(1970) Mal Waldron Trio - Rat Now...Paris '70 *****

 

With: Mal Waldron (piano), Jean-Francois Catoire (bass), Christian Vander (drums)
Record date: March 10, 1970 

When Sam records released their Antibes recording of the Billy Harper Quintet I was very, very happy. I decided to e-mail Sam records producer Fred to give him my compliments for releasing such a beautiful piece of art. I decided to mention Mal's name as he recorded a lot in France during his live hoping Fred might ever do a Mal Waldron record. I didn't actually think it was going to happen but Fred kindly replied Mal was on his radar and that he intented to release a previously unreleased record by Mal at the end of the year 2023. It got some delay but here it is: an unreleased Mal Waldron record, recorded during his prime years live in Paris.

1970 was the year he just released his classic 'Free at Last' album. Mal was back on track from his mental breakdown in 1964, recording and composing music from 1965 after he settled in Europe: first in Italy, later in Germany and eventually in Belgium. Mal was on tour with various bands in the late '60's and played gigs with his own groups as well. He worked a lot with local musicians that never gained any real fame but were clearly selected on their excellent musicianship. 'Rat Now... Paris '70 is a recording of such an occasion: a live session with two French musicians, of whom Christian is best known as the drummer of the band Magma. The album was recorded just after his first extensive Japan tour in January and February of that year where he recorded Tokyio Reverie and Tokyo Bound. This live concert revisits one of the fascinating compositions of that last mentioned session. 1970 was also the year of records like 'Blood and Guts', 'The Opening' and 'Spanish Bitch'. A year of creative and artistic development of Mal and his music.

This session is fascinating for its compositional choices as three of them never appeared on record again after their original releases Free at Last and Tokyo Bound. There's also Champs-Elysees where Mal makes a rare revisit to one of his classic Prestige compositions and recordings. Both Rat Now and Rock my Soul are from the ECM album 'Free at Last'. They have that typical Mal Waldron swing: it's funky, a little edgy here and there but very, very catchy. Both Catoire and Vander are keeping up with Mal very well and there's plenty of space for them to improvise and seek interaction with the pianist but also duelling each other. Christian Vander gives Mal exactly that rhytmhic support his playing desires. Champs-Elysees is an interesting experience hearing Mal playing his new style over his old composition giving it a both refreshing but also very familiar sound. It gets defined in a different way: in Mal's new way of musicianship. Then at last there's the Tokyo Bound composition: Mount Fujiyama which represents a different atmosphere and side of Mal's playing. It's meditative in a more calm way with clear Japanese influences on the composition. With it's more relaxed tempo it gives Mal more space to play with his improvisitional ideas that are often repetitive and bluesy but never dull or predictible.

Now the question is of course: does this record has that typical hypnotical Mal Waldron chemistry that sucks you right in to the music? The dark lyricism, emotional depths, high level intensity, bluesy feeling? It's all right there. If you like those other albums mentioned in this review from this period this is mandatory stuff. It's another piece of that huge Mal Waldron puzzle.

Last words on the packaging and sound quality. I haven't heard or seen a bad Sam record yet. It's a lovely one man record label from Paris, France that put's music in the first place. The lp is packed in a very solid gatefold with a lovely photograph of Mal in Paris. The sound quality is amazing A+. It's not only greatly recorded but also greatly remastered and cut, by Kevin Gray of course so that means something. Fred Thomas did an amazing job contributing to keep Mal's legacy alive and more known to more jazz listeners. 

Still copies avaible at SAM!

(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.

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

 

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

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

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

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

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

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


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

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

 

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

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

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

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

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

(1993) Mal Waldron/Michel Marre/Doudou Gouirand - Le Matin D'Un Fauve ***

 

With: Doudou Gouirand (alto saxophone, sopranino saxophone), Michel Marre (trumpet, bugle, euphonium), Mal Waldron (piano)
Record date: December 10 and 11, 1993

Mal, Doudou and Michel we’re friends for life and played with each other on several occasions. Their studio album ‘Space’ was the first to be put on record. This ‘Le Matin D’un Fauve was the second and also last one. It was recorded live in Tours in a small theater called ‘Petit Faucheux’ where more jazz concerts were recorded in those years. Playing with these Frenchmen is a success in the sense that is showcases another side of Mal. The music is somewhere between free improvisation, noir jazz and classical music. And really everywhere in between. Like Mal is quoted in the liner notes: ‘I change from day to day, minute to minute’. ‘A musician has to change or else he would die’. He certainly applied that to his music. One could immediately identify Mal on a 1966 record or on his last record. His trademarks really always remained the same. But the styles he played in varied enormously. Even in one year. ‘My Dear Family’, ‘Le Matin D’un Fauve’ and ‘Let’s Call This Esteem’; all recorded in the same year but they could not differ more!

This session consists of multiple suites and compositions. Some of them were written by Mal himself, while others were written by Marre or Gouirand. The first two songs have a very strong Waldronesque feeling over them. They are dark, atmospheric and the soft sounds by both Gouirand and Marre we’re well chosen and played. Again ‘Free For C.T.’ is wrongly named. Song 2 is an original that sounds a little like it. But ‘Free for C.T’ is actually track 7 which is credited as Fictions here. The following Marre composition is a bit dull and too repetitive. It lacks originality and does not contain any improvisation. The following improvisation by both horn men also misses the point a little. It get’s a little better when Mal enters with some sweet background playing. All in all the compositions by Gouirand and Marre are among the lesser ones here.

On the compositions by Mal there is more chance for Mal to show off (he’s really in excellent form here) but both Gouirand and Marre fail to make a very lasting impression. Both men do have a warm and very subtle tone but are not very distinctive in their kind. On compositions like ‘Snake Out’ that really stands out too much and the tension for what that composition is known for is almost absent here. Track 7 is Free For C.T. It remains one of Mal’s most beautiful tributes and on this version he plays without any restraints or hesitations: it’s beautiful and straight from the heart. One would wish he would have played it solo.

This music was recorded pretty well and brought out once on the French AA label. There are plenty of copies available on the internet. Interesting music but not essential. Their studio album was a little better.

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

 

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

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

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

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

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

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

(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.

(1990) Spring in Prague ****

 

With: Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: February 19 & 20, 1990

At the end of ’80’s, Europe was on fire. Literally. Mal lived for 25 years in a Europe that was strictly divided in a capitalist Western Europe and a communist Eastern Bloc. Mal had played plenty of times on the other side, playing in the DDR, Czech Republic, Poland, Hungary and Yugoslavia. He was confronted with the Iron Curtain throughout his whole European career. The events in 1989 and 1990: the fall communism and ultimately the breakdown of the Iron Curtain made a deep impression on him. This trio album was dedicated to that new Europe as was his encounter 2 years later with alto saxophonist Charlie Mariano called: New Horizon - Dedicated to a Changing Europe. Of course the title of this trio album remembers of the Prague Spring in 1968 which unfortunately turned into a bitter cold winter for 20 more years. But this time, that spring was for good. All of the song titles refer in some way to the revolutions in Eastern Europe or the Cold War.

Mal plays with the same trio as he played with on the classic ‘No More Tears for Lady Day’. That album consisted exclusively of standards, this one contains more compositions written by Mal himself. The opening ‘Revolution’ is loosely based on Chopin’s Eturde op10-12. It swings pretty hard Mal soloing in the lower registers of the piano and Carduso walking trough the changes on his bass. The song has something of the feel of a revolution with it’s dark tones. Then comes the first standard ‘East of the Sun’ which is played in a bit of a dull way. The following ‘Let us Live’ which is dedicated to the DDR is better. It’s starts with some fiery free playing with an exceptional role for John Betsch, representing some of the anger that lived in the country those days. Then it merges smoothly in a theme that sounds a little like ‘Con Alma’. It’s something that Mal has done before: creating a new piece that is based on a jazz standard. 

The title song is just plain beautiful. A ballad with some space for Carduso to interact with Mal. Carduso really plays excellent on this recording. He’s not a very well known bassist but on every single record with Mal he really shines. The two standards are like a small breath pause for the more political motivated song ‘We Demand’ which is the most intense and free on the album. Don’t expect pure chaos but the meaning of the song is well shown trough the loud playing by the band. Mal plays some Tayloresque clusters. Betsch is all over the place yet still keeping a tight rhythm in the music while Mal is dueling with Carduso. Great ending of a pretty good album. Sad thing that 31 years after this record, countries like Hungary and Poland are on their way back to becoming an authoritarian state. It would have broken Mal's heart, I am pretty sure about that. Right now on this moment there is a Polish writer who might be imprisoned for calling the president a moron. Three years in prison for telling the truth!

The session was recorded in Germany but released in Japan by Alfa Jazz. This one was not brought out in Europe on Timeless. Like with most Japanese cd’s one has to be prepared to pay a little more (in the range of 20-30 euros). Also like with most of them Japanese releases the sound quality is sublime and the liner’s are extensive but in Japanese. This is some very fine trio music by Mal with a great trio. It does not reach the level of ‘No More Tears’ but comes pretty close here and there. If you do have the opportunity to pick one up, do not hesitate.

(1989) Chico Freeman/Mal Waldron - Up and Down ***1/2

 

With: Chico Freeman (tenor & soprano saxophone), Mal Waldron (piano), Tiziana Ghiglioni (vocals on 2 and 5), Rocky Knauer (bass on 3,5 and 6 )
Record date: July 25 and August 1, 1989

Mal Waldron playing in an intimate setting with a saxophone player. That mostly really turns out very well. The saxophone player must be very good. Is Chico any good? Yes he is! His works for ‘India Navigation’ in the 70’s are great. ‘Spirit Sensitive’ is one of my favorite albums from that decade. So nothing could go wrong? Well, almost nothing. This album is very much a mixed bag. 

The starting ‘Battleground’ is one of the best compositions of the album. Opening with Mal’s dark chords and voicing, then comes in Chico Freeman with some great tenor playing. But he sounds a bit tempered or something. I expected a little more fire from him. It’s Mal that is truly shining here with his nervous and dark chords in the background trying to push Chico into new directions. It still sounds like Chico is playing with the breaks on. Then on the second track there’s Tiziana again. As I already mentioned: she is not a bad singer. But following the quite fiery Battleground this really is a bummer. It all collapses into a very tame and smooth jazz ballad. On ‘Tyrolean Waltz’ Chico has some chance to show off his excellent saxophone skills. Can’t say a bad word on that as his control over the instrument is excellent. I once heard somebody say he can’t play. Well I ain’t no expert in saxophone techniques but he sounds fine to me. Also there is Rocky Knauers first appearance here (misspelled as Ricky). Rocky was with Mal in Klaus Weiss’ band. He is an excellent bassist that is most known for his affiliation with Chet Baker.

The remaining tracks aren’t making much of a difference. The exception is probably the title track with Chico, Mal and a more dominant Knauer. Here there are some signs of chemistry between the musicians and Chico’s playing sounds more inspired. He’s a little more on fire here. It has a nice funky vibe and this final track pushes my rating from 3 stars to a nice 3.5.

Definitely not a punishment listening to it but both Chico and Mal did way better. Maybe it just did not work out between them. I miss a bit of chemistry between them. They played again on a later occasion with drummer Sangoma Everett. What I can reveal is that there it also doesn’t really work out very well. Most of Mal’s stuff was brought out on Soul Note, but this one on sister label Black Saint which mostly represented the more freejazz oriented recordings. This recording is not really 'free', it’s pretty accessible. A record that contains some nice playing but fails to really impress.

(1988) No More Tears (For Lady Day) ****1/2

With: Mal Waldron (piano), Paulo Carduso (bass), John Betsch (drums)
Record date: November 1,2 & 3, 1988

For his first Alfa release (I think Alfa Japan was the first to release it, as the Timeless versions are licensed from them) Mal went into the studios to record with one of his finest trio’s. It’s his third album that’s made in honor of Lady Day. On bass is Paulo Carduso, a Brazilian bassist that is fairly unknown. And he should be better known as his bass playing with Mal is always superb. John Betsch is better known, yet he remains very much underrated in comparison to other jazz drummers from the ’70’s spiritual jazz scene. On this trio both play subdued as the music is very straight-ahead. But the details they bring into the music are formidable.

As I mentioned: this is a very straightforward piano trio session and definitely one of Mal’s more accessible one’s. Quite a difference from albums like Black Glory for example. I dare to state that this one of Mal’s albums you could easily give a spin at dinner with your parents in law. You could also read the Saturday morning paper with it. But the music is never dull and definitely not in the category of background music. It has a beautiful simplicity over it. The way Carduso dances around Mal’s simple yet so effective statements on the piano is so nice to listen to. Mal’s solos are shining excellence, piece by piece, no exceptions. When he plays standards solo it gets a bit too much of the same but in trio form he sounds more creative. The little details Betsch provide in the background, giving solid support, is quite a contrast with his more free drumming. But it shows just what a versatile drummer he is.

This really is one of my all time favorite Waldron records. Not groundbreaking or exciting like some of his other works but I could listen to this for hours without getting bored for a second. Mal made a couple of albums for Alfa Jazz in trio form, with Charlie Mariano and a bigger group. I think this release was also originally released on Alfa Jazz but can’t find that one Discogs. I think the info there is not correct. I myself got the Timeless release which sounds great, with Carduso nice up front in the mix to give it an extra swinging feel. The liner notes are nothing special by the way. Solid Japan released a budget version this year. This is highly recommended music and a nice look into the gentle side of Mal Waldron. A side that became more and more visible in his later years.

 

(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) Tchangodei/Archie Shepp/Mal Waldron - Three for Freedom ****1/2

With: Archie Shepp (tenor saxophone), Tchangodei (piano), Mal Waldron (piano)
Record date: May 12 & 15, 1987

Mal teamed up with Shepp quite a few times as evidenced by some of the bootlegs circulating on the internet. And of course there is the famous encounter for Enja close before Mal’s death. But their first official encounter on record was on Tchangodei’s album: Three for Freedom. Tchangodei, a French pianist, born in Casablanca from Benin descent, is one of the most underrated pianists I know. He recorded quite a lot of stuff but mostly all for his own small Volcanic label. It’s a pianist with an original sound, a hard hitter with emotional depth in his playing that is deeply rooted in African music. He has not only recorded multiple times with both Shepp and Waldron but also played with the likes of Steve Lacy, George Lewis and Kent Carter. He is perfectly balanced between freejazz and more structured, traditional playing.

One saxophonist, two pianists… It’s a pretty interesting set-up for a pretty interesting recording. The starting ‘Africa Struggle’ is beautiful African centered piece with some very soulful playing by Tchangodei. He has a very typical sound: it’s very melodically diverse but he hits the piano real hard. He’s a virtuoso with a great feeling for the blues as the next two pieces prove. Mal is in a very modest mood here mostly playing in the background and with some beautiful but basic soloing. Both pianists blend so well that sometimes it’s hard to tell who’s playing. Mal actually releases some of his own sound here and there. But the absolute highlight on this album is the fantastic version of Mal’s classic: Seagulls of Kristiansund. It contains some of Shepp’s best and most passionate playing for year’s. I consider myself a Shepp fan but the eighties weren’t actually his most fruitful and interesting decade if you ask me. But here he’s really his old self with that raw, bluesy sometimes almost angry sound. His interpretation of Mal’s classic is very, very deep. So is Tchangodei’s soloing in the background and Mal’s thoughtful additions.

Closing credits are for Tchangodei with a very beautiful and sensible solo statement. It has that same warm feeling as Abdullah Ibrahim’s playing but really is something different. Modality takes a central place in his playing and compositions with beautiful meandering and melodic soloing around a theme. His vocals on the last track are atmospheric and give it an even more African vibe. The gentle modal theme is suddenly interrupted for some more free playing in the lower register's of the piano. Just like Mal, Tchangodei is a real percussive player. Later on he return's to that African vibe. It's a great closing of this not so well known record.

The vinyl version is pretty expensive and rare. The cd’s are much better affordable but they are pretty rare. I waited myself for 8 years before one popped up. Do not expect anything from packaging, which is really basic and does not contain any liner notes or background info. This really is highly recommended music and also a great welcome to a highly under appreciated name in jazz: Tchangodei. Mal's role is a bit modest, but he's definitely there!

(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) Mal Waldron/Doudou Gouirand/Michel Marre - Space ***1/2

 

With: Michel Marre (trumpet), Doudou Gouirand (alto saxophone), Mal Waldron (piano)
Record date: February, 1986

1986 was a year with quite a lot of highlights for Mal. It was the year his band with Woody Shaw, Charlie Rouse, Reggie Workman and Ed Blackwell was recorded. There was a recorded reunion with Jackie McLean and a Eric Dolphy/Booker Little memorial concert with his old rhythm section and some fresh new talent. And then I am not even mentioning some great dates for Soul Note. His recording year started with this record, with two not very well known French musicians. It’s creative music in the more free spectrum, though I would not say it’s necessarily very unaccesible. But a trained ear for the music is recommended.

So is it any good? Well, it’s not essential stuff but it is not bad either. The starting composition which counts for 20 minutes has some pretty interesting directions. Mal is in superb form showing he is both comfortable with both more traditional jazz as jazz that is more free in nature. This first composition really goes all between the well known and more new territories. Gouirand’s tone is warm and Marre is pretty creative sometimes playing loud then whispering trough his horn again. And that is what the music keeps interesting: sometimes it’s more free and in your face, then it’s more quiet again. And Mal’s soloing around the 17th minute is of great beauty. It’s the whole closure of this first song that is most impressive. Segala has a more march like feeling, like the music on Charlie Haden’s Liberation Music Orchestra. But it’s a little short. The next composition is even shorter and a bit unnecessary to be honest. The Last Poet is another nice changing direction. A more African based composition with a very joyous theme. The version of Soul Eyes is nice but nothing special. And it’s pretty hearable now that both guys are fine players but not excellent. They miss a bit of technical skill, perhaps even character.

It was released on a pretty obscure French label called Vent du Sud. The music is recorded pretty well but the packaging is very basic. If you happen to find it for a nice price, you know like an additional item when you’re shopping on Discogs you could get it. But you do not really miss something big if it is not in your collection.

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

 

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

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

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

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

(1983) Plays Eric Satie ****

 

With: Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: December 8, 1983

In 1983, Waldron toured Japan with his band of that time: the awesome trio with Workman and Blackwell. Mal is a classicaly schooled pianist with a master in composition. In his young years he had to play the works by Chopin, Beethoven and Mozart hundreds of times. He did not dislike it but his heart was more in jazz anyway. Yet, classical music and some composers influenced him. The great modern French composer Erik Satie was definitely one of them. Mal is a bit like the Satie of jazz. Just like Mal, Satie was really a musician of the ‘less is more’ philosophy. No bombastic orchestra’s or nervous staccato runs but beautiful almost meditative compositions. Repetitive patterns were also a part of his style.

As I already stated in the ‘Breaking New Ground’ review, Mal’s version of Satie’s second Gymnopedie was a success. And the guys probably felt that way also so they decided a full album with Satie tributes and compositions. It lead to a very accessible and highly enjoyable album of music. It’s also surprising to hear how the music suits both Workman and Blackwell. Both pretty loud players from the free jazz scene, they manage these subtle compositions more than fine. And they do not get boring for one second.

Now fucking around with classical music and give it a jazzy vibe is a pretty risky business. Perhaps purists would still be offended but I think the openminded Satie would like it. It’s fascinating to hear how well Satie’s music lends it self to be jazzified without sounding silly. Workman could really swing his arse of in a composition like Premiere Pensee Rose + Croix. The same goes for Blackwell who plays in a really supportive kind of way without being boring or predictable. Big highlight of the album is definitely Gymnopedie No.1 which is my favorite Satie composition anyway. It’s treated with the respect it really deserves. Mal plays in a beautiful airy style giving it exactly the sound and feel it needs.

This is a Japan only release which makes it always a bit more difficult to obtain but it is far from impossible. There are multiple cd releases. I have the original LP version which sounds absolutely great. They fortunately put Workman pretty forward in the mix. This is definitely not Mal’s most innovative or shocking album but it is really, really nice to listen to. If you’re a true Mal fan: get it!

(1983) Breaking New Ground ****

 

With: Mal Waldron (piano), Reggie Workman (bass), Ed Blackwell (drums)
Record date: June 28 & 29, 1983

In 1983, Mal formed a trio that was to record 3 albums in a year. But part from these trio records, of course both Workman as Blackwell would play on far more sessions with Mal in different settings. For instance they formed the rhythm section on the famous Village Vanguard tapes with Woody Shaw and Charlie Rouse. Their first trio record was recorded in New York, but put out in Japan only at first (there is some confusion about this, but as David Baker was the engineer, New York makes more sense and so was it credited on it’s initial release. ‘Breaking New Ground’ is exactly what the title says: Mal is actually breaking new ground again. This time he does not only explore modal jazz and bop but also classical music and for the first time since ‘Eleneor Rigby’ in 1969: pop music. The results are a bit mixed and that makes this record pretty hard to judge. It contains some of Mal’s finest work but some of the experiments are less successful.

This trio was a lust for the ears. Really: both Workman and Blackwell are of course top notch jazz musicians and are both among my favorites. But their style really fits in well with Mal’s. Both are able, just like Mal, to play both inside as outside. All three of them are percussive players, even Workman with his hard swinging bass. And all three of them are players that are really driving on the vibe by other players, focused on what others are doing. The results are pretty great.

The starting waltz is a beautiful warming up for what is up to come. The version of Suicide Is Painless is the best and most creative I have ever heard. From the quite relaxed theme song it was it is transformed in a hard grooving and swinging song with plenty of space for all three to explore. It starts of pretty sweet but turns bad within seconds. Mal’s left hand almost pushes trough the keys causing heavy droning effects. Workman plays is ass of hitting every spot and Blackwell is the solid background player that is doing all kinds of things yet keeping control. Workman’s solo is classic Workman with a deep and dark twist. Using his bow, jamming on his bass like a guitar to give it a dark but funky feeling with Mal subtly playing the repeating chords in the background.

The remakes of the pop tunes are pretty daring of course and it speaks for Mal that he was so open minded. But they are not a very big success. Earth Wind and Fire’s ‘After the Love Has Gone’ really sounds in parts like a cocktail pianist playing soul classics on a piano. When Mal starts soloing it get’s a little better but still: one begs for the original as that sound really suits better. ‘Beat It’ is more like a small break in the album but a pretty unnecessary one and with ‘You Are The Sunshine of My Life’ one has too say: this is just not Mal’s kinda thing. Or perhaps not the right jazzy remake. Stevie’s version is preferably anyway. Definitely not bad music but it just doesn’t really work out.

Satie’s Gymnopedie #2 is a completely different story. Boy does that work out well. Of course Mal was already influenced by the great French composer and his minimalistic approach is a similarity to that of Mal. And it feels very natural to Mal. His gentle touch is perfect for this tune. But what is even more beautiful is to hear Workman’s deep bass far in the background. His soloing is again of great beauty. Clearly respecting Satie’s music his approach is also minimalistic. The guys probably felt this success as well because they recorded a full Satie tribute at the end of the year in December.

And then there’s ‘Everything Must Change’ where the magic works a little better. There’s some more interaction but mostly: it’s sounds all a bit more natural. The music has a melancholy over it that goes well with Mal’s sad playing. Again there is some beautiful sensitive bass playing by Reggie Workman and Mal hit’s all the right notes. And the closing songs is more of a free effort with some less structure and more outside playing. The contrast with ‘After The Love Has Gone’ could not be bigger. Of course both Workman and Blackwell feel very much at ease here. Nice closing song of a very mixed record.

‘Breaking New Ground’ is widely available in different versions. It was originally released on Baystate Japan. Especially the Eastwind reissues are pretty easy to obtain for a low price. Some of them have a white cover. Eastwind did not put out the most beatiful reissues. Though it’s okay sound wise, the packaging is very, very basic. Should you get it? I think so. Of course there are some less successful compositions but they are interesting also for Mal did not play a lot of pop tunes. But it’s songs like MASH and the Satie composition that are really making it worth it.

(1981) News: Run About Mal & Mal '81 ****

With: Mal Waldron (piano), George Mraz (bass), Al Foster (drums)
Record date: June 18, 1981

Now, of course this music was initially released as two seperate releases: News - Run About Mal and Mal ’81. But the music was recorded on the same day in the same style with the same personnel. It’s probably because of that reason that it was released in 2015 by Progressive on a double cd that contained both sessions plus some bonus material. I’ve got that excellent release and will review both albums at once here.

In June 1981, Mal was back in the United States. New York to be precisely. It was his first of two visits that year. When he was in town, Progressive records decided to record him. Mal was free to pick his personnel and chose two high in demand musicians: George Mraz on bass and Al Foster on drums. The bassist was best known for his work in more contemporary circles like playing with Oscar Peterson. Al Foster of course for his drumming with the fusion groups of Miles Davis. Both very, very experienced and solid players.

What makes these sessions pretty special is that there is not a single Mal Waldron original on it. The repertoire contains standards only. And that is something pretty unusual for Mal. Of course he has always played a standard here and there but it was never his trademark. And to be honest: Mal plays his own work best. The standards chosen are pretty well known and there are some beauties among them. But if was a very safe choice of course.

Very safe but also very nice. Hearing Mal playing a set of standards with two excellent musicians is pretty refreshing. Of course it lacks the enormous tension, clusters, climaxes and dark atmosphere of most of his ’70’s work but one is not always in the mood for that. Sometimes you just want to relax and listen and this music is suited perfectly for that kinda mood!

Every standard is pretty recognizable and Mal does not really shape them into something new. He just plays and improvises on them in this familiar style. And even on a classic like ‘Summertime’ he still manages to be creative with probably 2 or 3 notes. What is also lovely is the easy interaction with both Mraz and Foster. Mraz is carefully and subtly exploring the changes while Foster gives easy and smooth back-up. Angel Eyes is a pretty clear example of that. Smooth and relaxed it is but there is to much going on to put this aside a background music. It’s like with Bill Evans’ music: though it sounds easy there is happening a lot.

Recorded in NYC by an American label but released only in Japan. It probably says a lot about popularity of jazz or Mal himself in the US. And it probably also declares why Mal rather liked to stay in Europe. I have no experience with the Japanese originals but they are pretty readily available on the web. I do recommend the US double cd with both of the sessions as merging them makes a lot of sense. These records are a very interesting look at yet another side of Mal.

(1973) Up Popped The Devil ****

 

With: Mal Waldron (piano), Reggie Workman (bass), Billy Higgins (drums)
Record date: December 28, 1973

Where 1970, 1971 and 1972 were among Mal’s most productive years, the stream of records faded all of a sudden in 1973. Until 1980 he put out only one record a year, sometimes two but also none at all (at least not as a leader). I don’t know the reason for it but one must say: the stuff he did put out was of very, very high quality.

In December 1973 Mal made his first recording in an American studio since his recording of the score for 'Sweet Love, Bitter'. According to himself he left the country for it’s climate of competition, racism and the presence of drugs in the jazz scene. He once told an interviewer that if he had stayed in 1965, he’d be probably dead in a year. When he went back he recorded with two guys he never recorded with before (but he probably knew them from the early ’60’s jazz scéne. Those guys were Reggie Workman and Billy Higgins. I do not have to say anything to explain that these guys were two heavyweight giants themself playing with practically every big name in jazz in any style. And their playing goes very well with Mal’s playing style.

The album is filled with four typical Mal Waldron compositions. The opening title song is immediately recognizable as to be from Mal’s hand. It’s repetitive walk with his left hand in the lowest registers of the piano and his percussive attack with his right hand. Workman immediately dives in to it with his dark voice on bass, using his bow that really adds up to the grooming atmosphere. Higgins’ is solid as he always is. I never heard him missing a beat. He’s probably one of the most reliable drummers in jazz, able to adapt every style and play his ass off. He’s far from unconfortable with the more free oriented music on this record. The second song is less of a typical Waldron composition. It has Carla Poole on flute and has the feeling of free improvisation. It’s more of a soundscape that is created than a song and they do it in a perfect way. Though it sounds like impro it’s till very accessible and it’s again Workman that really steals the show being so much more than a bassist that just set chords.

The third composition was to become one of Mal’s trademark compositions. It’s the song that this whole blog is named after: ‘Snake Out’. It’s a constantly hunting composition that reaches climax after climax. Both Workman and Higgins swing their tits off with Higgins playing multiple rhythms at once. Mal’s solo is nervous, hard-hitting and swinging. This is the stuff he plays best. The only thing I miss here is Lacy… I am used so much to those versions I almost can’t hear it without Lacy blowing his soprano to pieces. The closing Changachangachanga (that’s a great title) is another Waldron original. Again it’s all about interplay between the musicians with Workman playing beautiful stuff on his bass. After the rhythmic more free theme Higgins set up a beat for Waldron and Workman to improvise on. Another great song.

There are several releases available but non of them is really cheap. The original LP is pretty expensive for a Enja record. I’ve got the 2003 cd but do not recommend it. It doesn’t sound very clear and Higgins is too far up the mix. I cannot speak for other versions. This one was also reissued quite recently in the Solid budget version in Japan. The whole record is easily recommended. It’s a beautiful insight in a very fruitful collaboration to come. With Higgins two more times, Workman would return multiple times at his side forming some sort of first set group by Mal with Eddie Blackwell. Their interplay is always a treat.

(1972) The Whirling Dervish ***1/2

 

With: Mal Waldron (piano), Peter Warren or Kent Carter (bass), Noel McGhie (drums)
Record date: May, 1972

Still in Paris, and still recording for the ‘America’ label, Mal made his second and last appearance for that label. He went into the studios and recorded what was probably his most free oriented trio recording he has recorded. ‘The Whirling Dervish’ is another unique record in Mal’s catalogue for it’s definitely Mal one can hear playing, yet he again sounds different. He always has been more of a rhythmic player than a virtuoso but on this album that percussive style is really in the spotlights. And again, just like on the other Paris records of 1972 there is a hint of Cecil Taylor in his playing. Especially on the long title track he uses lots of clusters and repeating vamps constantly seeking interplay with both the bassist as with Noel McGhie. And not in the form of melody but more in a rhythmic kind of way. McGhie is in excellent form here by the way. He’s hitting the drums like a maniac yet he still holds a tight rhythm and keeps pushing the music in new directions.

Another great session with some very intense and pretty free music. Yet I miss again some sort of direction the guys are heading. I miss that thick layer of emotion where Mal’s music is mostly build on. The compositions are okay but pretty forgettable. Mal did not fall back on one of them later in his career. Also the level of repeating vamps is sometimes a bit too much here. One might want to hear some more diversion in his playing. But this album definitely is another fascinating sight in how Mal became the pianist he was. There is another influence highlighted here: C.T. It’s another piece of the puzzle that makes up Mal Waldron.

It might already caught your attention but there is something weird going on with this album. There’s a bit of confusion about who’s playing bass. Both the liner notes as the information on the album state it’s Peter Warren. Warren was playing in and around Paris, recording for the ‘America’ label also so that would not be very strange. On the other hand there are a few sources on the web that say that Kent Carter claimed he played on this session. Now, I don’t know why Carter would lie about something like that and that story also is plausible as Carter had played bass on the other Paris sessions with Mal too. Anyway, I do not know either of the bassists well enough to pick out who it is. I’ll give both the benefit of the doubt and honestly do not really care. The one who is playing bass is doing a fine job, that is one thing I know for sure.

There are two versions available of this record. The 1972 LP is probably the easiest to obtain with multiple copies for sale on the internet. It was also released as a limited edition on cd in 2006. And tough I’m a true vinyl head myself, I really recommend that cd version. Great sound quality, some beautiful color photographs and some nice liner notes in both English and French. Unfortunately it’s pretty rare. If you do find one for a small price, do not hesitate, especially not if you’re interested in the more free side of Mal.