(1994) From Dark Into The Light ****1/2

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: April 4 and 8, 1992 and October 10 and 11, 1994

Just like ‘Mal, Verve, Black & Blue’ this was recorded live at the Satiricon jazz club in Essen, Germany. It’s the same quartet with Nicolas Simion on tenor saxophone. Part of it was recorded in 1992 during the Jim Pepper Memorial tour. Pepper died that year in a Portland hospital from Lymphoma. He was a dedicated friend to Waldron and played on several tours and records with him. Nicolas Simion replaced him and he was definitely a worthy successor to the ‘Flying Eagle’.

Like the previous record this is some highly exciting club music. It’s not neccserialy revolutionary in sound or techniques. But it’s a showcase by 4 highly talented musicians who are able to communicate almost thelapatically with each other. It’s the living evidence that Mal was still going strong, listening to other musicians. The opening ‘What Will Ever Be Again’ is actually ‘What it Is’ which is one of Mal’s most significant compositions. It has that famous tension/release moment that makes his music so exciting. And those nice dissonant notes at the end of every sentence. Clifford Jordan kicked ass on it, so did Lacy and Simion isn’t much worse. He really blows away things with his powerful soloing. And listen to the steaming hard bopping music on ‘Mal-Factor’ with Jones’ groovy poly-rhythmic cymbal hitting in the background, Schuller’s hard driving bass playing and a hard swinging Mal. The music is fiery, energetic and exciting in every moment. Simion as always is a pleasure to listen to. He has great technical skills, lot’s of emotional depth in his playing but also a very pleasant tone. But the absolute highlight of the album is the closing ‘Funny Glasses’ which reminds some of the classic ‘Ticket to Tokyo’. It’s an incredibly fast and intense composition with every band member playing at maximum capacity. Really, just listen to it.

There’s also some nice ballads on this live session. The first is ‘You Don’t Know What Jazz is’. On ‘Between the Lines’ there’s some hinting to Thelonious Monk’s playing in Mal’s solo’s. And of course there’s ‘Somewhere Over The Rainbow’, which was one of the favorite tunes of Jim Pepper. It starts with a very sincere unaccompanied solo by Simion. Then the rest of the band enters with a gentle approach without sounding to sweet.

Whats probably the most nice thing about these Tutu discs is the enormous amount of solo space for Mal. And he really, rocks every single second of his playing. He’s the haunting, bluesy, repetitive, dark vamping piano God we all know. And his playing still sounds fresh. Though the basic principles of his style remained the same, Mal changes constantly since the 1970’s. He was always open to new ideas and thoughts and was inspired by the company with which he played.

This was one of the last official Waldron releases with new material. It was released in 2007 by the Tutu label. Like all of their Mal Waldron releases: it’s a no brainer, buy with confidence. And of all those great sessions, this one is among my favorites. 70+ minutes of intense Mal Waldron live music, great liner notes and beautiful photography. Highly recommended.

Samples and cd here avaible!

(1994) Mal, Verve, Black & Blue - Live at Satiricon ****

 

With: Nicolas Simion (tenor saxophone), Mal Waldron (piano), Ed Schuller (bass), Victor Jones (drums)
Record date: October 10, 1994

In 1992, saxophonist Jim Pepper died of Lymphoma in a Portland hospital. The powerful tenor man was Mal’s set saxophonist for years and part from that a personal friend. The year of his death was supposed to be the year of the third American tour with the Mal Waldron Quartet. But unfortunately at only 50 years old, his life came to an end. Mal was devastated by the death of his friend and companion but also had to look for another saxophone player to fill in for him. It was Mal’s tour manager at the time that came up with the name Nicolas Simion. Simion, a Romanian native, had already recorded for the Tutu label and played in the Europe club scene. But he wasn’t very well known. It appeared to be an excellent choice and he remained Mal’s companion for 4 years.

I know that the man might still be a little obscure, but believe me if I tell you he can play. He has this thick an masculine voice on the tenor but with a deep emotional feeling in it. But he’s also a technical player that could easily keep up with any composition, no matter the complexity. He really is a fine successor to Jim Pepper. ‘Judy Full Grown’ is an extended version of Mal’s original waltz that he played with that classic quintet at the Village Vanguard. It’s an exciting version with lots of changes in rhythm and dynamics. And Mal plays a fiery and excellent solo on it. Simion’s ‘Transylvanian Dance’ is probably even more exciting. It starts with some beautiful arco bass playing by Schuller, creating an atmosphere that is really reminds of Eastern European influences. And so does the beautiful rhythmically challenging theme. From that theme the composition really goes back and forward from straight ahead beauty to intense uptempo freebopping. Just like Pepper, Simion has this loud but beautiful overblow. An overblow he uses in a modest but perfectly fitting way.

The version of Soul Eyes is `nice but I have heard better versions. Schuller’s ‘I See You Know’ is more interesting with a very catchy tune that sounds a little inspired on nothing more than ahem… Gerry Rafferty’s Baker Street! Again it’s Mal who really steels the show with a very bluesy solo. Though he was getting older here, he shows not a sign of decline in his playing. He still manages to keep up with these young lions or even better: take the lead. I should also not forget to mention the excellent playing by Schuller and Victor Jones: both solid as a rock.

Without any exception, the TUTU discs are all great. This one is not the best but it is very, very good. It’s pretty unjust that most of them are not so well known. And like all of the TUTU’s the cd is a big pleasure to have: extensive and very interesting liner notes. The liners are mostly telling something about Mal and the concert itself. Focussing not again for the zillionth time on his work as a sideman for Prestige records and being the last pianist of Lady Day. But really telling new stories about this highly underexposed period in his life. And that’s not all: some beautiful photography as well. All of the Tutu’s are still available, not new but mostly second hand. If you are a Waldron fan: just get them all. Pieter Wiesmueller has the perfect description for them: ‘It’s not a sensation, not a spectacle. But just simply an intense experience’. This really is what jazz is all about.

(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.

(1994) Steve Lacy/Mal Waldron - Communiqué ****1/2

With: Steve Lacy (soprano saxophone), Mal Waldron (piano)
Record date: March 8 & 9, 1994

Another duo recording by Waldron and Lacy…. Will it ever stop? Yes, at least the recording would. This was their last duo that was recorded officially. So is it any good? Still worth having? There’s only one answer to that question: I am afraid it is. It consists mainly of compositions these guys never played before. Communique has 11 compositions, some by Waldron and some by Lacy. But also some by Monk, Mingus and by one of my all time favorite pianists: the great and underrated Elmo Hope. The Monk compositions played here were also never recorded by the two. This promises something good.

Just like all of their music together there’s a constant quality in their playing from the first minute to the last. There’s interplay, there’s dialogue. There’s emotion, there’s feeling. There’s humor, there’s unpredictability. There’s suprise, there’s comfortable predictability. There’s elegant beauty, there’s raw simplicity. Some mind-blowing complexity as well. This music just contains everything one looks for in music. And it just keeps amazing me how a simple soprano-piano duo can do all those things. Just listen to the sweetness in their playing on Mingus’ Smooch. The cold beauty of Lacy’s horn on top of those warm voicings from Mal’s piano. But next to the more sentimental pieces there’s also the more complex and unpredictable bop compositions like Elmo Hope’s ‘Roll On. Those versions really reflect their deep knowledge of musical theory and every single note sounds creative and original. 

The Lacy compositions represent the more free and avant side of the duo. There's some pretty exciting dueling on Esteem. But also again a real treat: a solo effort by Lacy called 'Prayer'. It really has the intimacy of a personal prayer. Lacy solo is always a pleasure listening to. There's some weird feeling of despair or desolation in his playing. It's one of the most intimate experiences I could think of. It's followed by Waldron playing a beautiful solo piano piece called 'Fondest Recollections' which is dedicated to his family. It has this deep emotional feel in it that contrasts to that of Lacy and blends at the same time. 

Like almost every duo record by these two superb musicians, this again is highly recommended. And like most of the Soul Note/Black Saint records: it’s pretty easy to get yourself a copy for just a small price. It’s also in the 11cd boxed set by CAMjazz but again: no liner notes. I really see that as a defect of that boxed set. I am pretty sure the original 1997 release does contain them as most of the Soul Notes do. Anyway, do not hesitate to add this one to your collection.

(1994) Mal Waldron/George Haslam - Waldron/Haslam ****

 

With: George Haslam (baritone saxophone), Mal Waldron (piano)
Record date: February 24, 1994

Mal had already recorded for Haslam’s ‘SLAM’ label with Lacy. ‘Lets Call This…Esteem’ was brought out on that label. In 1994 he made his first duo recording with Haslam himself. Haslam is a reed blower (playing anything from a clarinet to a tarrogato) from the United Kingdom. He’s pretty adventurous in not only his playing but also his touring. He has played all over the world, from Mexico to Hong Kong and anything in between. He has played more contemporary jazz styles but also worked with quite a few people from the freejazz scene like Evan Parker, Steve Lacy and Borah Bergman.

For this session Haslam sticks to baritone saxophone and that’s an excellent choice. Mal has played so many duets with so many saxophonists but never with a baritone aside him. It work’s out very, very well. The dark but very warm tones from Haslam’s big baritone sax almost float on the meandering chords and notes from Mal’s piano. As the liner notes by Brian Morton state: it’s like Mal is still accompanying a singer in his mind, and Haslam sounds like he is singing trough is horn. I am truly pleasantly surprised by the warmth and subtlety from Haslam’s baritone sax. Without overblowing his horn or getting into anything extreme he still manages to remain an interesting listen for the full 70 minutes.

The standards here are all treated with much elegance and hearable joy. Mal sets in some chords and George just really takes it from there swinging gently. And Mal has that same gentle swing in his soloing on these jazz standards. There are also two more free form pieces which are more free improvisations than true compositions. The 18 minute closing ‘Motion in Order’ is one of them and sets these guys in another perspective. The interplay of the jazz standards really changes more into a dialogue between the two as they closely listen to each other and interact. Though free of any true structure, the music is far from chaotic or anything like that. In fact: Haslam really remains that sweet tone of his most of the time. But the music does leave the more contemporary side of jazz music and dares to push the boundaries of it. It’s an exciting piece.

Mal himself shines really with his astounding solo variation on a Brahms composition. Yet another example of how his style blends so well with the old classical composers. He treats the theme gently and beautifully but it’s in the solo part where he truly shows off.

These SLAM cd’s are pretty easy to buy anywhere on the internet. In fact, I think it is still in print. The sound of them is pretty good, the packaging a little basic. This record does contain some nice liner notes by Brian Morton, on of the authors of ‘The Penguin Guide to Jazz Records’. Definitely worth having, especially if you are fond of Mal Waldron duets.

(1993) Mal Waldron/Michel Marre/Doudou Gouirand - Le Matin D'Un Fauve ***

 

With: Doudou Gouirand (alto saxophone, sopranino saxophone), Michel Marre (trumpet, bugle, euphonium), Mal Waldron (piano)
Record date: December 10 and 11, 1993

Mal, Doudou and Michel we’re friends for life and played with each other on several occasions. Their studio album ‘Space’ was the first to be put on record. This ‘Le Matin D’un Fauve was the second and also last one. It was recorded live in Tours in a small theater called ‘Petit Faucheux’ where more jazz concerts were recorded in those years. Playing with these Frenchmen is a success in the sense that is showcases another side of Mal. The music is somewhere between free improvisation, noir jazz and classical music. And really everywhere in between. Like Mal is quoted in the liner notes: ‘I change from day to day, minute to minute’. ‘A musician has to change or else he would die’. He certainly applied that to his music. One could immediately identify Mal on a 1966 record or on his last record. His trademarks really always remained the same. But the styles he played in varied enormously. Even in one year. ‘My Dear Family’, ‘Le Matin D’un Fauve’ and ‘Let’s Call This Esteem’; all recorded in the same year but they could not differ more!

This session consists of multiple suites and compositions. Some of them were written by Mal himself, while others were written by Marre or Gouirand. The first two songs have a very strong Waldronesque feeling over them. They are dark, atmospheric and the soft sounds by both Gouirand and Marre we’re well chosen and played. Again ‘Free For C.T.’ is wrongly named. Song 2 is an original that sounds a little like it. But ‘Free for C.T’ is actually track 7 which is credited as Fictions here. The following Marre composition is a bit dull and too repetitive. It lacks originality and does not contain any improvisation. The following improvisation by both horn men also misses the point a little. It get’s a little better when Mal enters with some sweet background playing. All in all the compositions by Gouirand and Marre are among the lesser ones here.

On the compositions by Mal there is more chance for Mal to show off (he’s really in excellent form here) but both Gouirand and Marre fail to make a very lasting impression. Both men do have a warm and very subtle tone but are not very distinctive in their kind. On compositions like ‘Snake Out’ that really stands out too much and the tension for what that composition is known for is almost absent here. Track 7 is Free For C.T. It remains one of Mal’s most beautiful tributes and on this version he plays without any restraints or hesitations: it’s beautiful and straight from the heart. One would wish he would have played it solo.

This music was recorded pretty well and brought out once on the French AA label. There are plenty of copies available on the internet. Interesting music but not essential. Their studio album was a little better.