(1993) Mina Aoe - The Shadow of Love **

 

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. 

(1988) Tom Mega - Backyards of Pleasure *

 

Record date: April 6, 1988

There's not a lot of information to find about Tom Mega. Apparently he had been a bit of a naughty boy using lots of dope and being locked up in prison in the 1970's. He's a German singer who recorded several albums before he passed away in the year 2000. I was in doubt if I was going to review this record for this music is just really not my cup of tea. But hey: if one is about to review ALL of Mal's work post 1964, one cannot skip this one of course. I decided to stay as neutral as I could be, listening with open ears and an open mind. But this stuff is just going too far for me and Mal is nothing but a session musician anyway here.

What to expect? Expect heavy outdated '80's synths and keyboards and a ditto outdated sound. The music is rock oriented with a pretty obvious pop twist. Tom Mega is probably a bit influenced by Bowie and Tom Waits but doesn't reach those levels by far. He has a very thick and bit laughable German accent. None of the session musicians sound challenging or inspired anywhere and there space is very limited. So is Mal. I don't why he decided to collaborate for this recording. Was he openminded, in need of money or did he had contractual obligations with ITM? I don't know and just wish to forget this whole record. If you want to complete your Mal Waldron collection like I did: it's cheap and available. And so does it sound.

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

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

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

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

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

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

 

(1966) Nada Jovic & Dusko Goykovich Quintet - Take Me In Your Arms *

With: Nada Jovic (vocals), Dusko Goykovich (trumpet), Eddie Busnello (alto saxophone), Mal Waldron (piano), Peter Trunk (bass), Cees See (drums)
Record date: September, 1966

Singer, performer and dancer Nada Jovic was born in Belgrade in the 1930’s. After receiving a scholarship she went to Vienna where she became an allround performer. She could dance and sing. In the 1950’s she moved again, this time to Canada where she supposedly still lives. Nada wrote the music in New York City and went to Cologne to record it. When Mal and Goykovich lived in Cologne they teamed up regularly together and played gigs everywhere in the city. They were a pretty logical choice for Jovic to record with.

This music is….. just plain awful. It really sounds like the music from some burlesque show in the 1930’s for the enjoyment of some horny army men but it has not a lot to do with music in a creative sense. It’s mostly suited for in a theater or cabaret and there is zero space for any of the musicians to create something interesting. Even Goykovich’s arrangements sound old fashioned and pretty lame. Jovic’ voice then… well she could hold a note let’s say that. But it does not sound very nice. There is no feeling, timbre or any creativity. Only a pretty thick accent. Fortunately with only 23 minutes of playing time all goes by pretty fast. And that really is for the better.

British label Cosmic Sounds released this posthumously. In the liner notes they state that Jovic had recorded quite some music but ‘for some strange reason’ nothing of it was ever released. Well, I think I know why. This is a record you could easily skip without missing a thing.

 

(1995) Maturity 4: White Road, Black Rain ****

 

With: Mal Waldron (piano), Jeanne Lee (vocals), Toru Tenda (flute)

Record date: August 6 & 21, 1995

This is the last record to be reviewed from Mal's 1995 birthday tour in Japan. The personell is the same as on the BVHaast disc: 'Travelin Soul-Time'. We've got the great singer Jeanne Lee and Japanese flautist Toru Tenda. And it also has some tracks in common with that record. The two songs that were written in remembrance of the atomic bombs that were dropped on Hirsohima and Nagasaki during WWII, based on Japanese poems. 

But there are also different tracks here: Like the starting Japanese lullaby with it's sweet yet sad sounding, perfectly fit for the Waldron/Lee duo. Jeanne Lee meanders sotfly over Mal's chords in the background, improvising in a language that does not really contain words. Very nice. 'White Road' is probably the piece I like best by them. With it's dark atmopshere, and Jeanne Lee almost 'telling' this impressive and sad poem on Mal's subdued chords. It really is a reminder of the horror's of that very day in Hiroshima. Jeanne Lee is a singer of pure feeling and she makes it possible to almost relive those events in your head. 'Black Rain' is less structured and is clearly representing the horrors in the hours after the drop of the big one. I personally do not like the more free form singing here but that is a matter of taste. But everyhing is made even better with the closing jazz standard 'Sometimes I Feel Like a Motherless Child'. It get's a very thoughtful treatment and Lee's soft and sweet voice just hits all the right notes. 

I am no vocal jazz fan but this is great stuff. I have to say that Mal's role in it is a bit limited. Yet he is able to create the right atmosphere with his moody voicings in the background. Biggest downside is probably it's short length. It was initially released on Dan or Tokuma Japan in 1995 and in 2003 made Volume 4 in the Maturity series. Unfortunatly it doesn't contain as much photograph's as the previous two volumes. The sound is great anyway. Like all of those Tokuma discs it is not very easy to pick one up. Prices mostly start around 50 euros. Chances are probably best again trough websites like Buyee or something like that. For everyone that likes the voice of Jeanne Lee: this is recommended stuff.  

(1995) Maturity Vol.2: He's My Father ****

 

With: Mal Waldron (piano), Mala Waldron (piano, vocals)
Record date: August 21, 1995

I mentioned the year 1995 before as the year of Mal’s 70th birthday celebration tour. That tour largely took place in Japan and Mal was joined by his whole (2!) families. Not only Hiromi, but also his ex wife Elaine joined him. And also his 2 daughters from his first marriage. One of those daughters is Mala Waldron who is the only one of Mal’s children that is really active on the jazz scene. She still performs regularly in NYC and the surrounding area. Her website is in the list of links on my blog. Just one day after Mal’s birthday he recorded a duet album with his oldest daughter called ‘He’s My Father’. It was originally released in 1996 by Tokuma and later made part of the Maturity series. It’s that disc that I own.

So what to expect of this record? Mala might be an active live singer, she has not recorded a lot of music. But I have to say: she is a fine singer. And a good piano player too. As she is a singer I expected a real vocal album but she is not singing on all of the tracks. In fact she mostly sticks to piano. She only sings on two tracks. Her piano playing reminds one of her father’s playing: it’s not technical, a bit minimalistic and repetitive in parts. The way she interacts with her fathers playing is excellent and the whole album breathes a comfortable but still interesting air. Both the jazz standard ‘My Funny Valentine’ as the Waldron original ‘Clouds’ are very meditative with deep and long chords. The soloing by both Mal as Mala is subdued and calm but very beautiful. It has this very warm atmosphere with still that dark undertone that Mal’s music is known for. No vocals on these two long outings.

Then there’s ‘Castle in The Sky’ which was written by Mala. It has more of a pop music feeling. Mala starts singing here and her voice is pleasant. And that says a lot coming from someone that generally does not like those vocals. She might not be the new Ella Fitzgerald by I am pretty sure Mal was proud of her. The whole song might be a little shoddy here and there bit I like it as it sounds very sincere. With ‘Cat and Mouse’ the whole album takes another turn. From sweet sounding poppy music into more free territory. Both Mal’s as Mala’s piano actually sound like a cat chasing a mouse. This is more experimental free improvising music. It’s interesting to hear how much Mala has been influenced by her father as the two are sometimes hard to distinguish. The whole interpretation of ‘A Night In Tunesia’ is probably the least interesting as it’s all a bit predictable. The closing title song is a thoughtful one suited perfect as a closing title for this father/daughter collaboration.

Like all of the Maturity discs this one is quite difficult to obtain. The biggest chance for a success remains websites like Buyee where you are able to buy from Japanese stores. I like it for it’s intimacy and the fact that this a collaboration with his daughter. But there’s some pretty good playing here too.

I know a man, he’s a strong man
A very complicated man
Music is his life, and how he inspires
With the power in his hands

And this man’s my father
And how I’ve watched him
From the time I was old enough to understand
He’s my father
For as long as I live
And he’ll never be replaced by any other man
He’s my father

A life on the road, he’s traveled far and wide
And as kids sometimes we’d come along
I always was amazed at how he mesmerized
With his melodies so strong

He’s my father
And it feels good to say it
When there are so many dads who do not know their own
An tough he’s far away
And we don’t talk so much
I hope he knows he’ll never have to be alone
He’s my father

(1997) Soul Eyes ***1/2

 

With: Steve Coleman (alto saxophone on #1 and #2, Joe Henderson (tenor saxophone on #9), Mal Waldron (piano), Reggie Workman (bass), Andrew Cyrille (drums), Jeanne Lee (vocal on #1,#2,#10), Abbey Lincoln (vocals on #5 and #7)

Record date: August 15 & 16, 1997

Living in Brussels, Belgium, Mal felt completely free. Most people in his neighborhood had no idea who he was or who he had played with. They knew him as that kind gentleman from around the block with his warm and deep voice. But Mal's birthday never went by without notice. In 1997 he was to become 72 years old and like the years before his birthday was celebrated in a big way. Some of his old contemporaries flew over (or went by train like Jeanne Lee) to play and record with him. On his birthday, they performed a concert in Antwerp with an allstar line-up. It was recorded by Belgian radio but I have never found any recordings of it unfortunately. But in the same week they also went into the studios to record for RCA Victor. 

The results are a bit mixed in my opinion. Line-ups like this always make high expectations. And the record doesn't fully meet up to that expectation to be honest. It has a few very good moments but mostly just ok moments. The repertoire is made up mostly by real 'Mal classics' like 'Soul Eyes', 'The Git Go', 'Judy' and 'Straight Ahead'. 

The songs with Jeanne Lee are just lovely. Her warm, gentle singing is suited so incredibly well for a classic like 'Soul Eyes'. It gives such a nice warm feeling to this whole record. Also she has incredible singing technique and is capable of experimenting with her voice without getting freaky. She's probably the most accesible experimental jazz singer I know. Steve Coleman has a forceful addition to 'Judy' but fails to impress on the song that was made so famous by John Coltrane. It perhaps has something to do with the fact that Coleman recorded his attributions later. For it's mostly chemistry that is missing here. 

Then there's Abbey Lincoln with whom Mal has had a long association. Of course she recorded with Mal Waldron: for example the 'Straight Ahead' album with people like Coleman Hawkins, Booker Little, Julian Priester and Max Roach. But she was also the wife of Max Roach with which Mal has recorded even more. Abbey sounds a bit as if she's struggling to get to the notes here and there on the classic 'Straight Ahead'. But this could also be me giving her a hard time as I am (probably a bit too much) critical of singers. Her contributions on 'God Bless The Child' sound much better and she nails it without any problems. 

The very best track of this album is the one with Joe Henderson on tenor saxophone. 'The Git Go' is really the kind of track you whished of that the whole album sounded like that. It has that brooding and dark energy, the well known tension and some awesome horn blowing by Joe Henderson. Such unfortunate he only contributed to only one song. 

This is in no way a bad album, not at all. But being a vocal album mostly, to me it's not very appealing. Jeanne Lee makes up a lot for it but Lincoln fails to get me here. The solo tracks are fine but not really anything special. This could have been more than such an average record. It's pretty easy to get on the internet these. For this is Mal's last real group recording and the big names playing here this is mostly essential from a historical point of view. And I am pretty sure that vocal jazz lovers will be much pleased with it. Worth having.

(1995) Mal Waldron/Jeanne Lee/Toru Tenda - Travellin' In Soul-Time ***1/2

 

With: Mal Waldron (piano), Jeanne Lee (vocals), Toru Tenda (flute)
Record date: August 4,10 & 22, 1995

1995 was the year of Mal Waldron’s 70th birthday. For that occasion Mal went on tour with his entire family. His second and then current wife Hiromi arranged a world tour with the complete Waldron family. This meant his ex wife Elaine was there too with their two children: Lori and Mala. Plus the children that came out of Mal’s marriage with Hiromi: Naru, Marianne, Malcolm Jr. plus the twins Michael and Sara. According to Jeanne Lee, who was also traveling with them: sometimes there were more Waldron’s on the train than Japanese. The tour included an extensive stay in Japan, the homeland of Hiromi. He recorded multiple albums during that stay including this one, another one with Jeanne Lee and Toru Tenda, a duet with his daughter and two duets with Japanese drummer Takeo Moriyama.

1995 was also a very important year for Japan. It had been 50 years ago the American air forces dropped two atomic bombs on the cities of Hiroshima and Nagasaki. Just like John Coltrane, Mal was deeply impressed with the enormous impact it had on those cities and the Japanese people. He was invited to play in temples and at memorial services and two compositions became a set part of his repertoire during those concerts: White Road and Black Rain. Both based on poems written of the devastating effects of those weapons of mass destruction. Some of the music was captured on record: this is one of them and the other is the White Road/Black Rain record on Tokuma.

This really is one of my more preferred Waldron albums that contain vocals. Jeanne Lee really is one of a kind. Her interpretation of “Seagulls of Kristiansund” is not only a very original and creative one, it’s drop dead gorgeous. The warmth of her voice sounds so well really reminding of a floating seagull. But it’s also her thoughtful imitation of the animal with her voice that sounds so refreshing. The way she goes down with her voice as she sings they ‘dive from the sky’… It’s a fun listen. Then there’s some more free improvising with her voice on songs like Circumambulation. It all remains really accessible and the way she converses with Mal is very impressive. The way they circle around each other with their subtle tones is beautiful. And there’s White Road! A composition based on a poem by a survivor of the Atomic Bomb. Part from the beautiful translated lyrics, the music is equally beautiful. It has this dark and sad mysticism over it that is so characteristic for Mal’s own writing. It’s a deeply emotional statement that truly reflects the horrors of the destroyed city of Hiroshima.

But there are also some parts where they lose me a bit as a listener. Parts like Black Rain that really gives a good resemble of the anger and darkness but fail to catch me. I like a bit of chaos in music and enjoy the freedom but still have trouble connecting with it as it contains vocals. For some reason it starts to annoy me after a few minutes. It really is the only downside to me of this record. And those that are more open minded to that kind of music probably really disagree with me.

This is some highly creative music and another fascinating turn in Mal’s career. It was released on the BVHaast label which was run by Dutch musician Willem Breuker. With a median price on Discogs of 30 euro’s this really is one of the more rare cd’s. It contains some nice liner’s by Jeanne Lee and the lyrics of the vocal parts. Quite a lot of the music from this tour is not easy to obtain unfortunately. This really is a must have if you are vocal jazz fan.

A white road
A white road in Hiroshima

Mother walked that scorching road
Barefoot
Working clothes all torn

And I, who had been born
Just 40 days before
Held in those arms
Gazed up with eyes of innocence
To where the deep blue sky
Stretched wide, she said
The white mushroom cloud
Moved like a sea slug
Growing wide, and wider still

Mid-summer phantoms
And these hateful things
That happened long ago
Are so infinitely sad

The image of that single
Long white road
Lies in the corner of my mother’s
Heart and mine
And does not even try to die
The road stretches on and on
An endless road
White dust-covered and soiled by grief

The road began that moment
The road without and end
The road we’ve walked without a pause
For fourteen years
Mother is tired
And I am tired

And when beset by waves
Of sadness and exhaustion
She lay a while to rest
Her tears fell on my face
And left their patterns in the dust

A white road
The white road of Hiroshima

A poem written by Syo Ito in 1959 (14 years old)

(1994) Mal Waldron/Danila Satragno - Magic Night in Borgio Verezzi *1/2

 

With: Danila Satragno (vocals), Mal Waldron (piano)
Record date: August 2, 1994

Yup, another date with a singer. This time it’s Italian singer Danila Satragno. A beautiful looking woman from Italy that was still pretty much at the start of her singing career here. And that’s very clear from the beginning. It’s a pretty big step back from the singing by Jeanne Lee and Judy Niemack. I will keep it short this time.

Though there is obviously some potential in Danila’s voice, the songs taken here are just too difficult for her to sing. And you could hear her struggle clearly on some of the selections going almost out of tune here and there. It’s painful to listen to. Mal is in fine form but does not really have the opportunity to shine on all these straight ahead compositional choices.

This mostly is a very unnecessary release. Not only was Satragno not ready yet to be recorded, there is so much echo and reverb it really isn’t nice to listen to. It’s still easy to find on the internet but I really would not recommend it. Perhaps later records by Satragno were better as here voice had more matured. But here, her lack of experience is too obvious. Must have been a nice concert though: it was recorded on a charming Italian piazza.

(1994) Judy Niemack/Mal Waldron - Mingus, Mal & Monk ***

 

With: Judy Niemack (vocals), Mal Waldron (piano)
Record date: July 10, 1994

Well, let’s say Mal really had a thing for ladies that sang. For this record he accompanies the Californian singer Judy Niemack. Thankfully, just like Jeanne Lee, Judy could sing. Though probably not as creative and skilled as Lee, Judy Niemack does have a pleasant feminine voice to listen too. The title says it all: there’s some Monk, some Mingus and some Mal to be played and sang. Just like the Jeanne Lee album it’s mostly filled with ballads.

Most of the record there’s nothing really interesting going on. It’s really some jazz standards played in a very straightforward duet style. Like most of the other vocal albums, there is mostly too little space for Mal to stretch out and play a solo. And when he does, he sounds a little restrained. The version of ‘The Seagulls of Kristiansund’ is quite beautiful with Niemacks sweet voice singing the theme in a very thoughtful matter. Her vocal soloing is also nice with a well sung vibrato that floats over Mal’s chords in the background. Also some solo space here for Mal! The version of ‘Soul Eyes’ is also pretty nice and refreshing to hear in this setting. Again there’s solo space for Mal which he utilizes beautifully in a laidback style. Unfortanely there’s some scat singing here too, for example on Suddenly. I probably never get used to that.

This was released on the French ‘Free Lance’ label. It’s pretty easy to obtain and pick up a copy. Like all Free Lance releases not a lot time was spent on the design and there are no liner notes. All in all a pretty good vocal album that will please most Waldron fans. If you’re a Judy Niemack fan you should get it right away. This is also a pretty positive difference with those vocal records with Tiziana Simona or Femi Bellomo in the ’80’s. Those were terrible. This is ok.

(1994) Jeanne Lee/Mal Waldron - After Hours ***1/2

 

With: Jeanne Lee (vocals), Mal Waldron (piano)
Record date: May 25 & 26, 1994

Mal and Jeanne have worked together plenty of times: in the studios, at live concerts and mostly as a duo or at least in a small group setting. ‘After Hours’ was the first to be put on record. Now I have said enough about my dislike of vocal jazz but Jeanne Lee really is something else. She has a voice so sweet and tender, that it’s hard not to like her. Jeanne has sung in so many settings and is one of the prime examples of female singers in the free jazz scenes. She is of course much known for her appearance with Ran Blake. Yes I still prefer other line-ups and settings but I could listen to Jeanne Lee with appreciation. For this intimate duo setting, she and Mal selected 8 standards that are mostly in a ballad style.

All of them are treated with respect to the originals but it’s not like you have heard them a thousand times before. Lee is one of the more creative singers and very much open to new ideas en perspectives. The warmth and deepness of her voice on Goodbye Pork Pie Hat is beautiful. Her technique is incredible: she could go very high yet so low without showing any sign of struggle. And then there’s here timing focussed beautifully on the chords played by Mal. Which brings us to the big downside of these kind of records: Mal has very, very limited solo space. It’s hard for me to hear such a great pianist turn into a background player. Of course: what he plays is great. There’s nobody who could accompany a singer like Mal but one wishes he would have played a little more than those deep chordings in the background. Also I still have trouble getting at ease with scatting vocals like on ‘Fire Waltz’. Jeanne does a great job, it really is something personal by myself.

This music is widely available on the internet for very low prices. Be careful, because there’s an unofficial Russian release out there too. For every lover of vocal jazz this is essential stuff. It’s definitely one of Mal’s better records with a singer.

(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.

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

 

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

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

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

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

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

(1988) Tiziana Simona/Mal Waldron - Flakes *

 

With: Tiziana Simona (vocals), Steve Lacy (soprano saxophone), Enrico Rava (flugelhorn), Giulio Visibelli (alto flute)
Record date: August and September, 1988

There it is, another vocal album. This time with quite a line-up. Next to Waldron there’s Steve Lacy and Italian trumpeter Enrico Rava. And yes it was a challenge for me again to listen to it.

Tiziana Simona could sing a little bit, though her voice is not something very special. The starting Flakes and Little One are really turning me off instantly. She sings a little like Irene Aebi… Very different voice but that same theatrical voice which makes you almost think you’re at some cabaret. The thick accent almost makes me laugh, but not in a good way. She goes off key a few time also on this record. Rava is nowhere to be found, Lacy only plays a small bit. Visibeli takes a bigger role but doesn’t really do something special. Mal’s role is really mainly somewhere in the background with only a little bit of space to solo. Bo If Cinese, with Tiziana singing in her native tongue is a bit better. But Flowers for Albert is really making me nauseous again. I could hardly take it serious. Really big highlight of the whole album is Lacy’s intimate dueling with Mal on the beautiful ‘Left Alone’. Mal played that song plenty of times but as far as I know this is the only one with Lacy on soprano saxophone. Very unfortunate, but at 3:28 Simona starts singing and the magic is gone.

If you’re interested, you should definitely buy the original ITM issue. The ‘reissue’ on Phantom Sound and Vision is incomplete and shares space with another session with Kenny Wheeler and without Mal. Plus: it’s a CD-R. Big shame on them for selling it as a regular cd. For lovers of Lacy and Rava: their role on this album is very, very limited. Be warned.

(1985) Femi Bellomo/Mal Waldron - Since You've Gone **

 

With: Femi Bellomo (vocals), Roberto Ottaviano (soprano and alto saxophone), Mal Waldron (piano), Attilo Zanchi (bass), Gianni Cazzola (drums)
Record date: March 11 to 15, 1985

From the year 1983 Mal would regularly accompany female jazz vocalists. He did quite a few times with different Italian singers: Femi Bellomo, Danila Satragno, Tiziana Ghiglioni and Tiziana Simona. Mal had a few countries he visited very often and Italy, also on of his first European residences for a small time, was one of them where he also recorded quite a lot records. Of course he also had a pretty long association with the great Italian Soul Note label. For this session, Mal plays with an all Italian band including Roberto Ottaviano which whom he would later record a duo album for DIW.

There they are again: vocals…. I have to admit that contrary to Yoseyama, Femi Bellomo could actually sing. But do I like her voice? Nah I really don’t. It’s loud and in you’re face. She’s at her best on Mal’s Seagull’s where she sings with a more gentle approach. The band is pretty much okay but as with most of the vocal albums, hasn’t really got the opportunity to actually show off. Ottoviano is a pretty good player but a bit too smooth for my taste at times. He's definitely more interesting on the duo album he recorded with Mal. Mal’s own role is pretty modest too. He does really make clear again why is so much in favor by vocals. His timing is just incredible and so steady.

There’s only one issue released: the original Dire LP from 1985. I really think the sound quality is really bad for a studio record from that time. It sounds hollow with lot’s of echoing especially on Bellomo’s singing. Ottaviano’s soprano sounds like it's doubled times. Very weird. An interesting recording if you like vocal jazz and Mal Waldron. If you don’t really feel for that kinda thing you could skip without hesitation.

(1983) Sumiko Yoseyama/Mal Waldron - With Mal (Sumiko Yoseyama Meets Mal Waldron) *

 

With: Sumiko Yoseyama (vocals), Mal Waldron (piano), Kunimitsu Inaba (bass), Motohiko Hino (drums)
Record date: December 21, 22 and 28, 1983

Mal really was fond of female singers. Of course his affiliation with Billy Holiday is the thing some people know him best for. And his calm, dark tones really blend well with most female voices. Yet between 1964 and and 1983 he only recorded once with a singer: with Kimiko Kasai for Victor Japan. In 1983 he recorded with another Japanese singer: Sumiko Yoseyama. And from this session, he would record lots of times with female vocalists: Italian singers, Japanese singers and American singers. As I mentioned in my Kasai review, I am really not a big fan of vocal jazz. The only ones I really, really enjoy are Lady Day and Ella. So please bear that in mind while reading these reviews.

This session…. oh boy I really, really dislike it. Not to offend anyone, especially not Sumiko, but I really think she’s much of a singer. She has a very flat voice, not vibrato whatsoever and not capable to improvise with it. It sounds a bit cold and sometimes even out of tune. But she also isn’t really speaking the English language very well. Where Kasai sounds pretty fluent, Sumiko has a very thick Japanese accent which makes a lot of sentences pretty hard to understand. And a bit laughable at times. Then there’s the band. Mal really is nothing more than an accompanying pianist with zero space to improvise or stretch out. Same goes for the rest of the band: they could probably play very well but can’t show off anywhere. Now Jeanne Lee was a singer who could really give that space. And there’s the songs with strings…. which makes it even worse. Not much of a strings fan anyway but I know plenty of examples where it actually adds something. Here: it really does not and they sound as chords coming from a keyboard. Yuk.

As I am not so fond of vocals anyway one should always check out for themselves of course. Plenty of samples to be found on the internet. Not cheap to buy so be sure this is really you’re thing. I’ve got the cd version which is fine.

(1971) Kimiko Kasai & Mal Waldron - One for Lady ***

 

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.