One More Time is an intimate portrait of two neglected masters with a third master, Steve Lacy, stepping in to add his low-key tip of the hat. Mal Waldron and Jean-Jacques Avenel are the focus of this release that serves as a tribute to Waldron, one of jazz's most versatile pianists who died in 2002. One More Time was recorded and released in 2002, and features Steve Lacy's long time bassist Jean-Jacques Avenel who often played and recorded with Waldron. Two tracks feature Steve Lacy and two tracks feature Waldron's solo piano. This is an exceptional recording. The sound quality is superb and Waldron's crystalline technique and classical background are more evident than on most of his recordings.
Following the success of their earlier collaboration, Mal Waldron and George Haslam continue with a sly collection of standards and originals. As before, there is a remarkable telepathy between the players, which translates to some delightful interaction between these two masters. Haslam must be one of the most underrated players on saxophone. Here, he shows a strong command of both the baritone and soprano saxophones, as well as the taragato, which he blows on "From Charleston 'til Now."
The equality, the almost perfect balance in complement and contrast, of the musical collaboration between Steve Lacy and Mal Waldron was palpable in both its internal and external workings … These four CDs, captured live in Paris in 1981, are notable as the first documentation of their performances as a duo, a particularly felicitous exploration of common interests and uncommon talents, initiating an intermittent series of duo recordings that would span thirteen years, varying repertoire, and several labels, but never venture far from the groundwork that was established here.
Mal Waldron is accompanied by a trio of Japanese players for this fine album, recorded in Japan in 1982. As the title suggests, it's a look back, celebrating one of Waldron's key influences, Thelonious Monk. "Blue Monk" is given a relaxed and regal treatment, as Waldron's bedrock chording supports the higher register melody played in tandem on piano and sax. The set as a whole has a bluesy feel to it, with "I Can't Get Started" gliding along as gracefully as a solitary ice skater in a light snowfall. Waldron's varied discography has found him recording for numerous labels, especially in the '70s and '80s, and this date didn't find a U.S. release until eight years after it was recorded; however, it's well worth adding to any Waldron collection.
b. 18 February 1926, Kingston, Jamaica, West Indies, d. 2 December 1998, London, England. As a child Burrowes was given a trumpet by his sea-going father and began learning to play the instrument. As the unofficial mascot of a West Indian army regiment, he was encouraged to develop his musical abilities and took lessons from a military bandsman. He formed his own bands, playing in and around his home town but in the late 40s went to New York City, USA where he quickly established himself on the local music scene. Among the musicians with whom he played during this stage of his career and who also helped his advance was Sonny Rollins.
Pianist-composer Mal Waldron worked as Billie Holiday's accompanist from 1957 until her death in 1959, and there are few musicians who could record as moving a tribute to the great singer. Though the CD gives a 1957 recording date, this was actually recorded around the time of Holiday's death, with a concluding conversation in which Waldron discusses Holiday and the recording. "Left Alone," a song composed by Waldron to Holiday's lyric, adds altoist Jackie McLean to the pianist's trio for an acid-etched ballad that has the somber longing of Holiday's own late performances. The equally powerful "You Don't Know What Love Is," strongly associated with Holiday, concludes with a profound sense of resolve. The other tracks are the kind of trio material that Waldron played during the years he backed Holiday…