(1989) Jim Pepper - Flying Eagle Live at New Morning, Paris ***

 

With: Jim Pepper (tenor saxophone & voice), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)

Record date: October and November 1989

Most of Mal's records with Jim Pepper were released under Mal's name. All but one: this Tutu disc that is capturing the quartet of those days on three live locations. The music was not only recorded at 'New Morning' in Paris, but also in Innsbruck and at the Tampere Jazz Festival in Finland. I could see why they decided to release it under Pepper's name. It's all a little more of a Pepper recording than a Waldron recording. Yet there is still a lot of Mal to dig down here and this quartet remains a pleasure to listen to.

In style you could mostly expect more of the same music they already recorded together. It's hot and steaming live postbop music. Well structured but still advanced an innovative enough to remain of interest. I like Pepper's style: he has a full and robust tone with a little smooth edge. That's his tone, but his technique and style are nice and unique too. Though all kind of influences are clear he is still pretty clearly identifiable as Jim Pepper.

This recording captures some nice uptempo bop originals like the first two songs. There are also a few of 'Pep's' classics: the traditional Somewhere Over The Rainbow and a suite called Legacy of the Flying Eagle which includes his classic Witchi Tia To. The more uptempo songs are most of interest as they truly capture the energy that this band had. Somewhere Over the Rainbow is nicely played but would have impressed more as a solo outing by Jim. The following Ski Jumping Blues sounds a little cliche here and there. It has this been there, done that feeling. Pepper's vocals are okay but still...

The duo with Mal: Soul Mates is beautiful. A nice view on their duo magic. The chemistry is big and the addition of Schuller and Betsch in the background is an nice adding. With Green Pepper the music suddenly takes a more free approach with highly percussive piano playing by Mal and Pepper's freewheelin' playing over the heavy vamps from the piano. 

There are references to his Native American heritage all over the recording: it's in the artwork, in the title, on the photographs, in the compositions and in his singing and chanting. It's most prominent on the Legacy of the Flying Eagle where Pepper starts chanting and talking to the public. It's interesting to hear a Native American influence on jazz music. Strangely enough not a combination heard a lot yet the music has a lot in common with modal jazz styles. The chanting is a fun twist in the music but on cd it fails to really catch your attention. Must have been a great live performance though. 

From all of the TUTU's this is the one I least like. The records under Mal's name are really more of interest. Still, you can't call this bad music. Like all of the TUTU discs the concert was captured in high fidelity: I love the sound of these discs. You have to be lucky to get one these days but on Discogs they go for pretty reasonable prices.

Still avaible at TUTU records

(1987) Marty Cook Group - Red, White, Black & Blue ***

 

With: Marty Cook (trombone), Jim Pepper (tenor & soprano saxophone), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)

Record date: November 23 & 24, 1987

Marty Cook is an American trombone player who is a little underrecorded. In the 1970's he appeared mostly in freejazz or avant-garde settings with the likes of Marzette Watts, Jeanne Lee and Gunther Hampel. He moved to Munich in 1979 and that is probably how he met Mal. He formed his 'New York Sound Explosion' band there that also consisted of players like John Betsch and Jim Pepper. The whole quintet playing here knew each other from several occasions and most of them were to play on more records together. Mal recorded with Pepper before that very same year and the excellent rhythm section present here would appear on quite a few albums by Waldron. Mal does not appear on all of the tracks but only on 'Spirit War', 'Love Life', 'Grab Bag' and 'Trapeze'. 

Not a lot of avant-garde or free music to be found here. It's all a pretty big step from the New York Loft sounds of the 1970's where Cook also participated in. The music is structured and mostly in the modern bop tradition. The few outbursts by Pepper's tenor aren't very shocking. Though is group definitely has it's moments it fails to make up to it's potential. Most of the musicians sound a little uninspired. Marty Cook improvises in a very monotone and predictable way without any interesting turns or twists. Pepper sounds like he did not had his day. I miss the powerful almost paranoid like playing from his later recordings with Mal. He mostly draws between the lines perfectly but his capable of more than that. Mal is on 4 tracks but his solo space is very limited. The first place to show off a little is on the 3rd track where he is present. He mostly sounds a little restrained but does give a glimpse of the stuff that to come with the rhytm section. 

So what's there to say in a positive way about the recording? Mosty of the compositions are pretty catchy. Stuff like Spirit War, Mr. DC and Trapeze sound excellent and make a lasting impression. It's a pity that they were only played on this session, for as far as I know. Also none of the guys plays bad. It's clear that every single one of them knows what he is doing and the technical skills and licks are all great. And finally: the rhythm section. Schuller and Betsch together works like magic, hand in glove. They complement each other rhythmically and their playing here definitely lifts the music to a higher level. 

A pretty much ok recording but far from essential. If you want the complete session you'd best get the CD version on Enja or TUTU. Plenty of copies to be found. 

(1995) Mal Waldron/Nicolas Simion - Art of the Duo: The Big Rochade ****

 

With: Nicolas Simion (tenor saxophone, soprano saxophone, bass clarinet), Mal Waldron (piano)
Record date: December 19, 1995

For his last record for the great record label TUTU, Mal encounters Roamanian saxophonist Noicolas Simion in a duet form. Simion became the replacement fo Jim Pepper, who died so young back in 1992. Mal was a bit skeptical at first but after playing a few times with Simion he was convinced this could work out. And it really did. Part from the fact that Simion really is a talented musician, there’s obviously lots of chemistry between the two players. Something that really proves that music is a universal language when one looks at the completely different backgournds of the musicians. An Afro-American, New York born piano player from the golden decades of jazz. And a much younger saxophonist that grew up in one of the most repressive communist countries of Europe. Much as their background differed, their mutual understanding is obvious in a musical but also a personal matter.

Mal is one of the best duo pianists one could think of. His very modest but solid background playing must be the dream of every saxophonist. And he did make a lot of those duo records. With singers, bassists, saxophonists and even drummers. Part from the excellent accompaniment here there’s also lots of space for Mal himself to stretch out. His playing has become a little slower but goes even deeper on an emotional level. The compositions played here are really a mixed bag in a positive manner. There’s a great version of Monk’s Dream with thoughtful interactions between the duo and an excellent solo by Simion. There are some more free efforts like Dinasour’s Dispute with Simion on bass clarinet and ‘Search For Euricdice’ where he plays the soprano. But also some very moody originals like the opening ‘Open Windows’, the beautiful ‘Song for Leo’. Those were composed by Simion and have a mysterious Slavic feel over them. And also the very dark ‘From Dark into Light’ which is a terrific solo piece by Mal himself.

What is making this encounter even better and more special is the experimenting with the roots of Simion's music. The obvious Balkan influences give the music even more energy. A different kind of energy that is very interesting to hear. 

Just like all the other TUTU discs this one is easily recommended. Not the most easy one to get a hold of but patience will be rewarded. If a copy pops up at Discogs one could buy it without hesitation. TUTU did a great job capturing such beautiful music. And they released in a beautiful way with a nice booklet with great liners and photography. They should do a TUTU boxed set!

For sale at Nicolas Simions shop!
 

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

 

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

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

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

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

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

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

Samples and cd here avaible!

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

 

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

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

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

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

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

(1989) Quadrologue at Utopia ****1/2 & More Git Go at Utopia ****

 

With: Jim Pepper (tenor saxophone & soprano saxophone), Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums)
Record date: October 25 & 26, 1989

In autumn 1989 Mal made two appearances that were recorded at the Utopia jazz club in Innsbruck, Austria. He played with his regular trio with Ed Schuller on bass and John Betsch on drums. On tenor saxophone the great and underrated Jim Pepper with whom Mal had played before. First in Marty Cook’s band for an Enja record, then with the all star band for Soul Note and later as a duo for ‘Art of the Duo’ which I have reviewed before. Waldron and Pepper, they match very well. They had proved that before on their duet album and also in a quartet form on Mal’s first Tutu release. In a live session with a rhythm section like this it results in some more fire power. With a repertoire full of original compositions this is one very creative jam session with some very rewarding music. It all resulted in the release of two more Tutu discs: Quadrologue at Utopia (vol.1) and More Git-Go at Utopia (vol.2). As both discs were recorded on the same nights I’ll review both of them as one.

The opener ‘Ticket to Utopia’ (actually named ‘Ticket to Tokyo’) is a hard swinging up tempo composition with a very haunted feeling. Their first recordings as a duo was great but this quartet version is way more intense. Pepper runs trough his changes like a madman. Mal’s solo starts with hitting the notes in the lowest registers of the piano making it actually sound even darker. And both Schuller and Betsch are all over the place. Betsch plays a great solo with polyrhythmic playing, hitting his drums as hard as he can without losing speed or pace. ’Time for Duke’ has a more sweet melody, a great way to honor the great composer. Pepper’s lines are more tempered here, meandering over Waldron’s chords. Same goes for the beautiful ‘Mistral Breeze’ which is loosely based on ‘Soul Eyes’. On ‘Never in a Hurry’ Pepper plays in trio form for a while which gives him even more freedom to explore the original composition. But when Mal gets back the song get’s it’s true meaning and feeling. Schuller is dancing around Mal’s left hand again with great swinging bass lines. Than it’s Mal’s time to solo, constantly setting the pace with his hard hitting left hand. His right hand just starts interacting unconsciously with his left, like an actual dialogue. The closing ‘Funny Glasses & a Mustache’ is a great opportunity for Betsch to show of his great drumming skills. Without any trouble he sets in a great polyrhythmic rhythm that really gives it that Afro-Latin vibe.

The second volume ‘More Git-Go at Utopia’ was released four years later. It’s almost as good as volume 1. Really it’s a very close call but If I’d really had to make a choice I’d probably go for the first volume. However the second volume does contain the Mal classic: Git Go. And this implementation with Pepper’s passionate saxophone playing is another masterpiece. This volume contains some more ballads like ‘You Open My Eyes; with Pepper on soprano and the second part of Misreal Breeze. Highlight number two is the hard grooving version of ‘Dancing on the Flames’ where the whole band gives everything one more time.

These Tutu releases are all great to get, some better than others, but all great. And not very expensive either. The second volume does seem to be a little more rare. It took me a while to obtain a copy for a reasonable price. Both cd’s contain nice booklets with session photography and great liner’s by producer Peter Weismuller. In the booklet of the second volume he tell’s some interesting stuff about the tour. Very personal and therefore nice to read. Sound quality is also superb by the way. Very warm and all the musicians are caught very well.This is music that one could buy without hesitation. Probably the best Mal record available with Jim Pepper on tenor saxophone. And that says something.

Buy it at the TUTU website!

(1988) Mal Waldron/Jim Pepper - Art of the Duo ****

 

With: Jim Pepper (tenor & soprano saxophone), Mal Waldron (piano)
Record date: April 5,1988

Apperently Pepper’s and Waldron’s first duet on ‘Mal, Dance, & Soul’ tasted of more. They decided to do a full duo album called ‘Art of The Duo’. And just like on that first session, the chemistry is definitely there. The album consists mainly of ballads with a few fireballs in between.

Not only in between because the opening ‘Ticket to Tokyo’ really sets things on fire. It’s a hard swinging original by Mal who really plays his ass off. Pepper keeps firing fast runs and loops but Mal could easily keep up with it. The whole composition has a fantastic kind of tension. The later live version at Utopia (there titled Ticket to Utopia) is even better than this one. The version of ‘Ruby My Dear’ is another success. Pepper shows he could easily handle a Monk composition like this. He sounds at ease and Mal’s backing is very tight. I like the little ornamentations around the higher notes that Pepper play’s. His overall sound is passionate but very accessible. He plays solo tenor saxophone on ‘Somewhere Over The Rainbow’. That really is a song that could easily get bogged down in goofy nonsense. But this version sounds really sincere. Pepper picks up the soprano on ‘Spinning at Trixi’ which does not sound as great as his tenor playing. But I am afraid I am making an unjustified comparison to Steve Lacy, but that’s just a whole other player.

Mal’s solos on this disc are solid as a rock. He sounds inspired by Pepper’s sounds. His handling of ‘Ruby My Dear’ is thoughtful, easy and advanced at the same time. As in every duet, Mal is able to feel every step his musical partner wants to take. The choice of composition is full of variety with originals by both Pepper and Waldron, but also compositions by Monk, Tadd Dameron, Cole Porter and Gershwin. A bebop classic like Dameron’s ‘Good Bait’ get’s a whole new sound. And Mal’s solo reminds some of Dameron here and there if you listen closely. You’re No Bunny Unless Some Bunny Loves You’ (fantastic song title) is a more free effort. Now, I am not averse to a little free playing but I can’t say I really dig it as I miss a little interplay.

As with most of the Tutu records: it’s recommended to buy the cd version of this. If you go for the vinyl version you miss 4 songs. One could probably live without an alternate take of ‘Somewhere Over The Rainbow’ but the rest of the songs is really recommended. It’s still widely available on the internet. Recommended for both fans of Mal and Jim. And also for people who just enjoy intimate sax-piano duo’s.

Buy at Tutu website!
 

(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.