With: Mina Aoe (vocals), Freddy Cole (vocals, piano), Grover Washington Jr. (soprano saxophone), Eddie Henderson (trumpet), Jim Powell (trombone), Ted Nash (tenor saxophone), Jerry Byrd (guitar), Mal Waldron (piano), George Mraz (bass), Billy Hart (drums), Steve Berrios (percussion) Record date: March 3-7, 1993
I'll never get used to this kind of thing. Japanese singer Mina Aoe teams up with some of the top American jazz musicians of those days. The result is an overly sweet, old fashioned out of style and very dull record. Mina Aoe must have been quite the singer in her homeland. She has recorded lots of music back in the 1960's. She could sing okay but has this huge Japanese accent. The music played here is so not my cup of tea. In my opinion we have past this kind of thing in the 1940's. And even then: it was performed a zillion times better back in those days. Love some of the standards but not the way they are performed here.
1 star for the music. 1 more for the excellent musicians playing here and Freddy Cole's voice. Try it yourself, maybe you will like it. I don't and mostly bought it to complete the collection. I would definitely not spend the money some Discogs sellers dare to ask for it.
With: Jackie McLean (alto saxophone), Mal Waldron (piano), Isao Suzuki (bass), Billy Higgins (drums) Record date: April 12, 1976
As I mentioned before, from the year 1973 Mal became less active in recording. After one year of complete studio silence (1975) Mal recorded his last record for Victor Japan. It was a reunion with old friend Jackie McLean. It was McLean who played alto saxophone on Mal Waldron’s Bethlehem album ‘Left Alone: an album that wasn’t really noticed by anybody in the US but was a bestseller in Japan. Part from that occasion, the two musicians worked together plenty of times in the ’50’s as both were recording regularly for Bob Weinstocks Prestige label. According to Mal himself, it was Jackie who introduced Mal to Prestige records.
The album really is a remembrance of old times. While both of the musicians are known also for music that pushes the boundaries of jazz, exploring more free territories of the genre, this album is pretty straightforward. The songs of choice are all pretty safe as well with a few standards here and there. The starting J.M.’s Dream Doll with it’s waltzing theme is also one of the highlights with excellent support by Waldron and a great solo by McLean. McLean, is in pretty good shape with his tone that always sounds ice cold and cozy warm all at once. His playing is bluesy and sometimes dissonant as we know him, although the dissonance on ‘I Love You, Porgy’ is sometimes more a bit out tune to be honest. I’m A Fool To Want You is a great intimate duet between the two. And yes, their sounds are a pretty good combination. Lovely solo by Mal there too. The B side is made up of three more songs including the one that made them famous in Japan: ‘Left Alone’.
The album is not very popular on some music rating websites. I do think I know why that is. Musically and technically there’s nothing wrong with it. But for two musicians with their skills, capabilities and originality, this is a bit of a boring record. There was so much more potential. If they took some more time, wrote 4 originals and took some more time too practice this could have been a masterpiece. They also should have given Suzuki and Higgins some more space. Both Waldron and McLean definitely still had something to say in these years but on this record this don’t say so much. On the other hand: it is an album that swings and it’s a pleasure to listen to it. All of the four guys could really, really play.
Again a Victor release without a cd version. It was brought out once in 1976 but that one is not very hard to find. And as always, Victor Japan does stand for quality. Recommended for Waldron and McLean fans looking for a straight ahead bop session. But do not expect much more than that.
With: Terumasa Hino (trumpet), Takao Uematsu (tenor saxophone), Mal Waldron (piano), Isao Suzuki (bass), Motohiko Hino (drums), Yuhji Imamura (percussion) Record date: August 14, 1972
Ah there it is: my one and only FAVORITE Mal Waldron record. And as a huge Waldron fan, that says a lot. If I had the possibility to just save one record from my burning house, it was this one. Not only for its rarity but mostly because i’ts so freakin’ good.
For ‘The Reminicent Suite’ Mal gathered 5 local musicians to perform with him. Some are more known like Terumasa of course but the others are mostly well known in Japan itself but not outside of it. Every single one of them has surprised me with their ability to keep up with Mal. They all sound talented and it’s a pity they never broke trough outside of Japan.
The first suite on side A start with deep droning groove played simultaneously on piano and bass. When the rest of the band starts to play the music gets more intense by the minute. The first soloist is Terumasa Hino who almost play his lungs trough his horn. But every time he almost loses it he grips it back again and rocks it's completely. Next in line is the for me unknown Uematsu who truly surprises me with his sound. He’s daring, building up tension, play both inside and outside but still sound very accessible. He also sounds pretty unique, not like a false copycat trying to imitate an American jazz saxophonist. In the meanwhile Suzuki is all over the place using every single fret of his bass pushing the band to it’s limits. Also shining is Terumasa’s younger brother on drums: Motohiko. A very solid and tight drummer who is constantly responding to what is going on. After the return of the catchy starting theme Terumasa is suddenly alone. He uses electric effects on his trumpet to make the desolate feeling even stronger. The band returns quite soon but this time with soft and gentle notes that resemble a completely different atmosphere. It’s a very sad and dark melody, reminding of Mal’s ‘All Alone’ composition. Tear jerking beautiful. Hino’s solo is more subdued and slow but still pretty loud. Uematsu strikes me a second time as a great saxophone player with a unique sound and his own identity. Again some great soloing by him. One more chorus by the whole band ends side A and leaves me blown away every time I have heard it.
On side B there is another suite: Black Forrest. It starts with some percussion sounds that remind more of the ambient influences in Don Cherry’s music (including the flute playing). It doesn’t take very long before the main theme enters. It’s a modal composition with a funky feel. The first theme has a bop influence in it too, something that was far away on side A. Then a dialogue starts between Hino and the percussionist. Hino’s solo is again of great intensity and very loud: sometimes playing changes but also experimenting with different blowing techniques and unique sounds. On ‘Black Forrest’ Mal also has some more opportunity to stretch out. His sound fits without a problem on the modal backings by the great rhythm section. Still his role is pretty modest on the whole record. Perhaps that is the only downside of it.
What makes this such a great record are the individual talents but also the enormous interplay between them. The huge varieties in tempo, theme’s and atmosphere. But also the way the band really plays on the edge and sometimes over it without losing a fraction of control. The music is so free, yet so structured. You could hear new things in every listen.
This amazing record has been reissued on both cd as on vinyl by BBE recently. If you are a real Mal fan and a music collector it’s worth every penny. There’s also some great news for everybody with a Spotify account: there’s a remastered version on it! One has to search a little as the title is in Japanese but is catalogued under Waldron’s name. A great opportunity to hear this masterpiece. Then after listening to it: write Mosaic a letter they should do a Mal Waldron 'Victor' box!
With: Mal Waldron (piano) Record date: July 12, 1972
Just like the previous year and the year before that, Mal took his annual trip to Japan. It really became an annual thing from 1970. Sometimes he stayed a month, sometimes a couple of months. Later in the '80's he had a few apartments over there and met his second wife. On July 12, 1972 he gave a solo concert at Dug’s jazz club in Tokyo. It was recorded and brought out by Victor Japan: another great record produced by that record label.
Now as I stated before: Mal solo could result in two things. Some of his solo records are a bit boring, while others are among the best music he has made. On ‘Meditations’ Mal was clearly in prime form: it’s among his best solo outings. The compositions are all well chosen, with some known compositions by Mal, some new compositions dedicated to Japan and a good old jazz standard that is played in a not so standard kind of way.
Mal starts with a true classic: ‘All Alone’. And because it’s mostly written out music, this version of course sounds a lot like all the other versions around. Yet it strikes me every time as one of his most beautiful and breathtaking compositions. It’s also a beautiful way to set the atmosphere for the rest of the night. The following Blues suite is exactly that: a long suite with a bluesy feel. The music goes in every direction: some of the phrases are more calm and others are more challenging. Mal plays with ideas and rhythm and falls back on the main theme multiple times. It’s a fascinating listen and though the music is pretty calm an straightforward: this truly is music that deserves your full attention. Because there is a lot going on, but you really need to listen to it. There is no pianist that could make silence sound so beautiful.
On the songs referring to places in Japan he plays with eastern tonality, but in a completely different way as say Alice Coltrane was doing at the time. This is still very ‘Mal Waldron’ but the Japanese influence is very evident in his sound here. On ‘Tokyo Reverie’ he didn’t really manage to catch that atmosphere, but here he does very well. ‘The Stone Garden of Ryoanji’ is just like ‘All Alone’ indescribably beautiful. Really I do not have words to describe it. It has this dark and deep feeling within it that just makes me silent. The version of ‘Summertime’ is good but nothing special. Closing up is one of Mal’s other classic’s ‘Left Alone’. And there could not be a better way to close this beautiful live record.
Also very nice: the live atmosphere. Dug was and is a small club so it’s a modest applause he gets but that really contributes to the intimate feeling of the music as are the sounds of cutlery on plates and clinking glasses.
Together with ‘Tokyo Bound’, this is the only Victor record by Mal that appeared on cd. It makes me wonder even more why they don’t reissue his other works, especially because there is a pretty high demand for it. Anyway the original LP is still available for a pretty reasonable price. Japanese label ‘Somethin’ New’ reissued it on cd in 2016. That’s the one I’ve got and it’s great. Beautiful sound, solid packaging in a replica mini LP jacket. Liner notes are of course…. In Japanese. I might start a course as I feel I’m missing so much information. One of Mal’s solo works you could buy without hesitation. But do promise to sit for it, preferable with headphones on.
With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Kent Carter (bass), Noel McGhie (drums) Record date: November 30, 1971
‘Journey Without End’ is a unique record in many aspects. But what makes it most unique is that it was the reboot of the very fruitful relation between Lacy and Waldron. A reboot yes, as they did work together before in the studio on Steve Lacy’s ‘Reflections’ album. Plus they knew each other on a personal level. Both guys were in a very different phase of there musical development in the year 1958 and Mal was a completely different pianist back then. After this Victor release, many were to come and thank God for that: sextets, quintets, quartets and of course the duo’s: Waldron/Lacy is magic. The deep emotional tonality of Lacy’s horn and the dark and warm playing by Mal on piano: it just fits like a glove.
Though they did make better records than this one, the chemistry and magic is definitely already here. And hey, this is a very good record with a very good band. Part from Waldron and Lacy there is the great Kent Carter on bass and the underrated Noel McGhie on drums. Both guys were well known in the freejazz scene both appearing multiple times next to Lacy but also with Noah Howard, Clifford Thornton and more free jazz players.
This is probably one of Mal’s most free and ‘outside’ records together with the record on ‘America’ one year later with a similar group. The duets are definitely more accessible. But mostly thanks to Mal himself, the music still stays pretty structured. But in that structure, all of the players really stretch out. Lacy experiments a lot with the abilities of his instrument, as players like Evan Parker were also doing at the time. He could play a few lines within the chords an then go way outside without making it sound funny or uncomfortable. The way he listens and interacts with both Waldron and Carter is incredible. Lacy really blows free yet it feels very chilled out and at ease. The first two titles were on the previous ‘Skippin’ record also. Where Sonny Grey and Alain Hatot already knew quite good how to handle them, Lacy really kicks ass. Listening to the ending parts of the title song: this is what jazz is all about. It’s feeling, it’s emotion, it’s telepathy between the musicians. Beautiful
Where side A is filled with two Mal compositions, side B is filled with compositions by Lacy. And where the music on side A was more structured, the playing on side B is a bit more free. It really leaves the more conventional chord patterns or rhythms and goes deeper into avant-garde territory. Very refreshing to hear, as the Lacy compositions bring up a different side of Waldron. But he definitely knows how to handle them. It’s probably the first time that I can hear some Cecil Taylor influence. Perhaps influence is a bit of an overstatement, but Mal was definitely aware of him (he knew him personally in the '50's and wrote a tribute later called Free for C.T.). The clusters he plays on ‘I Feel a Draft’ are beautiful. Bone is a bit more structured but still very free. Mal’s solo is stunning on this one. And both Carter and McGhie go crazy on it.
Like so many great records by Mal Waldron, this was released by Victor Japan. And like with all those great Victor releases it’s pretty hard to find and was never reissued on cd. I would love to make a nice Mosaic boxed set with Waldron’s Japanese records…. There’s the official 1972 gatefold release and a reissue on vinyl without a year of release. I’ve got that one and it sounds…. unbelievably good. I don’t know if this was recorded so well or remastered with so much care but the sound quality is incredible. You can hear almost every breath Lacy puts into his horn and it’s like Noel McGhie is playing in your living room. Mal’s a bit far in the mix sometimes but still: this is really how a record should sound.
Both of the issues are pretty expensive and hard to get but it’s not impossible. And it’s definitely worth every penny. This is both essential Waldron as essential Lacy. There are better records by them but part from the historic value: this is some very good music. If you’re a fan of Lacy, Waldron or both of them: get it asap!
With: Mal Waldron (piano), Gary Peacock (bass), Hiroshi Murakami (drums) Record date: March 8, 1971
Mal’s second trip to Japan did result in something very, very beautiful: this record with the great Gary Peacock! This ‘First Encounter’ would also be the last encounter unfortunately (at least on record). Very unfortunate as the chemistry is clearly there and it’s fascinating to hear Peacock, mostly known for his works with Keith Jarrett, with Mal Waldron. Mal is such a different pianist but it definitely works out very well. Drummer Hiroshi Murakami should also be mentioned. He was kind of a regular drummer for Peacock in these years and boy he could play! An excellent addition to the other two giants.
The opener ‘She Walks in Beauty’ is one of my favorite Waldron songs. It’s beautiful and sweet melody that gets wilder and harder as the song goes on and the huge climax in the middle. The fantastic interaction between Peacock and Waldron. The way Murakami follows and pushes, following and leading all in one. The second song ‘The Heart of the Matter’ is not much worse. It’s an enormous intense song where all three of the players play their guts out. Peacock is all over the place, yet keeping strong pulse and rhythm. A man who could play both with Ayler as with Jarrett is capable of playing with everyone. Mal hits the lower registers like a mad man. It’s funk, rock, free jazz and bop all in one. On the B side, the band continues that way. It’s full of primitive energy, interaction and emotion. This really is the Mal I love to hear. The only reason this to me is a 4.5 star and not a 5 star album is the last composition. It’s good but just does not have that vibe the rest of the record has. It’s a bit of an outcast on the album. Yet it is still good.
As with all the Victor works by Mal, this was never released on cd. In fact, it’s already pretty special that it was released on vinyl outside of Japan (in France on Explosive and in the US on Catalyst). The original Victor is a nice gatefold with some session photography. It’s also the more rare and expensive option. I’ve got the Catalyst version myself: thin vinyl, even more thin packaging. But I most say, it sounds great: spotless and flawless with no skips or whatsoever. British bootleg label ‘Alternative Fox’ has reissued this in 2020 but I really do not recommend that. After all, that’s a vinyl rip burnt on new vinyl. Also they have not paid any duties to the artists. I personally do not believe that when you die, you’re art is available for everybody to do with it whatever they want. But even when you think that is your right: Murakami is still alive and he deserves to be paid for his work here. Then there’s the argument that crappy releases like these prevent bigger labels to ever make a nice reissue as the market is already stuffed with these bootleg products. The only reason to buy such a product is when there is no alternative: but fortunately there is. Buy with much confidence. This is essential Mal!
With: Kimiko Kasai (vocals), Mal Waldron (piano), Yoshio Suzuki (bass), Hiroshi Murakami (drums) Record date: February 13, 1971
Everybody knows Mal of at least one thing: as Lady Day’s last pianist, staying with her until her death in 1959. When she died, Mal was devastated. He always saw her as a sort of a big sister. After her death he paid tribute to her in many ways, with multiple compositions written for her and even complete albums. Mal has also collaborated with lots of singers since those days: Abbey Lincoln, Jeanne Lee, Kim Parker, Sumiko Yoseyama, Kimiko Kasai etc. etc. etc. His dark, bluesy and minimalistic sound fits perfectly with a female vocalist. This Lady Day tribute was his first since his breakdown in 1963. He is backed by a fine Japanese band and accompanies Japanese singer Kimiko Kasai on 8 songs that are all affiliated with Billie Holiday.
I really do not like vocal jazz. I’ll explain further here below. On the record: Kasai could definitely sing. She has a sweet and tender voice and doesn’t show off too much. She also speaks English fluently and that helps a lot in listening comfort. The eight standards were chosen with care and are honoring Billie Holiday in a way she deserves. The songs are all pretty slow ballads, so the atmosphere is warm and calm. There’s not a lot to say about the band as they all play well but do not really solo. Mal plays fine details in the background and has one chance to really play at bit on ‘Yesterdays’. All in all he plays a pretty modest role on this record. Yet he is recognizable immediately.
About me disliking vocal jazz: the only two singers in my collection, part from all the collaborations with Mal, are Billie Holiday and Ella Fitzgerald. Billie has a special place in my heart, there’s nothing like her. I love all the stuff she has made, from the Columbia ’30’s records till her final records with her broken voice in 1959. Her voice is just pure feeling and emotion. Ella is just a very good and swinging singer with an astonishing technique and ditto personality. And yes Sarah Vaughan, Dinah Washington and Abbey Lincoln they all could sing, but I just don’t like listening to it…. That means the vocal albums with Mal are never rated very high by me. Personal taste definitely plays a role In that. So if you do like vocals, keep that in mind and judge for yourself.
This is a fine jazz album which would definitely be appreciated by vocal jazz lovers. Kimiko does have talent! She’s the best singer I know from Japan at least. The album is widely available on vinyl for low prices but never was reissued on CD as with most of the Victor recordings by Mal. Someone really should do something with that catalogue.
With: Mal Waldron (piano) Recorded on: February 7, 1970
During that first trip to Japan, Mal also recorded his first solo piano effort since the ‘All Alone’ album on GTA. Quite contrary to that album, and to many of his excellent solo outings after, ‘Tokyo Reverie’ isn’t very interesting. The quality in most of his solo music is the tension, climaxes and emotional feeling all through the music. ‘Tokyo Reverie’ lacks those ingredients. Every song was inspired by his stay in Japan. One would think it would result in more inspired music but that is not the case unfortunately. Most of the songs don’t really get anywhere. Absolute highlight is the beautiful ‘Sayonara’ which is kind of based on eastern melodies. And when I would compose a ‘best of’, that song would be selected by me. The album does contain a classic Mal composition also: Blood and Guts in it’s second appearance. But the live version on the Futura live album from only 3 months later is definitely more interesting.
Mal never plays bad but this is one you could skip without missing something big. Still, if you are a big Mal fan, do not hesitate. The album was released on vinyl only, and only in 1970 as an original and as a promo. It’s not very rare and mostly goes for around 30 euros. The gatefold is beautiful and the sound quality is excellent.
With: Mal Waldron (piano), Yasuo Arakawa (bass), Takeshi Inomata (drums) Record date: February 7 & 12, 1970
In 1970 Mal made his first trip to Japan, a country where jazz had not yet been fully take over and was still very popular. When Coltrane arrived on the Tokyo airport four years earlier he thought he was traveling with some kind of movie star, seeing a huge crowd from the airplane window. It was only when he came closer, he realized those fans were there to welcome him. In Japan, Mal rose to almost celebrity status and is still widely appreciated. And as much as the Japanese loved Mal, so much he loved Japan. After this first trip he was to return lots of times sometimes residing multiple months in the country. He loved Japan, but did not feel like settling permanently he once stated: the country was too neat and there were too much rules. He did meet his second wife there and owned several apartments. Anyway, his visits were mostly very productive and resulted in many records. On his first visit he recorded two records: ‘Tokyo Bound’ and ‘Tokyo Reverie’. Nowadays, lots of his music is still only available as Japanese release only. So are these two releases.
For ‘Tokyo Bound’, Mal selected two not very known but talented musicians: bassist Yasuo Arakawa and drummer Takeshi Inomata. Arakawa was a much in demand bassist in the Japanese jazz scene. Both of the musicians make a fine appearance here but Arakawa stands out most of the two. And although he doesn’t match the level of Isla Eckinger, Reggie Workman or Jimmy Woode he provides a very solid base to solo on for Mal.
Again, this is an album full of Waldron’s originals. Each track was inspired by his stay in the land of rising sun. The first track is also the highlight of the album. ‘Japanese Island’ starts with a dreamy atmosphere with Arakwa and Inomata providing gentle support to Mal’s beautiful eastern oriented melody. Than from that melody the music slowly moves in an uptempo hard swinging Waldron composition. ‘Rock One for Jinbo San’ has a more funky feel with Mal’s little walk in the low register of the piano. ‘Atomic Energy’ is again a more uptempo very repetitive composition with lots of energy explosions. ‘Mount Fujiyama’ has a more relaxed atmosphere and gives Mal and Arakwa a good change to exchange ideas en interact with each other. All in all this is classic ’70’s Mal with a great band an beautiful compositions. It’s highly recommended.
Tokyo Bound was released once on cd and that one is not very easy to find. There are more copies available on vinyl and pricewise there isn’t a lot of difference. I’ve got the 1970 Victor vinyl version which sounds great and comes with a beautiful multiple page booklet with pictures from Mal’s first stay in Japan. There are also photo’s from the session itself. The liner notes are extensive but unfortunately as with many of my Mal cd’s and vinyl I am not able to read them…
