snobb Second double-CD set, released right after the first one and containing live material,recorded during two last nights of soprano Steve Lacy and pianist Mal Waldron duo gigs at Paris' Dreher. First set is based more on first of three nights recordings and has been released under Steve Lacy name as leader (what is more a marketing trick since first set,released under Lacy's name, contains predominantly Waldron compositions, and second - predominantly Lacy's, in both cases completed with Monk standards)

Bigger part of presented music has been already released on earlier vinyl albums, but them all are real rarities so "The Peak" is with no doubt most accessible possibility to listen duo's legendary concert.

First set's CD contains four well-known Lacy's originals plus three Monk standards (incl. "Epistrophy" - the composition which made Lacy famous at early stage of his career). Second set opens with two Lacy compositions, switches to Waldron's "Hooray For Herby" and closes with three Monk standards.

The year is 1981, and Paris listeners are still enthusiastic listening to tuneful but quite quirky music. Both Lacy and Waldron are known by their love to clear melodies and minimalist touch in combination with deep bluesy roots. So no surprises here - Lacy's vibrato-less soprano sax dominates in most of the time quite often reminding his famous solo soprano concerts. Waldron piano can be heard mostly on the background (in big part because of untoward sound mix) with only better moments when Waldron soloing. Compositions are mostly well-known from other recordings, still here them sound inspired and perfectly played.

Generally often described as best duo release, this set is probably a bit overrated. Obvious Lacy domination (in sound mix and in music generally) too often makes "The Peak" just another Lacy's album, there are more interesting Lacy's solo soprano recordings and better releases as leader with band. Waldron is too often overshadowed here and sounds more as accompanist than a co-leader. Still great evidence coming from early 80s Paris jazz scene and one accessible way to listen two among most significant American expatriate jazz musicians who's career for decades has been related with Europe.

snobb One among most significant American ex-patriots on European jazz scene pianist Mal Waldron has recorded quite a lot of live material (mostly in Sweet Basil and Village Vanguard) which has been used for Waldron albums series for years ahead.

Leading a truly strong band (usually - quintet) Waldron played longish version of some his better tunes (usually between ten and twenty minutes long jam-like compositions,still with well controlled structure and generally easy accessible),which on vinyl albums of the era often were placed one per side. Quintet recordings (with Woody Shaw on trumpet,Charlie Rouse on tenor saxophone and flute,Reggie Workman on bass and drummer Ed Blackwell) came as two Italian Soul Note label albums - "The Git-Go: Live At The Village Vanguard" and "The Seagulls Of Kristiansund". Former contains just two compositions, and the later - three, with title song lasting longer than 26 minutes and filling all side B.

Mid'80s generally is quite a successful period for Waldron who recorded lot of strong material at that time. Blues and bop-rooted progressive post bop became his signature sound, with drone-like left hand playing which often gave rock-like aesthetics to genuinely very jazzy music.

All three album's compositions(Waldron originals) come from earlier times, where album's title song has been released for the first time as far as in 1977 (on "One-Upmanship" album with Steve Lacy and Manfred Schoof,among others). Waldron was a master of strong tunes so all three long compositions sound almost as easy as popular rock/pop songs of the time. Repetitive structure and piano droning don't destroy their integrity and when the music stops playing there is a feeling that it would be good to start same listening once again.

"The Seagulls Of Kristiansund" is with no doubt album's true peak - slightly melancholic beautiful tune doesn't requires any visual addition - listener easily founds himself on north sea shore with sax very realistic bird-like screams and common matured dreaming atmosphere. This music surprisingly has meditative qualities on a manner of Indian ragas - when repetitive saturated music incorporates listener to specific atmosphere where he wants to stay for a longer.

As good as some other live Mal Waldron recordings from same few years, "The Seagulls Of Kristiansund" is good listening for fans of original tuneful post bop and excellent entry for those interested in Waldron more current works.

snobb Pianist Mal Waldron first ever live album has been released in 1970 on tiny French Futura label. It contains four longish (each - over ten minute long)compositions, recorded in May 1970 at American Cultural Center in Paris. Mal plays in his most comfortable format - trio,two other members are local musicians who will never record with Waldron again. Twenty-four years old bassist Patrice Caratini will play on Kenny Clarke's French-released album " Kenny "To Day"" in 1980 and will collaborate extensively on domestic jazz and world music recordings. Drummer Guy Hayat already played in mid 60s with Bud Powell. Anyway, lesser known Waldron's band members surprisingly fit well for lively live music.

Album opens with Waldron original "Down At The Gill's" - groovy rhythm section openly push Waldron piano ahead, at moments he sounds almost as playing early rock'n'roll theme on piano. Comparing with Waldron other recordings coming from the same time,where he usually plays mid-tempo well balanced repetitive rhythmic beats or slower tuneful songs,muscular "Down At The Gill's" sounds as stadium rock-hit.

Recording engineer Alain Gandolfi (future drummer and co-founder of funky-fusion Cortex band)has been obviously interested in upcoming proto-funk sound: Mal's piano sounds a bit flat but drums and especially double bass sound is very deep,rich and mixed on the front(common sound mix balance is really pleasant,with just few ultra-low frequencies deep lows,dangerous for acoustic system). "My Funny Valentine" sounds surprisingly warm and original at the beginning but probably lasts a bit too long, last quoter of twelve minute-composition isn't all interesting and sounds like trio continues playing just because can't decide how to finish the song.

Second of three album's Mal originals,"La Petite Africaine", is excellent example of Waldron as composer. Again,pushed ahead with bopish but extremely groovy rhythm section,it shows how great Mal music sounds when more flesh and blood are added.

Album's closer (and title song) has been already recorded by Mal earlier this year,but in solo piano version (released on "Tokyo Reverie" same year). This live version,played with muscular trio opens new colors of this great composition, Waldrom will return playing it again and again years and decades after.

In all,better than average Waldron album,one between his best recorded during early 70s. Original vinyl LP is collectable rarity (it was re-released on vinyl some years later in Japan). Fortunately,there are French and Japanese CD reissues available on market,so there are some more accessible ways to get this strong album for your collection.

snobb In early 1970 American pianist,already residing in Europe for some time,on the basis of his released album has been invited to visit Japan (by local Swing Journal company). On his first ever Japanese tour Mal spent two days (February 7 & 12) in studio in Tokyo where recorded some material.

Four songs,recorded by trio with domestic double bassist and drummer were soon after released as "Tokyo Bound" album. Eight compositions,recorded solo, has been released later same year as "Tokyo Reverie". Both albums didn't attract lot of attention but opened for Mal Japanese scene. He returned for next Japanese tour already next year and very soon became well known and popular pianist on Japanese mainstream scene.

"Tokyo Bound" has been reissued few times including CD edition (in 1990), "Tokyo Reverie"'s first issue became its last. No surprise that even many Waldron fans don't know it exists.

Speaking about music, "Tokyo Reverie" contains eight Waldron originals, mostly all up-tempo rhythmic post-bop pieces, quite unmemorable. The only exception is album's closer "Blood And Guts" which stays in Mal's repertoire for decades ahead.

On "...Reverie" Waldron plays in his almost in full adopted technique of repetitive beats and rhythm domination against virtuosity,complexity and soloing. This his formula as rule perfectly works when used with trio or bigger combo, but for piano solo album (especially on not all that strong material)its limitations are obvious.No surprise this album has bigger value for completionists than for music lovers. One still can find original Japanese vinyl in European auctions at as much price as 30 euro.

Interesting evidence of Waldron's early career in Japan,no any reasons to pay fortune though.

snobb Almost a year after his first session for German ECM label,pianist Mal Waldron returned back to same Tonstudio Bauern in Ludwigsburg to record what should become his second album for ECM. Same trio format (with his regular Swiss bassist Isla Eckinger but new drummer Fred Braceful (as well American,based in Germany) instead of Clarence Becton), same musical concept - tight groovy tuneful compositions with some free solo insertions for bassist and drummer. As on Mal's ECM debut these insertions don't sound organic and are more tribute to free jazz fashion of the moment though.

Opener "Spanish Bitch" doesn't offer memorable tune and stays in memory more as not too successful combination between groovy trio's main theme and quite directionless (and long) bassist soloing. Second (and the last on side A)album's song is surprisingly "Eleanor Rigby". Released originally by "The Beatles" four years ago this composition still was one of most popular song around, trio makes it sound almost as r'n'b hit.

Side B opener,"Black Chant" is no-nonsense and more complex composition, here freer improvisation sounds much more organic and all trio play as one (quite heavyweight and rock-oriented drumming is probably again contribution to time's fashion and more a question of taste). Here one can find Waldron future music influences in transitional form."Black Chant" lasts more than ten minutes,some years later Mal will develop formula "one song per LP side" with tight tuneful compositions, sounding around twenty minutes each, two per album.

Fourth and last album song,"All That Funk",is up-tempo and really funky. Bassist Isla Eckinger got possibility to demonstrate his heavier (almost shredding) side on quite organically arranged soloing.In all, side B is less eclectic and works better,that side A on this release.

Surprisingly enough this material,initially recorded by ECM for their planned release,still same year has been released in Japan on Globe and never became ECM own album.

Not the best Mal Waldron release, it demonstrates well (together with ECM debut "Free At Last") musician's late 60s-early 70s musical priorities. Waldron is just one step to his favorite sound which he will demonstrate in full already after year or two and will continue playing in fact up to his death.