohpone), Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: August 24, 25 and 26, 1992

In the summer of 1992 it was time for the second record date with Mariano and Waldron. Just like Mal, Charlie wasn’t retiring from the scene at all. He was still alive and very active in those years releasing his own work and appearing with all kinds of musicians (including a fascinating album with Rabih Abou-Khalil). Like Mal Waldron, Charlie Mariano was open to all kinds of styles. He was also living in Germany like Mal (though the latter had just moved to Belgium) and played with the same Krautrock and psychedelic rock groups in that country. In 1992 the New Europe was really getting shape with fresh democracies and newly formed states. But a part of that New Europe was still burning. Just like ‘Autumn Dreams’ it’s this revolutionary period that is the main theme trough the music.

Also like that first album it’s a mix of compositions by Waldron, Mariano and some jazz standards. The three jazz standards are played in a very decent way with some great soloing by both guys that are really in the spotlight. That means the rest of the group is just playing their part in the background mostly. But the overall playing is just very good. This was one very solid group. Mariano’s original has a bluesy and very sweet melody that keeps coming back like a loop. His soloing is again excellent but a little subdued. He loses some of that on Mal’s ‘Monkish Witticism’ that has this almost uneasy break that suddenly takes a move into some hard swinging territory. It’s a pretty cool composition with lots of unexpected turns and twists just like Monk’s own compositions had. There’s also another relatively short version of Mal’s Seagull’s composition. It’s treated with much elegance and passion by Mariano’s warm alto playing. Another wonderful execution of this Mal classic. 

The most interesting part of the album is the almost 20 minutes long suite. Both Mariano and Waldron dare to leave the more usual conventions of jazz and start of dueling together without the rest of the band. It’s a very intimate kind of dueling with both musicians constantly responding to each other. In the ‘Discussions’ part it’s up to Carduso to interact with Mal. He does in a very thoughtful way, making it actually sound like he’s discussing stuff with Mal. Then up comes the anger in the ‘Confrontation’ part which is a nice opportunity for John Betsch to show off his drumming skills (that are very, very good). Mal fires off hard and dark clusters in this haunting duet with the drummer. Concluding the album is the whole quartet with some very intimate interplay between the four of them. Mariano’s passionate saxophone playing runs over beautiful lines that are provided by Mal and Carduso. A great conclusion of a pretty good record.

Where ‘Autumn Dreams’ was a very decent but pretty standard outing, I found this one to be a little more exciting. There’s a little bit more tension in the overall playing and both of the musicians are a little more adventurous. But most of all this is some very comfortable jazz to listen to. Quality music by four quality musicians.

This record was released only once on Alfa Jazz Japan. No reissues on labels like Timeless or Evidence. That makes it a little harder to find yourself a copy and if you do find one it’s probably not cheap for a CD. If you’re a fan of Mariano or the more gentle side of Mal this record will probably not disappoint you.

(1991) Charlie Mariano/Mal Waldron - Autumn Dreams ***1/2

 

With: Charlie Mariano (alto saxophone), Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: August, 7,8 & 9, 1991

Charlie Mariano and Mal Waldron have quite a lot of things in common: they both played with Mingus, they both recorded with German krautrock band Embryo, they both flirted with rock music and they both resided in Germany. So playing together wasn’t really a shocking idea. They recorded their first album in 1991 called ‘Autumn Dream’s for the Japanese jazz label ‘Alfa Jazz’. As a rhtythm section they used Mal’s regular trio with John Betsch and Paulo Carduso.

The album starts with a high energy original by Mal Waldron. It’s here where most things are happening. Mariano plays some nice fiery solo’s and Mal is playing his ass off. The interpreation of the traditional ‘Greensleeves’ is another creative engagement without any predictable dullness. The band sounds inspired and there’s some nice soloing by Carduso. But after that it all collapses a little. The following standards are all played in a beautiful way and there’s lot’s of chemistry between the guys. But the tension is gone and the music just goes on without really telling something. It’s beautiful music when reading a book, but these guys would have been capable of more than that. Their choice for standards that have been played over and over again by so many others wasn’t the best choice.

These Alfa releases from Japan are pretty expensive. Always a few copies for sale on Discogs but never for less than 30 euros. This is some beautiful music but you must be prepared to pay some money for it. And both guys definitely have made more exciting work.

(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.

(1987) Mal, Dance and Soul ****

 

With: Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums), Jim Pepper (tenor sax on 5,7,8,9)
Record date: November 25, 1987

In 1987 Enja frontman and producer Horst Weber decided to create a new label: Tutu, named for Miles Davis’ classic album from that decade. Weber and Waldron knew each other for quite a while, but it was 8 years ago Mal made his last record for him. Now Mal had the honor to make the first record for this great new jazz label. ‘Mal, Dance and Soul’ is not strictly a trio album. There are four tracks (on the cd version) that has the great Jim Pepper playing tenor saxophone. The rhythm section consists of Ed Schuller and John Betsch with whom Mal would play quite regularly. Schuller, son of Gunther Schuller, appeared next to Mal on several Tutu albums with Jim Pepper and Nicolas Simion. He has been quite active recording with both known and more unknown jazz artists, mostly in the European jazz scene. John Betsch appeared on several Tutu releases with Mal but also on some of his works for Alfa and Timeless. Betsch was a beloved drummer in the free and spiritual jazz scene making his own appearance for the fantastic Strata East label but also playing with the likes of Kalaparusha, Henry Threadgill and own of my other favorites: Abdullah Ibrahim.

This first Tutu release is pretty good. Mal is in excellent form, so are his bandmates. The music is creative and Mal is playing mostly new material. The opener ‘Dancing on the Flames’ is downright funky with a nice overall swing feeling. Songs like ‘A Bow To The Classics’ (which really is jazzy as hell) and ‘Little One’ have a nice subtlety over them and it’s Schuller that really shines next to Mal with his playful bass playing. ‘Little One’ really seams to be based on Mal’s own Fire Waltz. It’s pretty much a variation on it. ‘Soul Mates’ is the first track that has Jim Pepper playing tenor saxophone. It’s a duo recording and yup, the chemistry is definitely there. Mal made some very, very good duo records with saxophonists. Just like with singers his timing and warm accompaniment just really works out in a duet. Pepper is one underrated saxophone player. He has an astonishing technique, could play really fast and beautifully slow. He could play soft, almost smooth but also blow your ears off. And he has one hell of an overflow that he uses only sparsely. But when he does, it always feels right.

The album also contains an excellent version of the Mal classic ‘Blood and Guts’. Mal plays it a few notes higher and it misses that crazy left hand riddle but the interplay with both Betsch and Schuller is great. Mal only solo’s with one hand sometimes as the backing is strong enough. Also great is Betsch’ soloing here. What’s next is what you miss if you have this only on vinyl. Three more tracks in quartet form with Jim Pepper on tenor saxophone. Great tracks, absolutely worth it.

I’m a real vinyl head but with the Tutu releases it really pays of buying the cd versions as they contain bonus material. And with bonus material I do not mean false starts or studio chatter. On this one for example you get three extra tracks with Jim Pepper. New tracks, not even alternate takes. And you really do not want to miss them, believe me. If you happen to find this disc, buy without hesitation. Nothing groundbreaking but a nice example of Mal’s trio music at the end of the ’80’s and also the first quartet recordings with saxophonist Jim Pepper. Mal did made better recordings for Tutu but this one is highly enjoyable (and those others just really kick ass). The cd contains some nice liner notes as well that do not tell the same freakin story again about Mal playing with Billie Holiday blablablabla. Some actual background information on the label and the music.

(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!