MAL WALDRON — Reminicent Suite (with Terumasa Hino)

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MAL WALDRON - Reminicent Suite (with Terumasa Hino) cover
4.48 | 3 ratings | 1 review
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Album · 1973

Filed under Post Bop
By MAL WALDRON

Tracklist

A Reminicent Suite: Dig It Deep Down Baby ~ Echoes ~ Once More With Feeling 23:41
B Black Forest 18:35

Line-up/Musicians

Bass – Isao Suzuki
Drums – Motohiko Hino
Percussion – Uzi Imamura
Piano – Mal Waldron
Tenor Saxophone – Takao Uematsu
Trumpet – Terumasa Hino

About this release

Victor ‎– SMJX-10155 (Japan)

Recorded August 14, 1972 at Victor Studio, Tokyo

Thanks to snobb for the addition and js for the updates

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MAL WALDRON REMINICENT SUITE (WITH TERUMASA HINO) reviews

Specialists/collaborators reviews

snobb
American pianist Mal Waldron's music is often associated with solo piano albums or acoustic trios, but it's less known that his music was of a different nature during the early 70s. After his relocation to Europe in 1965, he regularly recorded on local labels (most significant - for German Enja and several albums for ECM), but later, during the early 70s, he became an almost cult like figure on the Japanese jazz scene as well. Many of his best albums were recorded in Japan, or are collaborations with leading Japanese musicians.

The obscure "Reminicent Suite" is a great example. This two-piece album was recorded in Japan during Mal's regular Japanese tour, and finds him working with the leading Japanese trumpeter and his group, the Terumasa Hino Quintet, with Mal Waldron taking the piano chair of their regular pianist Mikio Masuda. Terumasa's Quintet was one of the leading Japanese advanced post-bop collectives of that time, including such sound members as bass legend Isao Suzuki and drummer Motohiko Hino. Improved with Mal's piano (during early 70s he played much freer than he did in later decades, being a regular co-leader on Steve Lacy albums among others) perfectly communicating the band's sound as a small orchestra. "Reminicent Suite" is a Waldron composition with strong tunes, well organized and it recalls Mingus' best works. Terumasa's trumpet is fast, strong and almost steals the show, but Mal's piano fits perfectly here, it sounds like he was a Quintet member for months or years. Each musician has enough space for improvisation, a great example of really collective work.

Side B's "Black Forest" is a shorter and more percussive composition with stronger Japanese music influence. Repetitive rhythmic structure is used as a basic line for soloists changing each other. Less orchestrated, but melodic, and of the same high intensity level, it perfectly completes side A's "Suite..".

Never released outside of Japan, this album is too obscure to be better known and more popular. It's a real pity - this work is a true Mal Waldron and Japanese jazz masterpiece.

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