Artist Biography by Scott Yanow
A pianist with a brooding, rhythmic, introverted style, Mal Waldron's
playing has long been flexible enough to fit into both hard bop and
freer settings. Influenced by Thelonious Monk's use of space, Waldron
has had his own distinctive chord voicings nearly from the start. Early
on, Waldron played jazz on alto and classical music on piano, but he
switched permanently to jazz piano while at Queens College. He
freelanced around New York in the early '50s with Ike Quebec (for whom
he made his recording debut), Big Nick Nicholas, and a variety of
R&B-ish groups. Waldron frequently worked with Charles Mingus from
1954-1956 and was Billie Holiday's regular accompanist during her last
two years (1957-1959). Often hired by Prestige to supervise recording
sessions, Waldron contributed many originals (including "Soul Eyes,"
which became a standard) and basic arrangements that prevented
spontaneous dates from becoming overly loose jam sessions.
After Holiday's death, he mostly led his own groups, although he was
part of the Eric Dolphy-Booker Little Quintet that was recorded
extensively at the Five Spot in 1961, and also worked with Abbey Lincoln
for a time during the era. He wrote three film scores (The Cool World,
Three Bedrooms in Manhattan, and Sweet Love Bitter) before moving
permanently to Europe in 1965, settling in Munich in 1967. Waldron, who
has occasionally returned to the U.S. for visits, has long been a major
force in the European jazz world. His album Free at Last was the first
released by ECM, and his Black Glory was the fourth Enja album. Waldron,
who frequently teamed up with Steve Lacy (often as a duet), kept quite
busy up through the '90s, featuring a style that evolved but was
certainly traceable to his earliest record dates. Among the many labels
that have documented his music have been Prestige, New Jazz, Bethlehem,
Impulse, Musica, Affinity, ECM, Futura, Nippon Phonogram, Enja, Freedom,
Black Lion, Horo, Teichiku, Hat Art, Palo Alto, Eastwind, Baybridge,
Paddle Wheel, Muse, Free Lance, Soul Note, Plainisphere, and Timeless.
In September of 2002, Waldron was diagnosed with cancer. Remaining
optimistic, he continued to tour until he passed away on December 2 in
Brussels, Belgium at the age of 76.
https://www.allmusic.com/artist/mal-waldron-mn0000665824/biography
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Biografía del artista por Scott Yanow
Un pianista con un estilo melancólico, rítmico e introvertido, la
interpretación de Mal Waldron ha sido durante mucho tiempo lo
suficientemente flexible como para encajar tanto en el hard bop como en
los ambientes más libres. Influenciado por el uso del espacio de
Thelonious Monk, Waldron ha tenido sus propias voces de acordes casi
desde el principio. Al principio, Waldron tocaba jazz en contralto y
música clásica en piano, pero cambió permanentemente al piano de jazz
mientras estaba en Queens College. Trabajó como freelance en Nueva York a
principios de los años 50 con Ike Quebec (para quien hizo su debut
discográfico), Big Nick Nicholas, y una variedad de grupos de
R&B-ish. Waldron trabajó frecuentemente con Charles Mingus de 1954 a
1956 y fue la acompañante habitual de Billie Holiday durante sus dos
últimos años (1957-1959). A menudo contratado por Prestige para
supervisar las sesiones de grabación, Waldron aportó muchos originales
(incluyendo "Soul Eyes", que se convirtió en un estándar) y arreglos
básicos que evitaron que las citas espontáneas se convirtieran en jam
sessions demasiado sueltas.
Después de la muerte de Holiday, dirigió sus propios grupos, aunque fue
parte del Eric Dolphy-Booker Little Quintet que se grabó extensamente en
el Five Spot en 1961, y también trabajó con Abbey Lincoln por un tiempo
durante la época. Escribió tres partituras de películas (The Cool
World, Three Bedrooms in Manhattan y Sweet Love Bitter) antes de mudarse
permanentemente a Europa en 1965 y establecerse en Munich en 1967.
Waldron, que ha regresado ocasionalmente a Estados Unidos de visita, ha
sido durante mucho tiempo una fuerza importante en el mundo del jazz
europeo. Su álbum Free at Last fue el primero publicado por ECM, y su
Black Glory fue el cuarto álbum de Enja. Waldron, quien frecuentemente
se asoció con Steve Lacy (a menudo como un dúo), se mantuvo bastante
ocupado durante los años 90, presentando un estilo que evolucionó pero
que ciertamente se remonta a sus primeras fechas de grabación. Entre los
muchos sellos que han documentado su música se encuentran Prestige, New
Jazz, Bethlehem, Impulse, Musica, Affinity, ECM, Futura, Nippon
Phonogram, Enja, Freedom, Black Lion, Horo, Teichiku, Hat Art, Palo
Alto, Eastwind, Baybridge, Paddle Wheel, Muse, Free Lance, Soul Note,
Plainisphere y Timeless. En septiembre de 2002, Waldron fue
diagnosticado con cáncer. El optimista continuó su gira hasta que
falleció el 2 de diciembre en Bruselas, Bélgica, a la edad de 76 años.
https://www.allmusic.com/artist/mal-waldron-mn0000665824/biography
1 - Blood And Guts 11:42
2 - Down At The Gill's 10:48
3 - My Funny Valentine 14:08
4 - La Petite Africaine 10:55
Crediuts:
Bass – Patrice Caratini
Cover [Recto] – Dominique Marchi
Design [Cover] – Jean Buzelin
Drums – Guy Hayat
Engineer – Alain Gandolfi
Photography By [Photos] – Eléonore Bakhtadzé
Piano – Mal Waldron
Producer – Gérard Terronès
Recorded live at the Centre Culturel Américain, on May 12, 1970.
Label: FD Music – 152262, Futura Records (2) – FUTURA GER 13
Released: 1993
Genre: Jazz
Style: Free Jazz, Hard Bop, Post Bop
https://www.discogs.com/release/2993999-Mal-Waldron-Trio-Blood-And-Guts
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