MAL WALDRON TRIO - Free At Last (Extended Edition)
ECM 779 8632 (2LP)
Mal Waldron (piano); Isla Eckinger (bass); Clarence Becton (drums)
Recorded November 24, 1969
This is a hugely welcome re-issue, and would be a welcome addition to anyone's collection who has not previously heard this remarkable music. This was the fledgling ECM's very first recording, and how perceptive was Manfred Eicher to record Waldron at this juncture in his career and in a setting that was pretty new to the pianist, at one where he was preparing to meet some demons head on.
In the brief but enlightening liner note, Waldron describes the recording as a "different approach to my music", and "representing my meeting with free jazz". The pianist is then at pains to point out that to him free jazz does not mean a free for all or disorganised sound, but more playing rhythmically as opposed to soloing over chord changes. On the evidence on this recording this approach seems to suit him very well.
His chosen companions for the session will possibly be unfamiliar to many, but both as would be expected have strong pedigrees. Bassist, Isla Eckinger was born in Switzerland in 1939 and started his musical career studying classical cello before also taking up trombone, and finally double bas. His playing is steeped in the music from dixieland to the restrained knd of free form music heard here, and it this affinity with Waldron that found the pair playing together regularly from 1969 to 1974. Eckinger brings to the table that rhythmic style of playing that was of interest to Waldron at this time, and the two quickly forge a strong relationship. Drummer, Clarence Becton, originally from Buffalo, working with some pretty strong company in Coleman Hawkins, Clark Terry. In 1969 he relocated to Munich remaining Europe based before returning to the USA in 1970.
This newly released 2LP set presents the original album on sides 1 and 2, with the 'extended edition' being previously unreleased takes on sides 3 and 4. Recorded fifty years ago the music stands the test of time extremely well. Uncanny how Eicher manages to get it spot on with his first release, and this music is testament to his unwavering belief and self discipline. Kicking off with 'Rat Now' by Mal Waldron, all the material was written by the pianist with the exception of 'Willow Weep For Me', the trio get things off to a most satisfying start, and over the course of ten minutes drive things along at a fair clip but always focussed on the material.
This restraint is a constant throughout, and even on a piece like '1-3 234' the trio remain grounded, and out of the rhythmic style of playing that Waldron was so keen to explore there are strongly melodic solos that evolve, even if relieved of any harmonic shackles. 'Rock My Soul' does just that, and 'Balladina' and 'Willow Weep For Me' are handled superbly as the tempo drops, with no less intensity in the performance, and indeed the second and longer version is probably even more intense that the originally issued take.
And this leads nicely on to the additional material, and as my comment above indicates these are no mere outtakes but the four new tracks are completely different offering a new perception on the music. It would therefore be of interest to know in which order they were recorded, as whether they were initial trial runs, or a later takes they are sufficiently different to warrant our attention, and their inclusion enhances what we already know of these performances.
Released late on in the year, but pretty much essential listening. Highly recommended to those that have heard the originally released album, and a must have purchase for anyone new to this first and important in the ECM catalogue.
Reviewed by Nick Lea
ECM 779 8632 (2LP)
Mal Waldron (piano); Isla Eckinger (bass); Clarence Becton (drums)
Recorded November 24, 1969
This is a hugely welcome re-issue, and would be a welcome addition to anyone's collection who has not previously heard this remarkable music. This was the fledgling ECM's very first recording, and how perceptive was Manfred Eicher to record Waldron at this juncture in his career and in a setting that was pretty new to the pianist, at one where he was preparing to meet some demons head on.
In the brief but enlightening liner note, Waldron describes the recording as a "different approach to my music", and "representing my meeting with free jazz". The pianist is then at pains to point out that to him free jazz does not mean a free for all or disorganised sound, but more playing rhythmically as opposed to soloing over chord changes. On the evidence on this recording this approach seems to suit him very well.
His chosen companions for the session will possibly be unfamiliar to many, but both as would be expected have strong pedigrees. Bassist, Isla Eckinger was born in Switzerland in 1939 and started his musical career studying classical cello before also taking up trombone, and finally double bas. His playing is steeped in the music from dixieland to the restrained knd of free form music heard here, and it this affinity with Waldron that found the pair playing together regularly from 1969 to 1974. Eckinger brings to the table that rhythmic style of playing that was of interest to Waldron at this time, and the two quickly forge a strong relationship. Drummer, Clarence Becton, originally from Buffalo, working with some pretty strong company in Coleman Hawkins, Clark Terry. In 1969 he relocated to Munich remaining Europe based before returning to the USA in 1970.
This newly released 2LP set presents the original album on sides 1 and 2, with the 'extended edition' being previously unreleased takes on sides 3 and 4. Recorded fifty years ago the music stands the test of time extremely well. Uncanny how Eicher manages to get it spot on with his first release, and this music is testament to his unwavering belief and self discipline. Kicking off with 'Rat Now' by Mal Waldron, all the material was written by the pianist with the exception of 'Willow Weep For Me', the trio get things off to a most satisfying start, and over the course of ten minutes drive things along at a fair clip but always focussed on the material.
This restraint is a constant throughout, and even on a piece like '1-3 234' the trio remain grounded, and out of the rhythmic style of playing that Waldron was so keen to explore there are strongly melodic solos that evolve, even if relieved of any harmonic shackles. 'Rock My Soul' does just that, and 'Balladina' and 'Willow Weep For Me' are handled superbly as the tempo drops, with no less intensity in the performance, and indeed the second and longer version is probably even more intense that the originally issued take.
And this leads nicely on to the additional material, and as my comment above indicates these are no mere outtakes but the four new tracks are completely different offering a new perception on the music. It would therefore be of interest to know in which order they were recorded, as whether they were initial trial runs, or a later takes they are sufficiently different to warrant our attention, and their inclusion enhances what we already know of these performances.
Released late on in the year, but pretty much essential listening. Highly recommended to those that have heard the originally released album, and a must have purchase for anyone new to this first and important in the ECM catalogue.
Reviewed by Nick Lea
