(1988) Mal Waldron/Marion Brown - Much More ***1/2

 

With: Marion Brown (alto saxophone), Mal Waldron (piano)
Record date: November 14 and 15, 1988

Yeah! They are back again, and how! Mal’s last record in 1988 was a reunion with alto saxophonist Marion Brown. Both men had toured the USA that very year together and made another record in Paris. Just like it’s predecessor it consists mainly of very, very beautiful ballads played in a very sensitive way. But also some more uptempo bebop classics like ‘All God’s Chillun God Rhythm’ and ‘Nows The Time’.

Mal plays with stunning beauty on all of the tracks. With his ultra dark romantic lyricism he really is the perfect accompanist for Brown who plays so soft one almost couldn’t hear what he’s playing. Mal plays solo on Someone to Watch Over Me which gets a very warm treatment. Marion Brown sounds beautiful with that squeezed tone of his but also a little vulnerable. It’s his typical sound, especially in these years. Highlight of the album is the version of ‘My Funny Valentine’ that starts off with Mal’s easy but oh so beautiful approach. Then in comes Marion Brown with a beautiful soft vibrato, not even playing much more than the theme but it really is enough. Brown had his teeth fixed in this year, which took 7 months for a German dentist to repair. Sounds funny but of course as a saxophonist you’re teeth could really break or make you. The dentist is thanked in the liner notes by Brown.

This was really the era that labels wanted you to buy cd’s. Buying the vinyl version will make you miss a beautiful version of ‘My Old Flame’. Sometimes this session is hard to find but it’s not impossible. For around 20 euros you should be able to obtain a copy. If you like their first set, you gotta hear this one two. I like their first duet best. But this one is really enjoyable also. Made with thanks to Dr. Fritz Eberhard Preusse (German dentist).

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

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

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

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

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

 

(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.

(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!
 

(1988) Evidence ***

 

With: Mal Waldron (piano solo)
Record date: March 14, 1988

The recording year 1988 starts with a solo album by Mal. Evidence was recorded in March for the Canadian label Dark Light Music Ltd. in Toronto. Mal plays mostly standards here, quite a few that he has played before in all kinds of settings. Of course there’s some Monk too. This means there are not a lot of suprises. When Mal plays standards he always play them very well, but mostly in a very straightforward way. This one is not an exception. Probably the most interesting are the two Rhapsodic Interludes that contain some more improvisation and inspired playing by Mal. Here he seeks more freedom in his playing and there’s more thematic variety.

One could never call the music on these kind of albums bad but to say it’s very interesting: it just is not. My short review says enough. Only one version of this album was released in 1991. They go for around 10 euros but I had to wait for years before one popped up. For completists only.

(1987) Mal Waldron/René Bottlang - The Lausanne Concert ***

 

With: René Bottlang (piano), Mal Waldron (piano)
Record date: December 20, 1987

The last 1987 recording by Mal was a live recording in Lausanne, Switzerland. Another piano duet, but this one was to be his last on record. This time it’s Swiss piano player René Bottlang. Bottlang has recorded mostly as a leader himself but also made an appearance next to Charlie Haden. His style is much influenced by Keith Jarrett. It definitely has it’s moments but it’s a little too smooth here and there for me. But Bottlang is also a very different pianist than Yamashita or Tchangodei which makes it another interesting listening experience. Mal always picks up a little from what the other is doing in a duet which means you hear another side of him.

The album consists of two long suites. Some parts are pretty abstract, others more melodic with moments of absolute beauty. Again, this really isn’t a battle or competition. Just like the other piano duets it’s mainly about feeling what the other is playing and try to interact with it or support it. Mal’s playing on his own Soliloquy is such impressive with it’s deep emotional load and feeling. Sometimes he just hits all the right notes, and not a single wrong one. The sudden merge into Evidence reflects his sense of humor. It’s creative music with enough variety in playing but it fails to keep your attention for the full set. The live experience must have been pretty impressive but on cd it all just goes on and on.

Not bad at all but just not that interesting. This music is easy to obtain both in it’s original release as the reissue that I have myself.

(1987) Mal, Dance and Soul ****

 

With: Mal Waldron (piano), Ed Schuller (bass), John Betsch (drums), Jim Pepper (tenor sax on 5,7,8,9)
Record date: November 25, 1987

In 1987 Enja frontman and producer Horst Weber decided to create a new label: Tutu, named for Miles Davis’ classic album from that decade. Weber and Waldron knew each other for quite a while, but it was 8 years ago Mal made his last record for him. Now Mal had the honor to make the first record for this great new jazz label. ‘Mal, Dance and Soul’ is not strictly a trio album. There are four tracks (on the cd version) that has the great Jim Pepper playing tenor saxophone. The rhythm section consists of Ed Schuller and John Betsch with whom Mal would play quite regularly. Schuller, son of Gunther Schuller, appeared next to Mal on several Tutu albums with Jim Pepper and Nicolas Simion. He has been quite active recording with both known and more unknown jazz artists, mostly in the European jazz scene. John Betsch appeared on several Tutu releases with Mal but also on some of his works for Alfa and Timeless. Betsch was a beloved drummer in the free and spiritual jazz scene making his own appearance for the fantastic Strata East label but also playing with the likes of Kalaparusha, Henry Threadgill and own of my other favorites: Abdullah Ibrahim.

This first Tutu release is pretty good. Mal is in excellent form, so are his bandmates. The music is creative and Mal is playing mostly new material. The opener ‘Dancing on the Flames’ is downright funky with a nice overall swing feeling. Songs like ‘A Bow To The Classics’ (which really is jazzy as hell) and ‘Little One’ have a nice subtlety over them and it’s Schuller that really shines next to Mal with his playful bass playing. ‘Little One’ really seams to be based on Mal’s own Fire Waltz. It’s pretty much a variation on it. ‘Soul Mates’ is the first track that has Jim Pepper playing tenor saxophone. It’s a duo recording and yup, the chemistry is definitely there. Mal made some very, very good duo records with saxophonists. Just like with singers his timing and warm accompaniment just really works out in a duet. Pepper is one underrated saxophone player. He has an astonishing technique, could play really fast and beautifully slow. He could play soft, almost smooth but also blow your ears off. And he has one hell of an overflow that he uses only sparsely. But when he does, it always feels right.

The album also contains an excellent version of the Mal classic ‘Blood and Guts’. Mal plays it a few notes higher and it misses that crazy left hand riddle but the interplay with both Betsch and Schuller is great. Mal only solo’s with one hand sometimes as the backing is strong enough. Also great is Betsch’ soloing here. What’s next is what you miss if you have this only on vinyl. Three more tracks in quartet form with Jim Pepper on tenor saxophone. Great tracks, absolutely worth it.

I’m a real vinyl head but with the Tutu releases it really pays of buying the cd versions as they contain bonus material. And with bonus material I do not mean false starts or studio chatter. On this one for example you get three extra tracks with Jim Pepper. New tracks, not even alternate takes. And you really do not want to miss them, believe me. If you happen to find this disc, buy without hesitation. Nothing groundbreaking but a nice example of Mal’s trio music at the end of the ’80’s and also the first quartet recordings with saxophonist Jim Pepper. Mal did made better recordings for Tutu but this one is highly enjoyable (and those others just really kick ass). The cd contains some nice liner notes as well that do not tell the same freakin story again about Mal playing with Billie Holiday blablablabla. Some actual background information on the label and the music.

(1987) The Super Quartet Live at Sweet Basil *****

 

With: Steve Lacy (soprano saxophone), Mal Waldron (piano), Reggie Workman (bass), Eddie Moore (drums)
Record date: August 28 & 29, 1987

Back in the USA, Mal was to perform at Sweet Basil during the Greenwich Village Jazz Festival. As the cover states correctly he really performed with a ‘Super Quartet’. He teams up with his life long companion Steve Lacy on soprano, but this time not in a duo setting. On bass is the incredible Reggie Workman and on drums we’ve got Eddie Moore who soon would be a regular performer in Mal’s groups. It resulted in one of the most intense and best recordings that Mal made in the ’80’s.

The compositional choices are great and make a lot sense. It’s 2x Monk and 2x Waldron. It starts off with ‘What it Is’ , a typical Waldron composition that fits Lacy very well too. With it’s dark funky loop it swings hard and remind’s a bit of Monk’s compositions. Lacy starts with an excellent solo still staying pretty much inside but exploring every single piece of space that’s to be found. He’s haunted by a dark playing Mal Waldron, a grooving Reggie Workman and a tight Eddie Moore. Though ‘Evidence’ was composed by Monk it sounds like a composition that is pretty much in the same vein as ‘What it Is’. And it has to be said again: nobody interprets Monk like Waldron and Lacy do, not as a duo but also not in a group form with such an excellent rhythm section. They got that same feeling for dissonant playing, humor, repetition and playfulness.

Side B is equally great or perhaps even better than side A. It starts with the Waldron classic ‘Snake Out’. Lacy and Waldron performed it a zillion times but if I had to pick a version it would probably be this one. It’s Reggie Workman’s berserk bass playing here that adds another great dimension. Lacy is all over the place here. He starts pretty tame but gets wilder and wilder. He is squealing, growling and screaming. Then there’s Mal with a great and long solo playing around the theme, moving away from the theme and moving closer towards it. His interplay with Workman is almost like telepathy. But one must also not forget Eddie Moore who really is the backbone of the band. Solid as a rock he forces the other band members to give everything they can. But also playing an impressive solo with not much morethan one cymbal and his bass drum. After all that primitive energy the closing ‘Let’s Call This’ is more than welcome. It’s far from boring but a little more gentle.

The music was brought out in 4 different versions from Japan, Germany and the USA on three different labels. The original Japanese ‘Paddle Wheel’ vinyl sounds pretty good and there are plenty copies to be found in online stores. What really surprises me is that for example on RYM, only three people have voted for this record. I expected this record to be well known for it’s personnel and availability. I also wonder if there’s more music recorded that is not on this release and still on the vaults somewhere. Four songs in two days is very little. More music must have been played and recorded…. Who knows. If you do not know these sessions yet get it as fast as you can in any format. This is great music!