(1987) Tchangodei/Mal Waldron - Les Venins D'Afrique ****

 

With: Tchangodei (piano), Mal Waldron (piano)
Record date: May, 1987

Mal and Tchangodei made another record together called ‘Les Venins D’Afrique’. It’s a piano duet like Mal has recorded before: it’s not an unusual setting for him. This live performance isn’t exactly a battle or competition. It’s really more about interplay and interaction with each other. Mal’s role is more prominent than on their great studio album and it’s very interesting to hear the differences and similarities in their playing. Sometimes they play together, sometimes one of them solos while the other plays in the background and sometimes it's just one of them you can hear playing. 

Both pianists are strongly blues based and make use of modal vamps in their music. Both are very percussive players focussing not only on melody but alos on rhythm. But Tchangodei is more of a virtuoso with a hint of McCoy Tyner here and there where Mal is more of repetitive player in the tradition of Monk. A common influence seems to be Cecil Taylor. As the music balances between beautiful modal African themes and more free almost chaotic movements. Also a very nice contrast in their playing is that Mal mostly uses the lower registers of his piano while Tchangodei uses the upper register extensively. That really complements each other nicely.

The record consists of 5 untitled suites. I can’t recognize any known Waldron theme’s and the composition feels like it’s created on the spot. Some free improvisation but with a clear structure. One of the pianists sets the structure, the other follows. It’s another interesting piano duet and a great chance to hear the great Tchangodei at the piano. Mal is in excellent form here and sounds inspired by his component. Side B is probably the best with beautiful Afrocentric theme's and great interplay by both pianists.

Like with most Tchangodei releases, this one is not easy to find. It was self-released by Tchangodei, which means there are not a lot of copies in circulation. The sound quality is very acceptable but not in the standards of a label like Soul Note for example. The sleeve doesn’t give any info: no liner notes, no recording information. A copy pops up at Discogs from time to time for mostly around 40 or 50 euros. Though not essential, it’s a very interesting record. Fans of Abdullah Ibrahim should definitely give this one a spin.

(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!