Taking a small break

143 albums! That's a lot of reviews and a lot of music. But in no way it could be the end of this project that I highly enjoy doing. From the start at the beginning of this year until now (half May): I have enjoyed every second of it. Mal has done so many things, with so many great musicians. He managed to keep surprising me in a very enjoyable way until the last record reviewed. I truly feel he deserves the attention he's getting here and hope that people keep on exploring his music despite the fact not a lot of it is reissued or released anymore. 

I finished my first goal: reviewing all of his work post 1964 as a leader, co-leader and a sideman. But it does not feel good to stop here. Yet I have to take a small break. Time really is a thing nowadays, busy with all kinds of things. So what's the plan for the future of this blog? Some idea's: reviewing his work as a leader and co-leader pre 1964, reviewing all his appearances on VA releases like the stuff at Jamboree in 1966, and his appearances at multiple jazz festivals. I am also busy writing a compact yet pretty expanded biography but I am mostly struggling getting information on his later years (from the '70's). Plus I want to try get people who knew or played with Mal contributing to my blog again. Unfortunately contacts with George Haslam and Nicolas Simion faded and Reggie Workman did not wish to contribute. But I will keep on trying!

I mostly want to thank all of the reader's of my blog. Though there aren't a lot of replies here on the blog, I received lot's of them on other websites. Google analytics pointed out that from the month March I had around 50 to 100 readers a day during the week and between a 100 and 200 a day in weekends! That really exceeded every expectation. Thanks for all your kind replies, helpful answers and encouragements: it made it so easy to keep on going. When I continue, I will let you know. And thank you Tom van Overberghe and David Friesen for contributing to my blog. 

For all people who want to explore the music made by this fantastic and legendary pianist, for now these links might help you out:

All Reviews in Chronological Order

All Reviews by Rating

 

(1994) Chuck Henderson - Black Issues ***

 

With: Chuck Henderson (soprano saxophone), Mal Waldron (piano on #5,#6,#7), Raoul Walton (bass), Fred Braceful (drums)
Record date: April, 1994

Now when I first heard the name Chuck Henderson, I thought to myself: I've got to know that guy. Is he some session musician I have totally overlooked in my music collection. He's got a real jazzy name, that's for sure. But he is a pretty obscure figure only recording one sessions as a leader (this one) and appearing on a dozen other albums by musicians that were active on the German jazz scene (including Embryo). For this album he collaborates with other artists from that scene: the great Fred Braceful on drums, who also played on Mal's 'Spanish Bitch' and 'The Call' albums and bassist Raoul Walton who really has played all kinds of music. Mal was already living in Brussels at the time but was of course a well known jazz resident in Munich. He appears only on a few tracks.

So what does this group sound like and what to expect: it's mostly accessible and pretty funky modal jazz. Henderson isn't the most advanced or challenging player but he does a pretty fine job. His composition 'Realising The Difference' has this nice funky feeling with a grooving Raoul Walton on bass. Also the remake of Duke's 'Caravan' is a creative one and makes one laugh with it's repeating bass loop. Mal makes his first appearance on 'Protect the Innocent Pt.2'. The repetitiveness of the music works out pretty well for him and he plays a nice solo part. He mostly just does his thing. The title track is the best one on the disc. It has a more jazzy feeling and Mal's solo is excellent with some good old fashioned backing by Braceful's pushing drums. Henderson's soprano skills sound a little limited here. You want him to 'go out' and explore but he stays mostly on common grounds. On 'Boo Blue' Henderson takes a bluesy duet with Mal. The closing composition is a solo statement by Henderson. It's a nice and thoughtful way to close this record off.

All in all this is an enjoyable effort and an interesting collaboration. But the music isn't very special and fails to make a real lasting impression. Mal's role is limited to a few appearances and a small solo here and there. The cd is not the most easy one to obtain. It's good sound wise, contains some nice photographs of the group plus some thank you words by Henderson. There's also a Japanese inlay in mine which seams to contain some more information. Nice to have but in no way essential.

(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. 

(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

(1989) Embryo - Turn Peace ***

 

Hermann Breuer (trombone) Edgar Hofmann (soprano sax) Monty Waters (alto sax) Allan Praskin, alto (tenor sax) Christian Burchard (vibes) Mal Waldron (piano) Roman Bunka, Geoff Goodman (guitar) Paulo Cardoso (bass) Dieter Serfas (drums) Abdul Wahab (percussion)
Record date: September 1989

From the moment they first met in the 1960's until Mal's death: Mal and Christian Burchard played together trough all those years on so many occasions. Though there are not a lot of official records, the number of bootlegs circulating on the internet is countless and so is video material. They mostly played together in the band 'Embryo' of which Burchard was a member for most of his life. Mal plays only on 3 tracks on this last record with the German band: on track 6, 10 and 11. The whole album is a bit of a mixed bag with lots of musical styles, personnel changes and separate recording sessions. That is probably what this record misses most: a clear direction or feeling or unity in a musical sense. 

The non-Waldron tracks are a mix of Eastern, Indian, Middle Eastern and African sounds. Lot's of native musicians are participating in these tracks giving the music a fascinating international kind of feeling. It's world music but not in the cheap kind of way: the music is truly used to enrich Embryo's own music. They really left most of the psychedelic and krautrock of their '70's behind here. The music is experimental but mostly in the use of Eastern scales and instruments. It's interesting to hear but none of the compositions manages to really make a lasting impression. The variety keeps the music thrilling but makes it sound also a little random.

The Waldron tracks are a little more jazz oriented. 'Abdul' has definitely Mal's trademarks on it but there's little space for him to stretch out. Just like most of the music it's all a little forgettable. 'Barks' could have been better but was cut off and begins in the middle of the song. Unfortunate and a bit of a weird choice. The best and most interesting composition of the album is the last one: 'Lonely Nights' is definitely written by Mal. It combines the most interesting muscians of Embryo including Roman Bunka, Dieter Serfas, Christian Burchard and Mal's own bassist: Paulo Carduso. It's the most jazzy song of the album and contains some excellent soloing by a sensitive Mal Waldron and smooth playing Bunka. Carduso forms the base he was to become in Mal's trio. Great bassist with excellent timing and feel for soloing. 

All in all this music is far from bad. It's actually pretty good but it's mainly the the lack of connection trough all the songs which makes the whole album a kind of a weird listening experience. The tracks with Mal are ok but nothing special. Embryo has made more interesting albums, and so did Mal himself. The music is still pretty easy to obtain. 

(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.

(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. 

(1987) Anthony Braxton - Six Monk's Compositions ****

 

With: Anthony Braxton (alto saxophone), Mal Waldron (piano), Buell Neidlinger (bass), Bill Osborne (drums)
Record date: June 30 & July 1, 1987

Speaking of fascinating musical collaborations: this is definitely one of them! Braxton recorded several albums for Black Saint, the sister label of Soul Note for which Mal mostly recorded. Braxton had already recorded tons of records but he did not record a lot of Monk. Monk's music is written for musicians like Braxton: they are tricky, complicated and demand a lot of the musician. With his excellent technique and refreshing innovations playing these tunes by Monk was an excellent idea and there was more to come. And Mal and Monk.... well I have probably told it all before: he was a key influence on Mal in the sense of using space, dissonance and his sense of timing. Mal had played of his compositions before, especially with Steve Lacy who was another Monk afficionado. Completing the band here is Bill Osborne (this is probably his only recorded performance?) and bassist Buell Neidlinger who was present at the birth of avant-garde piano playing in the 1950's with Cecil Taylor.

Though Braxton plays a very different style from Waldron they do match pretty well and mostly: they complement each other and force each other to explore other territories. The six compositions chosen are all pretty advanced pieces of music with lots of interesting directions. Braxton shines on all of them with his incredible technique. He could play so fast that you could hardly hear what he's doing in some parts. His playing on this record is fairly accesible and definitely among the more contemporary jazz music he has made. The constantly changing rhythm on 'Brilliant Corners' keeps your absolute attention to the music. And that really is to say with all of the music. Though not very inventive in sound there is a lot going on musically and technically. Also Mal shows another side of him playing very much with Monk's hands here and there. There's the dissonance, the funny time keeping, the unexpected hits and humurous elements. Monk was an influence but that influence is most clear on this very record.

One must know I am not a huge Braxton fan. In no way I would deny the enormous contributions he made to jazz music nor his great skills. It's more that his style does not really move me. For me, he just plays too many notes sometimes. On this record it's also a bit like that though this quartet setting is definitily one I prefer when I listen to him. The band is a very tight one though the focus is mainly on Braxton's and Waldron's playing. Really just listen to 'Skippy' and try not to laugh. Braxton is all over the place, playing probably something like 64th or even 128th notes. He's fast as lightning and it's a mirracle the whole band could keep up with him. It's these kind off compositions that make this record really worth having. 

This is fascinating music as the combination of these artists isn't the most logical but still works out very well. Definitely recommended for both Braxton and Waldron fans. And still widely avaible, It's also in the Cam Jazz boxes by both Waldron as Braxton.