(1978) Searching in Grenoble : The 1978 Solo Piano Concert ****1/2

 

With: Mal Waldron (piano solo)

The interest in jazz seems to be rising last years or at least, and that's great news as well, remain stable. Low but stable. The whole vinyl revival thing might have somtehing to do with it with the big labels like Blue Note and Verve introducing their Classics, Tone Poet and Acoustic Sound Series. There's Pure Pleasure records shining light on the awesome Strata-East and Nimbus West catalogs. And the great one-man Paris based Sam records releasing unreleased stuff by underrated talents like Nathan Davis and Billy Harper. Horace Tapscott also seems to finally get the appreciaton and recognition he deserves. Oh well he deserves even more. As a Waldron fan I hoped the same would happen with the music of this underrated piano master. I know trough this blog and the internet there is a serious and pretty big fan base. Plus there is a serious ammount of great bootlegs circulating on the internet. But until october 2022, there was nothing released and Mal got ignored by every single music label. The latest release of interest was the duet with David Murray. There was the solo Vancouver stuff that was released online only but that one wasn't that interesting plus the sound quality was very poor. But hey let's forget about that because last summer I got this in my mail: the American Tomkins Square is about to release a 2cd solo Mal Waldron set: a previously unissued set of songs recorded live at the Grenoble jazz festival. Hooray for Mal!

So what is there to say about the music on this 2cd set? From a Mal solo record you could really expect everything. The studio solo albums are generally less interesting than the live ones and the live solo albums are generally very, very good. The 70's were also a very strong decade for Mal's music. So this 1978 solo live concert is exactly what you might expect: it's very, very good!

The almost 24 minute long opener is one of his most interesting solo pieces. It might as well been called: the Mal Waldron medley or Mal Waldron suite as it's really a musical summary of his own music. All kinds of Mal compositions pass by in 24 minutes of breathtaking piano soloing. The music moves from emotional bluesy ballad style playing to his brooding high tense vamping in the more intense parts. Then when the music is just about to hit it's absolute intense climax it fades again into a more gentle and warm ballad kind of playing. All the stuff is connected to each other in an impressive way with hints of classical composers like Satie and Debussy here and there. With it's minimalistic approach here and there this is really music to sit down for and just listen without doing anything else. 

The two discs are fairly divided between originals and jazz standards. The jazz standards played here are all suited excellent for Mal's eased but deeply emotional piano playing style. 'You Don't Know What Love Is' of course reminds one of his years with Lady Day and he has played it a lot since her death. Yet every version is unique in it's own way. Mostly because you could still feel her spirit in Mal's own playing. The way he takes his time, creating space gives a unique look into his music. 

The originals chosen are well known ones (Soul Eyes, Fire Waltz) and lesser known ones (Petit Gemeaux and Here There and Everywhere). Some of them have that hard hitting intense dark energy like Snake Out and Sieg Haile yet All Alone has that moody repetitive minimalistic approach that is so recognizable for some of his ballad work. Even though Mal is an excellent performer of standards, it's always on his own stuff where he sounds even better. It's where his soul truly reflect trough every aspect of the music. 

It's also mentioned in the liner notes and this is exactly what makes Mal such a wonderful pianist. Mal really is just.... Mal. He has such a distinctive voice in jazz piano, one could identify him within seconds. Sure there are hints of jazz pianists like Bud Powell, Monk and Cecil Taylor and the obvious influence of classical composers like Erik Satie, but Mal really plays mostly like himself. You have to like that style but if you do you become addicted to that intense repetitive and deeply emotional vibe. Mal never tries to blow you away with technical abilities, fast loops or other tracks. He is one of the most sincere jazz musicians I know. He just takes a sit behind the piano, light his cigarettes and plays everything exactly as he feels it. 

Then finally something about the packing: Tompkins Square did an awesome job. Unfortunately no vinyl version (yet) but the cd digipack looks very nice. The highly informative booklets contains beautiful photography and interesting essays/interviews by and with Matthew Shipp, Ran Blake and of course his daughter Mala Waldron. I only dislike the fact that the cd's are placed directly into the cardboard without protection. I know from experience that for instance with the cardboard sleeves from HatHut damage to the cd is easily done when you slip a cd into it and there's a small piece of dirt on the cd or in de cardboard. Part from that beautiful packaging and more important: the sound is really excellent. Gary Hobish did a tremendeous job.

Thanks to Zev Feldman and Josh Rosenthal this music is finally available for everyone. There should be way more Waldron reissues and releases out there but unfortunately as the liner notes truly state: Mal Waldron remains an underrated and underexposed musician. Hopefully this new release shines a little light one this unique pianist. 

(1999) Mal Waldron **1/2

 

With: Mal Waldron (piano)
Record date: from 1995 to 1999

This record really is something. It’s Mal’s last record that was recorded in his beloved Japan. It was his last solo recording. His last effort for 3361*Black. And his last record of another fruitful decade: the 1990’s. As a 30 year old from the Netherlands all that jazz from back in the day tend to feel so far away. But these records were recorded while I was probably playing somewhere out in the yard. And Mal was living just 300 kilometers from my house. He performed even closer. If I knew that back in those days… If I could only turn back time.

One could say this is more of the same stuff as Maturity number 5. To some extend it is. But where that record was pleasant but nothing shocking, this is a little boring. While it contains a pretty interesting set of jazz standards. Mal unfortunately fails to make something interesting out of them. And less than on the last Maturity disc there are creative or inspired moments. It really just sounds like Mal plays a set of standards in a very standard kind of way. Perhaps he was tired or just did not had his day. He was definitely not at his end as an artist for his last three records before his death were superb.

Anyway, one could live without this record. This really is a for completists only and for that kind of stuff it’s rare and probably a little too expensive.

(1996) Maturity 5: Elusiveness of Mt. Fuji ***1/2

With: Mal Waldron (piano)
Record date: July 4, 1996

The final recording of these series is a solo effort by Mal himself. It was released first as ‘Maturity’ which makes it a little confusing as this was not the first part of the later series that were also called Maturity. The 2003 issue was actually made the closing part: number 5. It was called for the famous Japanese volcano near the city of Tokyo that makes a lasting impression on every visitor: Mt. Fuji. The repertoire consists mostly of standards only except for Mal’s own original: The Seagulls of Kristiansund. Just like some other records in Japan, this was recorded in a theater but without an audience.

This is in no way an essential Mal Waldron record. All of the music goes by in a very relaxed tempo and atmosphere. Mal takes his time and space to work out everything nicely. The music is basic, yet detailed. It will not blow you off your feet and is in no way comparable to some of the solo records he made in the ’70’s. But its all very nice. Mal really sounds mature here and his sound is definite. He sounds like he has done everything already a thousand times and just goes back to the basic principles of his own style and playing. None of the standards is treated in a very creative way, but they surely come immediately recognizable out of Mal’s hands. And between the straight ahead lines he is playing are plenty of details that keeps the music interesting. The overall calmness in his playing gives this whole record a very meditative feeling. It’s an excellent pick for a late evening after a hard day’s work. Nice detail: the second version of Seagull's is accompanied by Mal's voice who is saying the lyrics. It really adds to the intimate feeling of the record. And Mal has a very warm and deep voice. He once stated that he wrote music with words in his mind.

And yes of course this 5th volume of the series is hard to find, and so is the original 1997 release which isn’t even on Discogs. I could imagine no one wants to pay 60 euros for a record like this. I paid around 30 for mine. Though it’s not essential, I still love it. And the sound is just amazing. It’s like your in Mal’s Steinway.

(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.

(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) Evidence ***

 

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

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

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

(1987) Both Sides Now ****

 

With: Mal Waldron (piano solo)
Record date: August 11, 1987

Mal must have been traveling the world more, on tour, then he was really at home in Munich or Brussels. In the same summer as his U.S. tour he went to his beloved Japan too. Probably for a short while as he was back in the U.S. at the end of August again to appear at Sweet Basil. His little journey to Japan resulted in one record this time: ‘Both Sides Now’. It’s another solo piano disc and though there is no hearable audience it’s definitely recorded in a concert hall. It focusses more on the classical side of Mal playing works by Satie and mostly Chopin.

Even the starting jazz standard ‘I’m A Fool to Want You’ has slight hints of classical music. And it’s fascinating how Mal implement those subtle hints into the music. It’s not over the top, but it’s definitely there. The following Ballade by Chopin is one of the best known by the composer. It’s such a beautiful melody and it’s dark emotional feeling really fits Mal well. Chopin was one of the composer’s he had to play over and over again in his teens when he was educated as a classical pianist. Mal doesn’t only play the theme but improvises on it as well. He doesn’t make it too jazzy, really respecting the original composition. The multiple variations he takes, changing in rhythm really reminds of classical music as well. His solo remains pretty close to the theme. A pretty successful effort if you ask me but perhaps I am offending purists here. I like it anyway.

Waldron’s own ‘For My Daddy’ has the sentimental feel that the title suggests. But it is sincerely beautiful. It has a very atmospheric feel over it with a mysterious beauty. The other Chopin compositions are also nice, but the improvisations sound a little less inspired. The closing Satie on the other hand is of great beauty again, just like on the trio album with Workman and Blackwell.

Not very expensive but pretty hard to find. This is one of Mal’s more rare solo albums. It’s a very good record with a nice view on how Mal interprets work’s by the great classical composer’s. And a great chance to hear how he was influenced by them. The sound of the record is very nice with a slight echo. It adds up to the feeling of a classical concert pianist. It was recorded in a concert hall but there was probably no audience. Recommended music but probably not if Chopin’s works are like the Holy Scripture to you…

(1986) Update ****1/2

 

With: Mal Waldron (solo piano)

Record date: March 10, 1986

In March 1986, Mal recorded one of his best studio solo outings for the Italian Soul Note label. Mal solo is almost always an enjoyment to listen to. But there are quite a few sessions where he recorded standards only and those were a bit dull at times. When Mal plays his own material solo the chances of succes are bigger. Albums like 'The Opening' and 'Meditations' are essential Mal. For this solo album, Mal has chosen for a mixed repertoire: it contains some of his own work and some standards. But the standards played here do get a very creative twist which makes this record a fascinating more than 50 minute long journey.

It opens with Free For C.T.: a tribute to Cecil Taylor and the first reference to that pianist on this album. What Mal does excellent is not trying to copy his style but just include elements of his style in his own playing. The whole composition is a fascinating trip going from free oriented jazz to almost classical passages. It's full of new directions and just when you think Mal settles with a melody or style he goes into another direction. This should probably have been titled: variations on a theme by Cecil Taylor (I'll explain later why). The version of 'A Night In Tunisia' starts completely different than the steaming bebop original from the '40's. It starts almost like a melancholic ballad with Mal subtly introducting the theme playing louder and more percussive as the music progresses. It's one of the best versions I know and such a contrast with all those versions with horns. It shows Mal's compositional skills as he can twist any note in the direction he wants rebuilding the original with a diffrent sound. This is how I like him to play jazz standards!

Frank Loesser's 'Inch Worm' (here stated mistakenly as Inch Work) is another huge difference with Coltrane's energetic version from his selftitled album. It's again more in a ballad style with a gentle touch and hints of classical repertoire by Satie for example. A bit confusing is 'Variations on a Theme by Cecil Taylor' which probably should have been titled 'Free for C.T. as the theme is recognizable as the one that was played on later albums as 'Free for C.T.'. Track 1 also really has more variations than the more thematic track 4. Soul Note is a bit sloppy with the title tracks on this one. It's a beautiful melody, with a very Waldronesque sound. It's dark and touching, almost sad. The closing standards are a beautiful way to bring the album to it's end, especially the pretty basic version of 'I Should Care'.

Soul Note has released some real Waldron classics and this is definitely one of them! It's not very hard to obtain a copy on any format. If you like Mal's solo work, this one is essential. If you consider yourself a Mal afficinado it's also essential. 

(1985) And Alone ***

 

With: Mal Waldron (piano solo)
Record date: September 1-2, 1985

Mal’s stay in Japan in 1985 was a pretty productive one. The first record he made was a solo effort for Sony Japan. It’s his first solo record in a studio since the 1972 Paula album: ‘On Steinway’. That album contained four very interesting originals, this one consists mostly of standards and 2 Mal classics that seem to be obligated to play for Mal in Japan: All Alone and Left Alone. The result is a nice but pretty straightforward album. It’s a lovely album do some work at home to, or read a book in front of the fireplace. Not a record that strikes with surprise after surprise.

When Mal plays standards solo he mostly really play them and improvise around the theme. That means no explorations outside of the chord schemes or anything. He plays them in a very classic way with thoughtful ornamentations around some of the notes. With one exception, this album is also a ballad only album. So just be prepared to listen to some nice piano playing.

This album was reissued quite recently in 2015 and is still in print. The original is not hard to find either. If you’re looking for a very straightforward and relaxing record this is one for you. But Mal made much more exciting work solo, both live as in the studio.

(1981) Mal Waldron/Don Cherry/Roswell Rudd/Steve Lacy/Charlie Rouse/Richard Davis/Ed Blackwell - Interpretations of Monk ***1/2

 

With: Don Cherry (trumpet), Roswell Rudd (trombone), Steve Lacy (soprano saxophone), Charlie Rouse (tenor saxophone), Mal Waldron (piano), Richard Davis (bass), Ed Blackwell (drums)
Record date: November 1, 1981

Autumn 1981, Mal was back in the US for the second time that year. He was there to record his last engagement for Enja for some 30 years called 'What it Is' but also appeared on a Monk tribute concert. The concert was to be played all day long with a afternoon set and an evening set. It presented an all-star line-up with musicians who were all more or less affiliated with the piano grand master. Some by direct connection like Rouse and others trough the influence Monk had on them. In the afternoon the piano was to be played by the great Muhal Richard Abrams and Barry Harris. The evening program was filled in by Anthony Davis for the first set and Mal Waldron for the second. As this is a Mal blog I will only review his part but I could say for the rest of the music: it's worth every penny!

Mal's set starts with a solo version of  'Round Midnight. A modest tribute to one of his own big influences, Mal doesn't play one note too much. And though Mal was influenced by Monk he really is something completely different. Following his solo tribute are two duets with Lacy. Probably inspired and driven by the Dreher success they wanted to present their ideas to an American audience. There is some nice playing overall but it misses some of the chemistry there usually is between the two. I cannot exactly lay my finger on what is causing it but you should hear it for yourself. Closing up are three Monk classics played by the entire band of jazz superstars. Where Ben Riley was playing drums on the Anthony Davis set, Ed Blackwell plays them here. And it's nice to hear some of the work that was to come as both Rouse and Blackwell would return in Waldron's band. 'Friday the 15th' is the longest piece. It starts of with a nice and solid solo by Charlie Rouse followed by some great playing by Cherry. Nice to hear him duelling up with Blackwell introducing a slight Ornette Coleman feel here and there despite the different nature of the music. Cherry's playing has more in common with Monk than one might actually think. The dissonants, the off/after beat playing and the fast riddles of notes. He suites very good for a Monk tribute band. Roswell's muted trombone solo represents a lot of Monk too, playing around one or three notes for a while. 

The closing 2 tunes are two very Monkish themes. Rhythm a Ning swings very, very hard thanks to Davis' very tight bass playing and Blackwell's incredible polyrhytmic drum playing. Rouse is in prime form with one of his typical solo's that might have well could have been recorded with Monk himself. Epistrophy is the true highlight of the album with it's sudden speed changes, Richard Davis' hard bowing bass, Charlie Rouse's soloing on it and Lacy playing all kinds of patterns in the background.

The first release of this music was on the Japanese DIW label and contained all four sets. I own the Koch release that is split up in the Abrams/Harris set as vol.1 and the Davis/Waldorn set as vol.2. I only have vol.2. This is some great and interesting music but looking at the big names, one could expect a little more. This is not an album with revolutionary sounds or ideas. It's more of a jam session. A great, but not essential jam session. If you love Monk, you should check it out for sure. 

(1980) Solo Piano: Live in Vancouver 1980 ***

 

With: Mal Waldron (piano solo)
Record date: somewhere in 1980

This is the most recent release of ‘new’ music by Mal Waldron. A solo outing far from his home in Munich, at the west coast of Canada in Vancouver. Mal probably made a North American tour that year. It was from this time he would visit the USA more often than he did before.

So what to think about this record? It is ok. The opening improvisation really sounds like Mal improvising around a spontaneously made up melody and it works out well. It starts more classical oriented then slowly merging into a more bluesy sound. The following Waltz and Shout is indeed waltzing around with lots of repetitive patterns in his playing. A happy melody but nothing really special. The following untitled blues is a pretty long suite where all kinds of themes are passing by. They got a deep bluesy feel in common. It’s pretty relaxing music and Mal takes his time to improvise and tell his stories. The theme of ‘Thoughtful’ passes by at around 9 minutes, there’s a slight hint of It Aint Necissarly So. It’s the first time by the way I can hear him mumble while playing. But fortunately not as loud as for example Keith Jarrett. Oscar Peterson, Bud Powell and Abdullah Ibrahim also do that but it never bothers me. One could here the suite merging into Thelonious Monk’s Ephistrophy and it’s a real bummer it’s cut off. Monk was a prominent influence on Waldron’s playing but he did not play a single tune by him between 1966 and 1980. Of course later he would, with Lacy most prominently. But it would have been interesting to hear his solo treatment in 1980.

The closing three standards including his own Fire Waltz are all ok but nothing special there.
Of course this is not a stone cold classic, but it’s a nice way of hearing Mal playing solo in these years when a new change of style was yet to come. He would leave the more free path he had chosen and went back to standards and blues for a while. With a few exceptions of course, it depended on who he played with. With Dyani and Lacy for example he still managed to play outside a bit, but there is definitely a pattern visible of gripping back on more traditional jazz and improvisation.

This is a download only. The label ‘Condition West’ asks 4.50 euros for a download which is more than reasonable. They warn for bad recording quality and indeed it’s not great but it is far from unlistenable. There’s a slight hiss in the background and the piano does not sound very well. Also, some of the songs are cut off which is the biggest downside of it. Part from that it’s pretty much ok. Not essential but for less than 5 euros, you could give it a try.

(1979) Mingus Lives ***

With: Mal Waldron (piano solo)
Record date: February 29, 1979

In 1979 Mal was on tour with German drummer Klaus Weiss. Having released two masterpieces in the previous years he wasn’t really active in 1979 in the studios. The only record he really made was this solo live record, which was recorded in a small jazz club in Spa, Belgium. He plays originals only of which two are pretty well known: Snake Out and Here, There and Anywhere (which is mistitled and should have been Here, There and Everywhere). 

This really isn't one of his most recommendable solo works to be honest. Though there are some pretty good and interesting parts, most of this solo effort is a bit forgettable. The opening title tune misses a bit of a direction but it misses mostly that typical Mal feeling. It’s a nice effort but it’s just nothing special. One would have expected more from Mal honoring the great bassist. The version of ‘Snake Out’ is the most interesting on this album. Mal takes his time to fully stretch out on it and plays like a maniac almost destroying the pianos keys. Much energy for just a solo performance. As he speeds up he never gets out of time or off beat anywhere. A prime example of his percussive playing. The other interesting part comes with ‘Here, There and Everywhere’ which again is sped up a little and full of passion.

What is really bothering is that the piano is out of tune. In some parts it’s acceptable but in other parts it really ruins Mal’s playing. Keith Jarrett probably would have become very angry and left the concert venue. Fortunately Mal is a more modest person and did play the damn thing but one can’t make right what sounds wrong of course.

‘Mingus Lives’ was never released on cd, probably because of what I am writing in my review: it’s not a bad record at all but there are far more interesting solo sessions by Mal, both live as in the studio. It's widely available for a low price on the web. Nice to have but not essential.

(Correction: Mingus Lives now has a first time cd release! Reissue on Solid records)

(1978) Moods ****1/2

 

With: Terumasa Hino (trumpet), Hermann Breuer (trombone), Steve Lacy (soprano saxophone), Mal Waldron (piano), Cameron Brown (bass), Makaya Ntshoko (drums)
Record date: May 6 and 8, 1978

One-Upmanship’s follow up album one year later was named Moods. It’s almost equally as great, almost…. The personnel is a true reflection of our worlds inhabitants, a United Nations in jazz with Hino from Japan, Breuer from Germany, Lacy, Waldron and Brown from the U.S.A and Ntshoko from South Africa. That diversity gives the music an extra dimension. Moods is partly filled with solo sessions, and three sextet performances. There are a few well known Mal compositions like ‘Sieg Haile’, 'A Case of Plus 4s' and the first appearance of 'Soul Eyes' by Mal as a leader.

The group parts are probably the biggest highlight of the album. It’s a killer group with experienced musicians. ‘Sieg Haile’ has always been a fantastic piece of music, in any form. But with a group like this it’s coming close to perfection. That perfection starts with Brown’s groovy bass and Ntshoko multirythmic cymbal playing and a thick bass drum that sets the beat. Lacy plays a pretty subdued solo (at least for his doing) showing some of the skills he would use in later duets with Mal. Hino’s a pretty loud player too but his solo here is thoughtful and explorative in a pretty gentle manner. He really tries to focus his playing on the rhythms provided by the rhythm section. Mal’s solo is one of great ease and a very bluesy feel. It’s just feeling, no more and no less. And just like Hino Mal’s talking to the rhythm section constantly and they react at what he’s doing.

Minoat has a bit of a Mingus feel. And Mal was definitely inspired by the great bassist, playing with him on several of his albums including the classic ‘Pithecanthropus Erectus’. It could be the score of a movie also, reminding a bit of his Impulse! from 1967 ‘Sweet Love, Tender’. Terumasa plays a very soulful solo with lot’s of extra air trough his horn. But his tone always remain powerful and very confident. Minoat is probably one of Waldron’s most accessible works from this time. The last sextet song is ‘A Case of Plus 4’s’ which is a more brooding Mal composition appearing here for the first time. In it’s second appearance it would be a duo with Lacy and be a bit more laidback. The music here is intense with Hino playing the lungs out of his body. He plays small runs of multiple notes, then returning to loud one or two note statements interacting with both Mal and Ntshoko. Lacy plays another great, relatively inside solo. Only Breuer fails to really impress me. The one who actually steals the show is Mal himself milking those same notes again. Mal is bluesy, funky and swinging all at once. And Cameron Brown is also in prime form following the funky lines from Mal’s piano. Brown had already proven himself to be a great bass player with Archie Shepp and he really fits in this group. Great solo by him too.

The solo parts are sometimes beautiful, and sometimes just okay. Anxiety is a Waldron composition which truly reflects what it’s title stands for. It’s an interesting listen yet fails to really catch me like so many other Mal compositions did. ‘Thoughtful’ is tearjerking beautiful with it’s sad feeling all trough the piece. Amazing to hear how Mal’s left and right interact with each other. The same goes for ‘Lonely’ where Mal could say a thousand things with the spare notes he uses. Again a song with a deep emotional feel. Beautiful until it slightly merges into a blues than returning to the theme again. The solo sessions are also a nice alternation with the sextet parts. Some kind of break to take a breath. “Happy” is a more up-tempo blues with a repetitive feel. It indeed has more of a happy feeling but like the opening ‘Anxiety’ it fails to stay interesting all trough the song. Absolute solo highlight is of course the beautiful version of Mal’s best known classic ‘Soul Eyes’. Made famous by the great John Coltrane, it’s very refreshing to hear the song coming out the hands of the composer. Mal treat’s his classic with respect and love and stays close to the original theme. He show’s his more classical oriented solo style here with a pretty good technique in both hands playing fluent lines of notes. Fortunately he was to record this composition more than only this time.

As I mentioned before in my ‘One-Upmanship’ review: if you do not have the German cd issue of that session, you should get Moods on vinyl. Otherwise you miss two solo parts: Thoughtful and Duquility. They probably left those two out on the ‘Moods’ cd issue because of the time but it’s really a stupid thing to do. They should have made it a double cd instead and include the full session. I own the 24bit master edition on cd from 2006. It’s great in sound quality but lacks any liner notes which is really another missed opportunity. It’s definitely the cheapest option but not the most recommended. It’s definitely worth to buy the original LP. ‘Moods’ itself is highly recommended and among his best records. Mal was really in prime form this period.

(1972) Meditations - Live at Dug ****1/2

 

With: Mal Waldron (piano)
Record date: July 12, 1972

Just like the previous year and the year before that, Mal took his annual trip to Japan. It really became an annual thing from 1970. Sometimes he stayed a month, sometimes a couple of months. Later in the '80's he had a few apartments over there and met his second wife. On July 12, 1972 he gave a solo concert at Dug’s jazz club in Tokyo. It was recorded and brought out by Victor Japan: another great record produced by that record label.

Now as I stated before: Mal solo could result in two things. Some of his solo records are a bit boring, while others are among the best music he has made. On ‘Meditations’ Mal was clearly in prime form: it’s among his best solo outings. The compositions are all well chosen, with some known compositions by Mal, some new compositions dedicated to Japan and a good old jazz standard that is played in a not so standard kind of way.

Mal starts with a true classic: ‘All Alone’. And because it’s mostly written out music, this version of course sounds a lot like all the other versions around. Yet it strikes me every time as one of his most beautiful and breathtaking compositions. It’s also a beautiful way to set the atmosphere for the rest of the night. The following Blues suite is exactly that: a long suite with a bluesy feel. The music goes in every direction: some of the phrases are more calm and others are more challenging. Mal plays with ideas and rhythm and falls back on the main theme multiple times. It’s a fascinating listen and though the music is pretty calm an straightforward: this truly is music that deserves your full attention. Because there is a lot going on, but you really need to listen to it. There is no pianist that could make silence sound so beautiful.

On the songs referring to places in Japan he plays with eastern tonality, but in a completely different way as say Alice Coltrane was doing at the time. This is still very ‘Mal Waldron’ but the Japanese influence is very evident in his sound here. On ‘Tokyo Reverie’ he didn’t really manage to catch that atmosphere, but here he does very well. ‘The Stone Garden of Ryoanji’ is just like ‘All Alone’ indescribably beautiful. Really I do not have words to describe it. It has this dark and deep feeling within it that just makes me silent. The version of ‘Summertime’ is good but nothing special. Closing up is one of Mal’s other classic’s ‘Left Alone’. And there could not be a better way to close this beautiful live record.

Also very nice: the live atmosphere. Dug was and is a small club so it’s a modest applause he gets but that really contributes to the intimate feeling of the music as are the sounds of cutlery on plates and clinking glasses.

Together with ‘Tokyo Bound’, this is the only Victor record by Mal that appeared on cd. It makes me wonder even more why they don’t reissue his other works, especially because there is a pretty high demand for it. Anyway the original LP is still available for a pretty reasonable price. Japanese label ‘Somethin’ New’ reissued it on cd in 2016. That’s the one I’ve got and it’s great. Beautiful sound, solid packaging in a replica mini LP jacket. Liner notes are of course…. In Japanese. I might start a course as I feel I’m missing so much information. One of Mal’s solo works you could buy without hesitation. But do promise to sit for it, preferable with headphones on.

(1972) On Steinway ****

 

With: Mal Waldron (piano)
Record date: May 11, 1972

1972 was a year with quite some solo records by Mal (4 to be precisely). And where I always found ‘Blues for Lady Day’ a little bit overrated on websites like AllMusic and RYM, I never understood why ‘On Steinway’ was getting such low ratings. Perhaps it had something to do with the awful reissue ‘Fuel 2000’ made? More on that later.

This solo recording starts with the beautiful ‘Portrait of a Bullfighter’ which has an almost classic feeling to it. From that beautiful theme it gets into more bluesy territory and there’s a more Spanish feel in it. After that it returns to that very same beautiful starting theme. It’s one of the prime examples of how Mal could play with silence. It’s also a good example of how one can hear Mal’s classical schooling when he was young. I already named Debussy and Satie as influences on Mal but this song has more of a Chopin feel (a Mal favorite also). The second composition ‘One for Bud’ is something completely different. The way Mal let Bud Powell relive here without simply copying his playing really puts a smile on my face. The whole composition has that Powell drive, but it also shows how much Mal was influenced by Bud. Monk is always named as the prime influence but when you listen close to Mal there is always a slight hint of Bud Powell also. Especially in the way he closes a tune for example and the sometimes restless feel in the more fast compositions.

‘For Eric Satie’ is Mal’s very first tribute to the French classical composer. And though it is not a Satie composition it surely breaths a lot of Satie air. The beautiful yet so simple melody. ‘Less is more’ at it’s very best, this is breathtaking music, beautiful to listen to in a room with dimmed lights and nothing else but the music itself to listen to. It’s making clear that just a few notes could say so much. He would later record a full album of Satie in the ’80’s for the Baystate label. The last song on the album is again different, with a different feel. Again a catchy theme and some nice improvising by Mal and again there is a hint of classical influences. With 18 minutes the song is more like a suite. It’s a fascinating listen, keeping your attention from the first till the last minute.

'On Steinway' was originally released in Japan on Overseas records. That is at least what Discogs tells me. The American Paula version is the one with the better known artwork, which was also used for the Japanese reissue on cd by P-Vine. I do not know how the vinyl versions sound. What I can say is this: avoid the crappy reissue on ‘Fuel 2000’ at all costs. I always found that label pretty shady, and the terrible audio quality says it all for me. Believe me: it’s really not even worth de 3 euros you have to pay for it on Discogs. I’ve bought the ‘P-Vine’ cd version from Japan myself and though more expensive it really pays off. Beautiful and warm sound and original artwork. Definitely a recommended solo album by Mal, but be sure to buy the right version. Don’t be spooked by the relatively low scores on certain websites.

(1972) Jazz a Confronto 19 **1/2

 

With: Mal Waldron (piano)
Record date: April 4, 1972

In his endless touring trough Europe, Mal made lots of records, for lots of labels. In April, he was in Italy, the country he secondly resided in when he made the journey to the Old Continent. He went into the studios to make a solo record for Aldo Sinesio’s ‘Horo’ label. Sinesio, a jazz afficionado from Italy who recorded plenty of talented Americans who were visiting Italy in the ’70’s. People like Max Roach, George Adams, Lester Bowie, Sun Ra and many more. Mal recorded for the Jazz a Confronto series of the label.

Like the earlier solo effort of this year, ‘Blues for Lady Day’, this is not one of the most interesting Mal sessions. It is full of Mal originals which gives the whole album a little bit more of a creative spark but the compositions were probably written fast on a piece of paper and recorded immediately. And as we know from his time at Prestige: Mal could write 6 compositions a day that all sound a bit different. What is definitely interesting to hear is that there is already a slight hint of ‘One Upmanship’ in the song ‘Breakin’ Trough’. It was not unusual Mal would pick old compositions and change or adjust them a little into something new. All in all the album is a nice view into what Mal was doing in those years, building up nice soloing around repeating bluesy theme’s. But it has mostly a practicing feel in it: like he was testing and practicing, trying out new idea’s. The best and most beautiful song is probably the 'Lullaby'.

Some of the Horo LP’s are pretty rare these days. Mal’s ‘Jazz A Confronto 19’ is not. With 14 copies for sale on Discogs it’s pretty widely available. There’s seven versions available, some with different artwork. I have got the Italian one without a release date. It's more than okay soundwise. Producer Aldo Sinesio was made several offers to reissue on cd but wasn’t interested. He did hold a few copies of certain records which he sold for quite a lot of money…. That is at least what I have been told. That would have been a pretty ugly thing to do. Anyway: there’s definitely more interesting Mal out there. Also more interesting music on the ‘Horo’ Label. Completists only.

(1972) Blues for Lady Day ***

 

With: Mal Waldron (piano)
Record date: February 5, 1972

1972 would become another very productive year for Mal, delivering multiple solo works and a few records with great groups. He still spend most of his time in Europe or in Japan. His first record of that year was recorded in Baarn, the Netherlands. It’s one of his multiple tributes to Lady Day who he accompanied till her death. When Billie died, Mal was devastated and he always kept her in a special place in his heart. He pad tribute with multiple records recorded in her honor. Not just songs, but full albums! ‘Blues for Lady Day’ was his second, after the previous record with Kimiko Kasai.

On ‘Blues for Lady Day’ he plays 9 jazz standards that are all more or less affiliated with Billie Holiday. Mal Waldron solo could be very, very interesting but also in some cases: a bit dull. This record is rated pretty high on websites like RYM and Allmusic but I personally do not really hear what all the fuzz is about. Mal plays 9 standards in a very decent way. Decent… no more, no less. There’s not that familiar tension in his playing, but it also lacks some emotional feel, which is weird because some of the songs should really have that feeling. It’s a nice listen and you wouldn’t piss anyone off playing it when you have visitors for a coffee but Mal made such better records. His soloing also sounds a bit uninspired like he just didn’t have his day.

Highlight of the album is probably ‘You Don’t Know What Love Is’. Now, the original by Billie could almost make me cry, and Mal captures the right atmosphere here. It has that beautiful sadness over it. His handling of 'Strange Fruit' is also beautiful with the dark and low tones from his left hand. 

‘Blues for Lady Day’ was originally released on Black Lion, which means it is still widely available on second hand vinyl for a low price. You have a choice from 8 different kind of versions, also on labels affiliated with Black Lion like Arista, Freedom and Trio. The 1993 cd version, with different artwork, has a nice bonus for vinyl haters: it contains the whole session of ‘A Little Bit of Miles’ which was recorded after this one that same year. That one is pretty difficult to obtain on cd. Also, the music is available in high resolution files and trough multiple streaming sources. Give it a spin and see how you like it. To me, this is not an essential record.

(1971) Signals ***1/2

 

With: Mal Waldron (piano solo)
Record date: August 14, 1971

In August 1971, Mal was back in Holland again and recorded his third solo studio record. His first was ‘All Alone’ , the second ‘Tokyo Reverie’. And just like that album, ‘Signals’ is full of Mal originals and there are no standards. Generally, Mal is at his best playing his own work or perhaps that of Monk, especially when he is solo. Where ‘Tokyo Reverie’ sounds a bit uninspired and lost at times, ‘Signals’ is better. Mal does sound inspired here, although he not manages to reach the level of his live solo outings.

The title song start with some uncomfortable dissonant tunes that slightly go up into a more accessible melody. It’s a typical dark Mal theme with some kind of march feel in it. Like a national anthem from the 19th century, played by a military march band. From there Mal’s stretches out in his usual style. The same goes for ‘Things That Go Bump in The Night’ (lovely title), which has a more bluesy feel. Mal stretches out again, changes rhythms, changes and themes trough the song, which keeps the he attention of the listener. Again there are hints of classic composers like Satie, especially at the end of the song. Mal once stated he learned from Satie that less was more in a lot of cases. And that more definitely wasn’t always better. According to Mal, that was a problem to some of the jazz pianists in his days that always tried to play as much notes as possible. Yet Mal, modest as he was, never really criticized his colleague musicians. ‘If there’s an audience, the music is good, even if there is only one: then still one person enjoys it’. Plenty of wisdom by Mal there. 

Side B continues where side A ended. It’s a great showcase of Mal’s developments since 1966. This is a very different Mal than on the 1966 recording ‘All Alone’ for GTA records. The music here is more advanced and developed and Mal sounds more secure en definite. He never played the originals again on other albums.

‘Signals’ was recorded in The Netherlands but first released in the US on the ‘Freedom’ label in 1977. After that it was issued three more times on vinyl, but never on cd. The LP’s are widely available for low prices (especially for a Waldron record). Also there’s a digital and remastered version available trough Amazon music, Spotify etc. Recommended, but not essential. Mal has mad worse but also better solo albums.

(1971) Mal: Live 4 to 1 ***

 

With: Koshuke Mine (alto saxophone on track A1 and A2), Mal Waldron (piano), Masabumi Kikuchi (piano on C1 and C2), Isao Suzuki (bass A1 to B2), Yoshiyuki Nakamura (drums A1 to B2)

Record date: March 2 and 3, 1971

This album captures Mal live in 4 different settings: the A side contains a quartet, the B side a trio, side C is a piano duet and side D is Mal solo on piano. Hence the title 4 to 1. The music was also released as ‘Left Alone- Live 1’ on Fontana (side A and B) and ‘All Alone - Live 2’, also on Fontana (side C and D). 

Let’s start with the quartet on side A. Saxophonist Koshuke Mine clearly plays at the top of his abilities but those abilities do not reach very far. On ‘Left Alone’ he’s okay, playing a fine and balanced solo. His tone lacks character a bit. On ‘Straight No Chaser’ the lack of technique also shows up. He plays with pretty much the same ideas all over again and fails to impress or sound original. He reminds me a bit of myself when I was playing alto saxophone, focussing heavily on blues scales. Bassist Isao Suzuki sounds more promising. He swings and gives Mal some great support. Yet there is not much space for him nor the drummer to stretch out. Mal plays an okay but not very inspiring solo.

Side B is more interesting. The trio starts with a very strong perfomance of the Mal original ‘Right On’ which was first to be heard on Mal’s solo record ‘The Opening’ from the previous year. After playing fascinating theme the band goes into hard swinging postbop territory. Both Suzuki and Nakamura play their butt of and show they know how to play. Suzuki’s solo in inspiring, daring to leave traditional bop scales and showing he knows what was going on in jazz land in those years. And the same is to be said for the drummer. Surprisingly good! ‘Thoughts’ is from that year’s record ‘The Call’. In the acoustic version it’s just as a fascinating composition as on ‘The Call’ where it’s played on an electric piano. The version here has of course a more jazzy than fusion feel. Again the chemistry between the band members is clearly present and their interaction is lovely, slowly building up to a climax, then slowly fading away.

Side C is a piano duo with Japanese piano player Masabumi Kikuchi. Mal is in the left channel, Kikuchi in the right. The piano duo is a fascinating form and really demands from both players that they listen closely to each other. When the chemistry is there, it could turn into a fascination soundscape. The opener ‘Little Abi’ is a beautiful and subtle ballad where both pianist do exactly what’s needed: they listen to each other, not missing a single piece of what the other is doing. This is beautiful, classic and stunning Mal. One of those ballads that would be on a ‘Most Beautiful Songs By’ compilation. Unfortunately there’s no such compilation but I would love to make one! The following ‘Blood and Guts’ is less sweet and subtle of course. Interesting to hear that Kikuchi and Waldron have split the pieces they play. Hearing the theme it sometimes sounds like 1 pianist. After it Kikuchi starts with his solo which is pretty good, copying ideas by Waldron but staying close enough to his own. His mumbling makes one think Keith Jarrett is also present in the building….

Closing up are the solo sessions on side D. Mal always plays nice, but when he goes solo he plays his own originals best. He sticks to standards here (part from ‘All Alone’) and they just sound ok, no more no less. He sounds a bit uninspired, as he does mostly when he plays standards solo. The closing ‘All Alone’ is beautifully chosen to close the concert. This remains one of his most beautiful compositions. It’s mostly written down music, but it’s beautiful in any version he played.

All in all, this record is bit of mixed bag. Some of the sessions are ok, some are good but none are truly essential. When you want to buy this you’ve got plenty of choice. I would not recommend the separate Fontana’s as they really not sound very well. I don’t know about the separate Philips releases of Left Alone and All Alone. I do know that both the Phillips Mal Live 4 To 1 from 1971 and 1979 sound very good and are available for around 40 euros which is not bad for a double LP gatefold. Liners are of course in Japanese. I would not recommend the expensive and rare cd version as it misses two songs: Straight no Chaser and Willow Weep for Me. They should definitely have chosen for a double CD version and include all the tracks. I hate half a sessions.

(1970) The Opening ****1/2

 

With: Mal Waldron (solo piano)
Record date: November 19th, 1970

In November 1970, Mal returned to the American Center for Students and Arts and gave another concert for a small crowd. The concert was recorded again by the French Futura label.

This is the very first Mal solo record where he just only hits the right notes. Its dark, moody, angry, gentle and very intimate. Where ‘Tokyo Reverie’ did not really go anywhere, and All Alone was just a beautiful starting point, The Opening has this almost indescribable dark atmosphere. Music to listen to, when you’re alone in a dark room with nothing else on your mind. And also the first solo effort where the influence of French composers like Satie or Debussy is really recognizable for the first time.

The opening ‘Right On’ is a waltz like theme. Mal had a fascination for that waltz rhythm and you could hear it in a lot of his originals. It was used as an opening theme for the French movie: ‘Georges Qui’? The movie is about the French (woman) writer and socials George Sand. The following ‘Of Panthers and Pigs’ is one of the highlights of the album. Of course, Free at Last was already referring to the civil rights movement earlier, but this album has more references to that movement and period. Of course the song is about the battle between the Black Panthers and the police forces in those days. The song expresses lots of emotions but sadness and anger are the most prominent. You could feel Mal’s emotions run trough the keys into the piano. The racist atmosphere was one of the reasons for Mal to leave the US for Europe. Both ‘Cry Out’ and ‘Die Fludel’ are fascinating compositions playing with timing, tempo and showing classical influences all trough. Listening to it on headphones makes you vanish into the music and forgetting you are actually on earth. The closing song is another interesting one: ‘Sieg Haile’. It was of course no reference to WWII, but a statement of honor for Emperor Haile Selassie of Ethiopia. Another notice of black consciousness in Mal’s music. The composition would be recorded two more times after on the both fantastic albums: ‘Black Glory’ and ‘Moods’. It’s a fascinating composition with clear influences from march music and a beautiful floating and dreamy follow up theme.

‘The Opening’ is widely available on vinyl and also on cd. I’ve got the 2016 reissue on CD. Again a digipack with no liners whatsoever. Up till now, liner notes are in Italian, Japanese or non existent. Not very to easy to find yourself some background information of Mal in these years. Audio quality is slightly less than the ‘Blood and Guts’ album: there is a small hiss in the background. Still the music sounds detailed and well recorded. I don’t know how the vinyl sounds….