(1985) Kim Parker - Sometimes I'm Blue **

With: Kim Parker (vocals), Mal Waldron (piano), Isla Eckinger (bass), Ed Thigpen (drums)
Record date: May 28 & 29, 1985

Kim Parker was Bird's stepdaughter: she was Chan's daughter. I'm not an autobiographical expert on Bird but I am pretty sure he has written his classic 'Kim' for the singer that is present here. She has made some records with the likes of Kenny Drew, Tommy Flanagan, Phil Woods (another stepfather) and.... Mal Waldron. She wasn't very active on the scene and this record for Soul Note was one of just a few records as a leader. She composed a killer band for it with Mal at the piano, the underrated Isla Eckinger on bass and the great Ed Thigpen on drums. Unfortunately it resulted in a rather dull record.

It's pretty much the same story as with quite a lot of Mal's encounters with the female singers. Mrs. Parker could sing. She could sing in the sense that she would be a nice presence at a local restaurant singing jazz classics with a pianist at her side. But her vocal skills doesn't really pass the level of a good amateur singer. In fact, I am pretty sure she is out of tune here and there. She's doesn't have a high technical reach and her singing is little innovative. Listening to her while eating a nice steak and having a beer would be lovely. But listening to a whole record is something else.

And where the lovely Jeanne Lee easily blended with more challenging forms of jazz, Kim mostly sings in the tradition that really was the tradition in the '50's. It means for Mal and his band that they are pushed in the role the accompaning artist again and that kills most of the creativity. The solo's that he plays here are all fine as one expects from him but there is nothing exceptional in them. And Mal was definitely capable of playing exceptional things in this decade. Eckinger's and Thigpen's roles are even more modest. They hardly have any space to show off some of their excellent playing.

Got this one in the 11cd boxed set. A nice addition to complete your collection but I would not buy the seperate release as it's not a very good record.

 

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

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

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

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

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

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

(1989) Tiziana Ghiglioni/Enrico Rava/Mal Waldron - I'll Be Around ***

 

With: Tiziana Ghiglioni (vocals), Enrico Rava (trumpet), Mal Waldron (piano)
Record date: July 25 and August 1, 1989

Mal and Italian female singers…. there was really something between them. This was not his first, nor would it be his last recording with one. This time it’s Tiziana who sings. Fortunately not Tiziana Simona but Tiziana Ghiglioni who really is better singer in my humble opinion. Italian trumpeter Enrico Rava also joins in with his warm and lyrical trumpet playing.

Composition wise there aren’t a lot of surprises. The repertoire consists out of standards only, most of them are affiliated with Billie Holiday in some way. Tiziana has a warm and very feminine voice. She has a soft voice and is pretty accesible in that way. Mal accompanies her in the way he can accompany a singer: thoughtful chords an backings in support of the singer. Rava interacts with both Mal as with Tiziana, playing sweet lines in the background an playing solid solo’s. In no place this is a shocking album, it’s all very straightahead and a bit predictable. My main problem with these kind of albums is that it seems to kill the creativity of the other band members. Both Rava and Waldron really just play nice but don’t have an opportunity to shine. They do have some nice moments together on ‘You Don’t Know What Love is’. Rava’s warm and lyrical tone blends very well with Mal’s moody backings. And Mal’s solo is beautiful here. Part from that, it’s a bit dull at times. That probably also has something to do with the safe compositional choices. It also misses a bit of emotional depth. Where Billie could really touch or thrill me, Ghiglioni can not.

But… she can definitely sing and has a pleasant voice. I would enjoy her presence if she was singing in a local restaurant or something. This one is in the 11cd Soul Note box but copies of the issue itself are also still widely avaible. Soul Note fails to mention that not every song is in trio form. There are also duo's and a solo.

 Definitely one of the better vocal albums from the ’80’s. Not bad but just not really my cup of tea.

(1989) Where Are You? ***1/2

 

With: Sonny Fortune (alto saxophone), Ricky Ford (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums)
Record date: June 10, 1989

Where Are You? Was recorded on the very same day as Crowd Scene with the same personnel but has a very different sound. Where ‘Crowd Scene’ is full of tension and bursts of energy, ‘Where Are You’ represents the softer side of the group. That doesn’t mean it consists of ballads or slow music but it just has a different more laidback energy.

The album start with a solo interpretation of ‘Where Are You’ by Mal himself, played in a very gentle way. The following ‘Waltz For Marianne’ is where the rest of the group enters. Mal always had an appreciation for the waltz and he wrote quite a lot of them. ‘Fire Waltz’ is probably the best known example. Just like on ‘Crowd Scene’ the two main themes are pretty long in time. With this song that is a downside. Both Ford and Fortune sound less inspired in this musical form. They both play a nice solo but there doesn’t really seem to be a start nor and ending. The same goes for the rhythm section that just plays, plays some more and then…. some more of the same. It get’s a little better on Reggie Workman’s freaky ‘Wha’s Nine’ composition. It’s again Fortune that really impresses with a very intense and energetic solo. Also there’s again some more freedom for Workman to play with.

Like the other quintet session, this one was never issued on vinyl. The one in the boxed set doesn’t have liner notes. The difference in quality between the two sessions is remarkable. I wonder what they recorded first. My guess is ‘Crowd Scene’. Nice recording but not essential.

(1989) Crowd Scene *****

 

With: Sonny Fortune (alto saxophone), Ricky Ford (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums)
Record date: June 10, 1989

Mal has had some very, very good quintets: with Lacy and Schoof, with Rouse and Shaw, but this one should not be forgotten to. In June 1989 Mal made two records with a quintet consisting of himself, Sonny Fortune on alto saxophone, Ricky Ford on tenor saxophone and a solid familiar rhythm section with Reggie Workman on bass and Eddie Moore on drums. Both Fortune and Ford are truly overlooked masters of their instrument. Sonny Fortune is best known for his appearances with Miles Davis’ fusion groups but also his spiritual postbop records for Strata East and A&M in the ’70’s. Ricky Ford is a highly talented tenor player that can swing hard but also dares to go more outside with his playing. He was so unfortunate to break trough in a period that jazz was becoming less and less popular. He made his best output for Muse records but quite a lot of that stuff has never been issued on cd. 

Choosing two saxophonists instead of one saxophonist and one trumpeter is a very refreshing idea. Especially because the styles of both Fortune and Ford have quite a lot in common. They are both players that are with one foot in the jazz tradition, but the other foot is really explorative entering some more free territories here en there. This album consists of two very long originals with plenty of space for all the players too really stretch out. The title song starts with Mal’s dark repetitive theme in the lower registers and Workman funk things up. After the theme it’s Ricky Ford that starts with one of his most intense solo’s I have ever heard. In 6 minutes he destroys everything around him with wild overblows and rolling clusters of notes. Mal’s solo is of great brilliance first leaving the theme and soloing in all the space he gets from Workman and More. Then he returns back to that dark funky groove mostly hitting the lowest keys swinging like a madman. Last one to be heard here is the great Sonny Fortune with his very pleasant tone. I am really a big fan of his first records like ‘Waves of Dreams’ and ‘Awakening’ that had a sincere spiritual feeling. He really plays that way here. He’s a skilled and technical player but also with a deep spiritual groove. Just like Ford he loses himself in the modal theme’s, playing more intense every minute as the music progresses. Around the 19th music it builds to it’s absolute climax. Some alto players really have a shrill sound, especially when they overblow but Fortune has not. His sound stays warm and very pleasant. The song is concluded with some excellent soloing by both Workman and Eddie Moore.

The second and last composition on the album ‘Yin and Yang’ is a little different with a more traditional postbop feel in the rhythm. The rhythm really is yin and yang here moving back and forwards between slow and very fast. It’s those sudden rhythm changes that make the music even more exciting. And another showcase of Workman’s incredible bass playing running trough all the scales. This time it’s Sonny Fortune who kicks off and again he doesn’t disappoint for a second. He has no problem coping with all the rhythm changes playing all kinds of licks without losing creativity for a second. His playing is raw, bluesy and dirty. It’s loud and in your face. Ford plays a little more subdued here but still really swings hard on the hypnotic lines provided by Mal and the rhythm section. Really the only downside of the album is the limited solo space Mal takes. But part from that this such a great record.

Together with ‘Where are You’ and the quintet recordings with Charlie Rouse and Woody Shaw, this makes up the first Soul Note boxed set. I’ve got that one but as the box is quite expensive and rare these days one could also just pick up the original issues. The LP mini sleeve in my box sets does not contain any liners whatsoever. Really a pity because I would loved to have known more about these fascinating sessions. Soul Note has really produced some awesome Waldron recordings. This is definitely on of them. What’s probably most weird is that is definitely not among Waldron’s best known records. Very, very unjust. Grab this one as soon as you can.

(1987) David Friesen/Eddie Moore/Jim Pepper/Julian Priester/Mal Waldron - Remembering the Moment ***1/2

 

With: Jim Pepper (tenor saxophone), Julian Priester (trombone), Mal Waldron (piano), David Friesen (bass), Eddie Moore (drums)
Record date: June 25, 1987

In the summer of 1987, Mal was in the US again. In a small venue on the east coast in Portland he appeared next to Jim Pepper, David Friesen, Julian Priester and Eddie Moore for club gig that was recorded. Big names! All experienced musicians that were well established in the jazz scene. And also all names that weren’t exactly known for only playing straightahead jazz. 

This clearly is a club date and has a real jam session feel. The guys play a jazz standard and than one starts his solo. Then there’s someone else playing a solo, and then follows another one. That really is the concept of the album. They probably didn’t have much time to rehearse and choose a safe route. Nothing wrong with that but it does result in quite predictable music. Most of the soloing is also within the safe zones of jazz. Mal has the opportunity to show he does have a hell of a technique on ‘Autumn Leaves’, playing way more notes than he used to do. And also Jim Pepper, who Mal was to play with lots of times from now on, has a formidable technique. He has a very solid and tough tone yet he sounds very pleasant and accessible. Even the few overblown notes he perform does not really sound out there. Friesen swings hard all trough. And Priester… well he sounds like could have play more and better if the music was a little more challenging. Best song of the album is the up-tempo version of Miles’ All Blues. It swings very, very hard and every solo played just sounds excellent. Some great playing by all.

So a group with much potential that play an ok but not very impressing set. This Soul Note release, which is cd only, is still pretty easy to obtain online. Be careful out there for CD-R’s or so called Amazon on demand releases. There are pretty many of them circulating these days, especially from labels like Soul Note. It’s fully legal but you get a CD-R mostly for the same price as a regular cd. And not all sources are that clear of what they are selling to you. For some very vague reason this is the only Mal Waldron session that was not included in one of the Soul Note boxes…. So even when you own both of them, you still miss this one. You could live without it, but it’s some pretty solid music.

(1987) Our Colline's A Treasure ***1/2

 

With: Mal Waldron (piano), Leonard Jones (bass), Sangoma Everett (drums)
Record date: April 28 & 30, 1987

The recording year 1987 started in Europe with a trio session for Soul Note. It’s an album with 5 pretty straight ahead originals. Both bassist Leonard Jones as drummer Sangoma Everett are fairly unknown with Jones coming from the freejazz scene, playing with the great Muhal Richard Abrams and other AACM members. Sangoma Everett is a drummer that integrates lots of African and Eastern elements in his drumming. Mal was to appear later on an album by him.

Like I said before: this is a very straight ahead session. Though it consists of Waldron originals, these are mostly his more accessible ones. And where musicians like Reggie Workman were capable of searching every bit of space and freedom in even the most structured standards, Jones and Everett really just play their part. There’s not a lot of solo space for them either. Only exception is ‘The Git Go’ which is one of the more exciting songs on the album. Mal is in excellent form and the closing ‘Because of You I Live Again’ is incredibly beautiful with Mal’s gentle touch and subtle playing. One could actually hear his love for Colline trough his notes.

You cannot call this a bad record with bad music. It really is not. But Mal has definitely made much more exciting trio albums and played with more interesting musicians. Nice but not essential. It’s in the 11cd Soul Note box but without any liners (weird choice).

(1986) The Git Go ****1/2

 

With: Woody Shaw (trumpet), Charlie Rouse (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: September 16, 1986

This is the second (or the first) set of that wonderful night At The Village Vanguard. A place where so much essential and groundbreaking jazz has been recorded. From Coltrane to Bill Evans. And from Sonny to…. Mal Waldron. Of course this review will not be as long as the one for ‘Seagulls’ as it is the same session but there’s still some left to tell.

This second album is almost as good as the Seagulls album. Really, it’s a very close call and probably a very personal matter: a matter of taste. This shorter album starts with a true Mal classic that he has not played since it’s record date in 1961 (at least not on record). Status Seeking is from his classic ‘The Quest’ album. One of my very favorite pre 1964 albums by Mal with the great Eric Dolphy on reeds and flute. Now this version misses those famous outbursts by Dolphy but the tension is probably even higher. Mal starts building that tension with that very dark walking theme, building it up till it’s finally released by a great solo from Rouse. Both Rouse and Shaw again really take it away but it’s Workman again with that hard swinging groove that really gives it the final touch. Blackwell’s solo is also great with a march like feeling focussing on his snare drum. The Git Go is also a Waldron composition which has been played before by this very same group. It’s first appearance was on a Klaus Weiss record with Cecil Bridgewater and the great Billy Harper in 1975 on MPS. Mal has played it on several occasions and made two records as a member of Weiss’ band which will be reviewed later. It’s a very moody original with plenty of space for the bassist to work with. It's really some more proof that Workman was truly one of jazz' most innovative and original bass players.

Just like with most Soul Note albums this one is not very hard to find. This was one of the best live sessions by Mal Waldron ever. Both albums are essential stuff, not only for Waldron fans but for any serious jazz fan.

(1986) The Seagulls of Kristiansund *****

 

With: Woody Shaw (trumpet), Charlie Rouse (tenor saxophone), Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: September 16, 1986

In the eighties, Mal’s visits to the US were becoming more frequent and longer. In 1986 he stayed a couple of month’s. He admitted himself that being back felt good for him, but his home remained in Europe. During those visits he always played at the Village Vanguard in NYC for a week or so with a set group. He appeared there already with this very same all-star group in 1983 which was recorded and brought out on DVD (highly recommended). In 1986 he appeared with the same group: a dream line-up for every jazz lover. There’s Woody Shaw on trumpet. Probably one of the most innovative trumpet players of all time and definitely one of the most exciting of his time. There’s Monk’s most faithful companion Charlie Rouse on tenor saxophone. Reggie Workman on bass, one of jazz’ all time greatest. And like that wasn’t even enough Ed Blackwell on drums who is probably one of the most rhythmic players from the freejazz ’60’s scene. And then of course I forget Mal himself…. It leads to one of his very best recordings. Part of the concert was released on Soul Note as ‘The Seagull’s of Kristiansund’. The other part was released as The Git Go. This very one is probably a very little bit better.

The whole concert blasts off with a Mal classic. The hunting and nervous Snake Out in one of it’s best performances I know. Mal set’s in the theme, Workman and Blackwell follow quite soon and there’s the tension with the rest of the band filling in. It’s Woody Shaw who is there to release that tension with a mind-blowing solo. Woody is creative and doesn’t sound predictable for one note which is incredible with a modal piece like this. The possibilities are endless and his technical skills are very impressive. He plays with chords, notes, tempo’s and phrases. One of the most advanced postbop players that always dares to play near and on the edge but never really passes it in an unpleasant way. Then there’s Rouse with his warm but squeezed sounds. The short phrases he plays add up to the tense feeling all trough the music. His pretty traditional sound doesn’t sound a second out of place in this pretty advanced postbop composition. Mal takes it all away with his typical nervous repetitive style, fully interacting with Workman and Blackwell. Reggie plays one of his fantastic solo’s playing inside and outside all at the same time. And then there’s Blackwell who is very, very solid as an accompanist in the background but really kicks ass in his solo. Blackwell is a very different player from Rashied Ali but they give me that same feeling: you sometimes wonder if it’s really one guy drumming. Blackwell’s feet and hand’s really just all doing their own thing but still it all sounds so structured.

The following ‘Judy’ is the most straightforward piece of the album but swings unbelievably hard. Rouse’s solo is great playing with the theme constantly in different forms fully exploring it’s potential. Shaw picks up exactly there showing off his great technique again with countless very fast loops that just dazzle your head. And again it’s Mal and his rhythm section that really make things complete with their very tight playing in the background. Mal with his full and rich chords, Reggie walking, running and anything in between and Blackwell just playing in a very laidback style. The true highlight of the album is yet to come: it’s the title song itself. A 23 minute long version of one of Mal’s most beautiful compositions with plenty of soloing space for every participating musician. It starts off with it’s soft and melancholic theme. It really reminds one of a Norwegian harbor on a cold December day. It’s one of Mal’s most atmospheric pieces. Where the other songs swinged hard and all the band members really showed off their skills, there’s a way more minimalistic approach here. Rouse blow’s soft and gentle, almost whispering: you could hear his breath going trough his horn. He carefully weighs what to play. Workman dances beautifully around the chords, sometimes imitating seagull sounds, than humming in it’s lower register again. Such a versatile artist. Then there’s Shaw. He could blow your ears off but could also play soft as the wind. Here he is like that wind. And it’s Mal who really takes it away with such a simple but impressive solo. A beautiful closure of a very good live session. People who were there were very, very lucky.

This beautiful and impressive music is not hard to find at all. Plenty of copies available on both cd and vinyl. There’s also the great 4cd Soul Note box that also contains the other part of the concert and 2 cd’s with another great quintet: with Sonny Fortune and Ricky Ford. It’s pretty expensive these days so buying the separate releases is not a bad idea. The box set does not add any extra liner notes or whatsoever. One of his very best recordings: you should really buy this without any hesitation.

(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. 

(1986) Mal Waldron/Steve Lacy - Sempre Amore ****1/2

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: February 17, 1986

This was the very first studio recording by the great Lacy/Waldron duo. They had performed together many times, both as a duo as in larger groups. In a duo setting, it was always live: at Dreher, the Bimhuis and at the Jazzbuhne. The only records that were already released at the time of this duo was the stuff at Dreher. And there’s more that makes this recording unique. It consists only of Billy Strayhorn and Duke Ellington compositions. It leads to a sound that is familiar on one hand but is also very different from their previous works. It’s definitely the most accesible one of their work together.

Accessible yes, but boring? No way! It’s another fantastic recording which I revisit over and over again. The starting ‘Johnny Come Lately’ has that ice cold dark atmosphere set by Lacy with his beautiful tone on the soprano. Even when he plays so dissonant it all makes sense. The composition gets a whole new sound. Songs like a ‘Prelude to a Kiss’ and ‘Star Crossed Lovers’ are just incredibly beautiful with both Lacy and Waldron picking each note carefully. It’s Lacy in it’s most melodic accessible way, clearly respecting the tradition these songs were written in, yet still sounding creative and innovative.

What is central again on this record is the interplay between them. It’s like they are one and the same person constantly interacting, talking to each other and reacting on even the smallest details the other is playing. I would not be surprised if one of them would actually be capable of predicting what the other is about to play. And that is very impressive as both are not very predictable musicians. One of the best examples of this is also one of the most beautiful songs on the album: ‘A Flower is a Lonesome Thing’. One of the other things that stands out is that this music isn’t so much about technical skills (while both musicians have them) but more about emotional depth and feeling. These compositions really get a new meaning instead of just being played.

This was released on the great Italian ‘Soul Note’ label. It’s excellent in sound and widely available in any form. This one is credited to Mal, being the first artist mentioned, but that really was a random choice. Some of their records mention Mal first, others Steve. It’s really like their music: fully balanced with both playing an equally important part. This really is essential music and one of the best sax-piano duo’s I know.

(1985) Mal Waldron/David Friesen - Dedication ***1/2

 

With: Mal Waldron (piano), David Friesen (bass)
Record date: November 18, 1985

In November 1985 Mal made his first official recording for Soul Note in the Barigozzi Studios in Milano. It was the start of a very fruitful collaboration. The label produced some 16 albums with Waldron on it as a leader, a co-leader and a sideman. This record is the last of three duet albums with the bassist David Friesen.

The opening ‘Dedication’ was written by both Waldron and Friesen together. It really starts more like a soundscape than an actual song. It’s that ambient influence again and again it works perfectly. Waldron’s minimalistic approach combining with the electrical bass effects by Friesen works almost hypnotic. Very creative stuff that later emerges in more jazzy based compositions. In ‘All God’s Chillun Got Rhythm’ Mal uses a part from his own ‘Due Torri’ composition. Or probably it was the other way around then and he lend those chords from that original. Mal shows of he’s perfectly capable to play fast too, with a few hints of Bud Powell that really made this composition famous in his collaboration with Sonny Stitt. ‘It Never Entered My Mind’ is a bit boring at times and lacks character. Rhythmics is pretty challenging original by Mal’s with lots of interaction between both Waldron and Friesen. The music is a little more free and the compositions a bit more abstract. Then with Tapestry the more ambient feeling returns. It’s very interesting hearing Mal’s style blend with this kind of music. The closing Batik is probably the best and most beautiful on the album. Friesen's touch is very warm and personal one.

Almost every single Soul Note release by Mal is widely avaible for very reasonable prices. So is this one. It’s also included in the 11cd box-set. A nice but not essential record. If I had to pick my favorite encounter between the two it was their first on Muse.

(1985) David Friesen/Mal Waldron - Remembering Mal ***1/2

 

With: Mal Waldron (piano), David Friesen (bass)
Record date: July, 1985

Mal’s second duo recording with David Friesen was a live encounter in a LA restaurant. As a recording date, it’s his first of many albums for the Soul Note label. But this one was released posthumously in 2006, hence the title: Remembering Mal. The album has a more jam session like feel than their Muse studio album. That means a little less emotional depth but a highly enjoyable live gig filled with jazz standards.

And they chose some very fine jazz standards. If I Were a Bell has that same joyous feel over it like the studio version on the Muse album. It’s highly energetic and Friesen really shows of his excellent technique. ‘Fire Waltz’ is of course a classic and it’s nice to hear Friesen’s freewheeling accompaniment while Mal is giving an excellent solo. ‘Round Midnight is always beautiful out of Mal’s hands and this is not an exception though it does not level up with the version with Workman and Blackwell. All in all, Mal and Friesen were a well matching duo. Friesen is a modest bassist with an excellent technique. In no way one of the musicians try to overrule the other, it really is interplay on a high level.

Released quite recently this is still quite easy to obtain. It’s also part of the second Soul Note/Black Saint box which I highly recommend. 11 Mal discs for around 30 euros is really a steal. The overall sound quality of this recording is not optimal. Friesen’s bass is pretty well recorded but Mal’s piano sounds a bit plastic at times. There’s also a lot of background restaurant noise but that really doesn’t bother me at all. It adds up to the live atmosphere. It might irritate you if you’re sensitive for that kind of stuff. This is not essential Mal, but just a very enjoyable live session by two gifted musicians.