Mal Waldron & Steve Lacy: The Mighty Warriors

  Mal Waldron & Steve Lacy first played and recorded together in 1958, when Waldron was the house pianist for Prestige Records and the soprano saxophonist was making his second album for the label’s New Jazz imprint. That album, called Reflections: Steve Lacy Plays Thelonious Monk, is a wonderful exploration of Monk tunes at a time when programs of only Monk songs was a rarity. Lacy and Waldron bonded over their mutual love of Monk. Waldron went through a very rough period in the Sixties, after a breakdown caused by a drug overdose. Treatment left him without the ability to play piano, and he relearned it over several years. His sound had grown darker and somewhat obsessive when he re-emerged late in the decade. He settled in Munich in 1967. Lacy became an expatriate as well, moving to Paris in 1970. Their proximity in Europe led to a reunion in 1971 when they made Journey Without End, a quartet session recorded for the Japanese Victor label. The continued to meet in studios and on stage throughout the Seventies, Eighties, and the early Nineties. Their work, recorded once or twice a year in a wide variety of formats including duets, has been documented on many different labels in Europe and Japan, and finally, in 1990, on an American label, with the duo set Hot House for Novus. The release of The Mighty Warriors brings their awe-inspiring collaboration to a rousing conclusion, with 98 minutes of music from a 1993 concert celebrating Waldron’s 70th birthday in Antwerp, Belgium. Bassist Reggie Workman and drummer Andrew Cyrille are on hand to help “lift the bandstand,” a saying of Monk’s that Lacy took to heart. “That's magic, man,” he said in an interview, “when the bandstand levitates. I didn't know how to do it but I knew what he was talking about. Old dreams but they're still valid." The professionally recorded tapes of the concert were in the archive of Patrick Wilen, son of Belgian saxophonist Barney Wilen. The program, which was played without an intermission, starts with a lengthy version of Waldron's hard-driving What It Is, a perennial feature of Waldron’s set after its initial appearance on a 1981 quartet session. Epistrophy follows, the first of two Monk pieces that surround Lacy’s recent Monk-like composition Longing. Workman’s mini-suite Variation of III gives everyone a chance in the spotlight. The concert ends with a spectacular excursion through Snake Out, an insistent Waldron original that was frequently performed by Waldron after it debuted on a 1973 Enja album that featured Workman and drummer Billy Higgins. Among the many highlights of the Antwerp performance are Cyrille’s beautifully constructed solo on Monk’s Dream and his no holds barred assault on Snake Out, the interplay between Waldron’s piano and Workman’s bass on Variation of III, Lacy’s wide-ranging solo on Snake Out, and Waldron’s unaccompanied introspective solo Variations on a Theme by Cecil Taylor, curiously played before the return to the theme of Snake Out. The booklet, filled with Hugo Peeters’ black and white photographs of the performance, includes informative liner notes by Adam Shatz, a reminiscence by Hiromi Waldron (Mal Waldron’s widow), and reflections by Andrew Cyrille, Reggie Workman, Jane Bunnett, David Virelles, Dave Liebman, Vijay Iyer, and Evan Parker. Together, these personal and musical memories help to paint a fuller picture of their long-running collaboration. Great music in superb sound, loving comments, and pictures of the band on stage: what more could you ask? Heartily recommended. 

Elemental Music 5990446 [CD; also on vinyl]; Steve Lacy (ss) Mal Waldron (p) Reggie Workman (b) Andrew Cyrille (d); Antwerp, Belgium, September 30, 1995; Disc 1 (48:32): What It Is/ Epistrophy/ Longing/ Monk’s Dream. Disc 2 (50:11): Variation of III/ Medley: Snake Out, Variations on a Theme by Cecil Taylor. www.elemental-music.com

Sonny Rollins: Freedom Weaver - The 1959 European Tour Recordings

  I’ll leave to the likes of Joe Lovano and Branford Marsalis to sing the praises of the saxophone colossus, Sonny Rollins. It’s long been an article of faith among the intense Rollins fans to hold the sax, bass, and drums trio format that was his main setting from 1957-1959 in the highest esteem. The existence of recordings from the trio’s brief European tour was no surprise; they had all been bootlegged. But Freedom Weaver - The 1959 European Tour Recordings presents the first authorized release of this material. The bassist throughout is Henry Grimes. Pete La Roca started the tour on drums, was replaced by Joe Harris on one occasion, and later by bebop pioneer Kenny “Klook” Clarke. The repertoire is a mix of standards (including a few he never otherwise recorded), a handful of jazz compositions, and a few of Rollins’ original tunes. The first thing we hear, appropriately enough, is St. Thomas, one of Rollins’ most endearing songs. It’s the only surviving piece from a March 2 concert in Stockholm. The rest of the first CD is given over to two performances in the same city on March 4. Joe Harris plays on the evening show at the Södra Teatern. La Roca is back behind the drum kit the next day in Zürich. The aim of producer Zev Feldman was to present these tracks in chronological order, but he got blindsided by late-appearing information. Although the printed material credits three performances in Laren, The Netherlands on disc 2 as occurring on March 7, an errata sheet included with the booklet reveals that the Laren concert took place on February 21, at the very start of the tour. The balance of the second disc was recorded at a concert in Frankfurt, Germany, on March 9. Blumenthal notes that “[T]ensions that make the music crackle with energy proved insurmountable on a personal level,” and La Roca left the tour the next day. Luckily, expatriate Kenny Clarke was available. We get to hear him on the third disc, with three lengthy tunes recorded at a club appearance in Aix-en-Provence, France. Right from the start of Dizzy Gillespie’s classic Woody ‘n’ You, we can hear the difference that a new drummer makes. There’s a taste of that effect when Harris takes over for those 3 tracks on disc 1, but the presence of Clarke really moves things onto a new level. As well as Rollins has sounded up until now, he sounds even better here, more relaxed and exploratory. The 56-page booklet, copiously illustrated, includes notes by Bob Blumenthal, plus interviews that Feldman conducted with Marsalis, Lovano, James Carter, James Brandon Lewis, and Peter Brötzmann. Perhaps the best thing is the commentary by Rollins himself. He reflects on the trio format, and on the 1959 tour specifically. He notes that sax, bass, and drums afforded him “the best opportunity to do whatever I could do, whatever that was that had some resonance with people.” About Grimes, he says that he “seemed to not be afraid of playing without a piano, whereas a lot of bass players need a piano.” He has nice things to say about La Roca and Harris, but he saves most of his praise for “Klook,” whom he describes as “one of my giants.” Listening to these tracks from the past, the notoriously self-critical Rollins has to say “that they do have merit” and that they “do have a certain flair.” Fans of the great Sonny Rollins have had to put with inferior sounding examples of these songs for decades, so it’s a wonder that this sounds as good as it does. If you love to hear Sonny Rollins, and who doesn’t, don’t miss this release. 

Resonance HCD-2065 [CD; also on vinyl]; Sonny Rollins (ts) Henry Grimes (b) Pete La Roca, Joe Harris*, or Kenny Clarke# (d); Disc 1 (68:39) : Stockholm, Sweden, March 2, 1959: St. Thomas; Stockholm, March 4: There Will Never Be Another You/ Stay As Sweet As You Are/ I’ve Told Ev’ry Little Star/ How High the Moon/ Oleo/ Paul’s Pal; Stockholm, March 4 : Sonny Rollins interview/ It Don’t Mean a Thing*/ Paul’s Pal*/ Love Letters*. Disc 2 (57:43): Zürich, Switzerland, March 5: I Remember You/ I’ve Told Ev’ry Little Star/ It Could Happen to You/ Oleo/ Will You Still Be Mine?; Laren, Holland, February 21: I’ve Told Ev’ry Little Star/ I Want to Be Happy/ A Weaver of Dreams; Frankfurt, West Germany, March 9: It Don’t Mean a Thing/ Cocktails For Two/ I’ve Told Ev’ry Little Star/ I Want to Be Happy. Disc 3 (52:26): Aix-en-Provence, March 11: Woody ‘N’ You#/ But Not For Me#/ Lady Bird#. www.resonancerecords.org

Art Tatum: Jewels In The Treasure Box: The 1953 Blue Note Jazz Club Recordings

  One day while working for Fantasy Inc., I was entrusted with compiling The Best Of The Complete Pablo Solo Masterpieces of the great pianist Art Tatum, selecting from a 7-CD boxed set. A more pleasant task is hard to imagine. Listening intently to that much music made me even more of a life-long Tatum fanatic. Although he is often thought of a solo performer, Tatum led two very successful trios during his career. His second trio, with Everett Barksdale on guitar and Slam Stewart on bass, lasted from 1951 until Tatum’s death in 1956. A new multi-disc package, titled Jewels In The Treasure Box: The 1953 Blue Note Jazz Club Recordings, captures this under-recorded unit at roughly the mid-point of its lifespan. With thirty-nine tracks recorded at a Chicago night spot in the summer of 1953, all previously unreleased, we’re privileged to hear these 70 year old performances that somehow manage to sound as fresh as the day they were made. Tatum, who can barely stop soloing at all times, is ably accompanied by Barksdale, a fine, if underrated, electric guitarist, and Stewart, a rock-solid bassist and a pioneer of humming along with his arco solos. The trio swings like mad as they offer a survey of the Great American Songbook. Dip in anywhere to be carried away on waves of excitement that are flowing from the stage. As a special treat, we get to hear Tatum’s resonant speaking voice several times, introducing songs and thanking the audience in a relaxed and friendly manner. It’s easy to be dazzled by the sheer virtuosity of Tatum’s playing. Many pianists, hearing him on record for the first time, have been convinced that it wasn’t possible for one person to play that much piano. But it was, and from a man who drank copious amounts of Pabst Blue Ribbon beer while he performed. Brent Hayes Edwards contributes a general outline of Tatum’s life and career in the booklet, making valuable observations about Tatum’s piano mentors and conceptional framework. The booklet also includes appreciations by Sonny Rollins, Terry Gibbs, pianists Ahmad Jamal, Michael Weiss, Spike Wilner, Monty Alexander, ELEW, and Johnny O’Neal, plus photos and memorabilia from the club. Like all of producer Zev Feldman’s projects, this collection is fully authorized. This one originated with the family of Frank Holzfeind, who operated the Blue Note in Chicago for fifteen years. These tapes come from his personal collection, which makes me wonder about what else is in that vault. While we’re waiting, there’s nearly three hours of Art Tatum to treasure and hear again and again. Absolutely recommended. 

Resonance HCD-2064 [CD; also on vinyl]; Art Tatum (p) Everett Barksdale (g) Slam Stewart (b); Chicago, IL, August 16, 21* & 28#; Disc 1 (53:41) : Night and Day/ Where or When/ On the Sunny Side of the Street/ Don’t Blame Me/ Soft Winds/ These Foolish Things (Remind Me of You)/ Flying Home/ Memories of You/ What Does it Take/ Tenderly/ Crazy Rhythm/ The Man I Love/ Tea For Two. Disc 2 (59:21) : I Cover the Waterfront/ Body and Soul/ Laura/ Humoresque/ Begin the Beguine/ Medley: There Will Never Be Another You; September Song/ Just One of Those Things*/ Wrap Your Troubles in Dreams*/ St. Louis Blues*/ After You’ve Gone*/ Someone to Watch Over Me*/ Elegy*. Disc 3 (60:31) : Sweet Lorraine*/ (Back Home Again in) Indiana#/ Tabu#/ Judy#/ Lover#/ Dark Eyes#/ Stompin’ at the Savoy#/ If#/ Out of Nowhere#/ Would You Like to Take a Walk?#/ Stardust#/ Air Mail Special#/ I’ve Got the World on a String#/ The Kerry Dance. www.resonancerecords.org

Matthew Shipp Trio: New Concepts In Piano Trio Jazz

  The Matthew Shipp Trio, with Shipp on piano, Michael Bisio on bass and Newman Taylor Baker on drums, has been together for nine years, recording both as a self-contained unit and in quartets with flutist Nicole Mitchell (once) and with tenor saxophonist Rich Halley (three times). New Concepts In Piano Trio Jazz is their latest effort, and although the title is reminiscent of classics like Bill Evans’ New Jazz Conceptions (1957) or Stan Kenton’s New Concepts Of Artistry In Rhythm (1952), this freely improvised set is most assuredly music of today. To be more precise, a specific day: August 2, 2023. That’s the day Shipp and company arrived at Park West Studios in Brooklyn to record New Concepts In Piano Trio Jazz. It surely would have been at least a little different the day before - or the day after. As producer Steve Holtje writes, “Shipp comes in with a plan sketched out - not compositions, but a roadmap for all the tracks ...” There’s a stark simplicity to the openings of many of the pieces, often with short repeated phrases that develop and evolve through the complex interactions among the players. The overall feeling is ruminative and meditative, with occasional bursts of more feverish playing. As in most long-term relationships, whether personal or musical, Shipp, Bisio and Newman frequently appear to be mind-readers, but they have their little spats as well. The closing piece, Coherent System, is both the longest track (11:39) and also the most uninhibited. Shipp’s busy pianism is matched by Baker’s exuberant attack, as Bisio holds down the center with his usual calm approach. I really loved their previous ESP release, World Construct, and the more time I spend with New Concepts In Piano Trio Jazz, the more I delight in its nuances. It’s worth concentrating on each individual player while listening. Shipp’s time sense and use of unexpected silences form the foundation for these explorations. Bisio’s fat sound and unerring sense of the absolutely correct note is always a pleasure. And Baker’s work throughout the set is exceptionally fine, from his exquisite brush work on Sea Song to his assertive duet with Bisio that opens the jittery Non Circle. But it’s the occult alignment of the trio’s sensibilities that truly elevates this set into a gem of the improviser’s art. Absolutely recommended. 

ESP-Disk' ESP5085; Matthew Shipp (p) Michael Bisio (b) Newman Taylor Baker (d); Brooklyn, NY, August 2, 2023; Primal Poem/ Sea Song/ The Function/ Non Circle/ Tone IQ/ Brain System/ Brain Work/ Coherent System; 47:23. www.espdisk.com

Samo Šalamon/Vasil Hadžimanov/Ra-Kalam Bob Moses: Dances of Freedom

  Three boldly imaginative musicians, Samo Šalamon, Vasil Hadžimanov & Ra-Kalam Bob Moses, combine for Dances of Freedom. The set opens with Cream of Emotion, where Šalamon’s banjo, Hadžimanov’s synthesizer and Moses’ percussion create an ominous feeling of space music mired in Mississippi mud. Šalamon’s busy electric guitar and Hadžimanov’s ethereal electronic keyboard washes are buoyed by Moses’ aggressive percussion on Free Dances, where the music doesn’t develop as much as it just keeps pushing forward. On Ocean Calimba, Šalamon is back on banjo. He manages to evoke the sound of a thumb piano, with Moses clattering on what sounds like hand drums and cymbals while Hadžimanov contributes some other-worldly tones to the proceedings. For Dirty Zone, Hadžimanov moves to piano, and the music is mostly an upbeat duet between piano and drums, with occasional interjections by Šalamon on acoustic guitar. The meditative Morphbed is worth savoring again and again thanks to its mysterious blend of organ-like swells, piercing electric guitar, and chattering percussion. Even more shrouded in haze is Pans, where the combination of acoustic guitar, lightly tapped percussion, and unusual synth timbres yields a track of alluring beauty. Hapi Mai ends the album. This intriguing and introspective piece features subdued but insistent percussion over which Hadžimanov on piano and Šalamon on insistent electric guar. trade melodic lines to excellent effect. Endlessly stimulating and full of surprising textures, Dances Of Freedom makes for rewarding listening. Recommended. 

Samo Records; Samo Šalamon (el & ac g, bjo) Vasil Hadžimanov (kybds, p on *) Ra Kalam Bob Moses (d, perc); Moribor, Slovenia (probably), August 2021; Cream of Emotion/ Free Dances/ Ocean Calimba/ Dirty Zone*/ Conga/ Morphbed/ Pans/ Indian Base/ Hapi May*; 44:14. samosalamon.bandcamp.com/music

Alma Tree: Sonic Alchemy Suprema

  Percussion ensembles have been a viable format for improvisers at least since Art Blakey’s series of albums made for Columbia and Blue Note in the late Fifties. Swiss pianist George Gruntz teamed with five percussionists for his 1977 ECM release titled Percussion Profiles. And let’s not forget Pieces Of Time, a 1983 collaboration by Kenny Clarke, Milford Graves, Andrew Cyrille, and Famoudou Don Moye. And of course, there’s the mighty M’Boom ensemble, founded by Max Roach. To that illustrious list, add Sonic Alchemy Suprema, a vibrant new release from the percussion trio Alma Tree, featuring Ra Kalam Bob Moses, Vasco Trilla, and Pedro Melo Alves. The veteran Moses is no stranger to drum-centric projects. He played on Dave Liebman’s 1974 album Drum Ode, and performed duets with drummer Billy Martin on Drumming Birds in 1987. On five tracks, the percussion trio is joined by a saxophone trio with João Pedro Brandão, José Soares and Julius Gabriel. With the credits indicating positions (left, right, and center), Sonic Alchemy Suprema is especially savored on headphones. Most of the pieces were created by the percussionists, while the delicate One With Infinite Spaces and the murky Prayer were composed by Moses. Drums, cymbals struck and scraped, gongs, frame drums, bells and more are the tools for this trio’s cheerful racket. The horns add some spice to the proceedings, usually providing a sustained drone to underpin the drummers. Particularly fine are the three pieces featuring each of the percussionists (Alma Ra Kalam, Alma Pedro, and Alma Vasco), the somber and slow-moving Cosmic Weaving Loom, the longest piece here at just over seven minutes, the aggressive Animal Instinct, and the closing Soaring Leaf, a rambunctious improvisation that finally allows the horn section to cut loose. Snippets of dialog and laughter at various points reinforce the good feelings that abounded in the studio and are palpable in the group’s endeavors. Definitely recommended. 

Carimbo Porta Jazz PJ 099; Ra Kalam Bob Moses (d, perc: right) Vasco Trilla (d, perc: center) Pedro Melo Alves (d, perc: left) On * add João Pedro Brandão (as, fl : center) José Soares (as: right) Julius Gabriel (ts; left); Porto, Portugal, May 30, 2022; Opening/ One With Infinite Space#*/ Alma Ra Kalam/ An Ominous Odyssey/ Prayer#*/ An Eerie Garden Sighting/ High Spirits/ Dusk To Dawn Animalia*/ Cosmic Weaving Loom/ Plate Waltzing/ Alma Pedro/ Animal Instinct/ Dance of the Celestial Madmen*/ Alma Vasco/ Soaring Leaf*; 56:27. pedromeloalves.bandcamp.com/music

Ivo Perelman/Chad Fowler/Reggie Workman/Andrew Cyrille: Embracing the Unknown

  Reggie Workman’s musical saw and Andrew Cyrille’s percussion are the first sounds you hear on Embracing the Unknown, a tremendously exciting new release by the quartet of Ivo Perelman, Chad Fowler, Reggie Workman, & Andrew Cyrille. Tenor saxophone giant Perelman’s basic vision serves to embrace the unknown by leaving all preconceptions behind when starting to play. Chad Fowler, performing boisterously on stitch and saxello, makes a fine partner in the front line with Perelman’s commanding tenor playing. Both bassist Workman and drummer Cyrille, now in their 80's, are oriented to positive listening and immediate responses to what they’re hearing from the other players. Between them, they have participated in over 450 sessions over the decades, and they’ve played together many times since they both worked in the Jazz Composer’s Orchestra back in 1968. Cyrille played in the Reggie Workman Ensemble in the Eighties, Workman played in Cyrille’s quintet in the early Nineties, and the pair also appeared frequently with saxophonist Oliver Lake as Trio 3, so it is obvious that there’s a mountain of mutual respect. It’s worth noting that Cyrille’s first appearance on record was in 1961 with the master saxophonist Coleman Hawkins (The Hawk Relaxes, for Prestige). For him to play on this date emphasizes both the underlying continuity of the jazz tradition and the always forward-looking attitude of this broadly experienced musician. As the energy level rises and falls and rises again over the 21 minutes of the opening title track, it becomes clear that this is a deeply attuned unit, balanced and mutually attentive to the smallest musical gesture. Soul Searching, which starts out as a marvelous duet between an almost bluesy Perelman and Cyrille’s scintillating brush work, grows into a dramatic quartet blow-out around the half-way point. The saxophones shriek and moan together, Workman holds down the bottom with his dexterous walk, and Cyrille is all over his drum kit. Self-reflection begins with a surprisingly sweet sax duet, and evolves into a sort of free ballad. The joyous Introspection is a vigorous musical conversation that bounces happily along. Self-analysis has a curiously spiritual aspect, with moaning horns, prominent bass, and Cyrille using lots of space in his playing. I’m especially fond of the closing Self-contemplation, featuring a highly animated opening saxophone duet. In the middle of the tune comes a chipper Cyrille solo, played on what sounds like the rims of his drums and a cowbell, soon joined by Workman’s bowed bass. The piece develops into an appealing four-way conversation, and just like that, 68 minutes of intense music is over. To embrace the unknown is to be absolutely prepared to accept the world as it comes. Good advice for living, and superb advice for improvisers. Totally recommended. 

Mahakala Music MAHA-076; Ivo Perelman (ts) Chad Fowler (stritch, saxello) Reggie Workman (b, saw, perc) Andrew Cyrille (perc); Brooklyn, NY, no date specified; Embracing the Unknown/ Soul Searching/ Self-reflection/ Introspection/ Self-analysis/ Self-fulfilment/ Self-contemplation; 68:02. mahakalamusic.bandcamp.com