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When Mal Waldron died in 2002, he was known to most jazz fans as Billie Holiday's final accompanist, and the composer of the standards "Soul Eyes," "Left Alone," and "Straight Ahead," the latter with Abbey Lincoln. His most significant leader date was 1961's The Quest, with Eric Dolphy and Booker Ervin on Prestige, where he served as house pianist. After suffering a total breakdown following a near-fatal heroin overdose in 1963, he was forced to relearn the piano. He left for Europe in early 1966, and his "second life" began. Waldron's many solo recordings, beginning with 1966's All Alone, are tantamount to the creation of a different jazz language. Its traits were angular, quizzical repetitive left-hand vamps and chords, underscored and appended by inquisitive harmonic inquiries on the right, drawn chiefly from the blues but also the jazz tradition and classical music from Chopin to Schoenberg…

Mal Waldron's recording debut as a leader presents the pianist with his many gifts already well developed. For the 1956 quartet date, he takes charge to strike a balance between the sound of a blowing session and the refinement of a more polished date. The spontaneity is there, but the set also benefits from Waldron's thoughtful charts. At this stage of his development, Waldron was a distinctive bop pianist whose occasional sputtering, knotty phrasing revealed the acknowledged influence of Thelonious Monk, as well as similarities with contemporaries Al Haig and Bud Powell. For this set, though, the focus is not on Waldron's playing, but on his ability to lead from the piano bench…

Mal Waldron was a remarkably versatile piano player, able to work in many different contexts, from Billie Holiday to Eric Dolphy. This ability made him invaluable as musical director for Prestige Records, where the recording dates were often little more than jam sessions. Soul Eyes: The Mal Waldron Memorial Album collects 11 tracks, recorded between 1955 and 1962, that Waldron played on and/or led, including a mammoth version of the title cut, featuring John Coltrane, Kenny Burrell, Paul Chambers, and others, that clocks in at 17-plus minutes. Although all the cuts have been previously released (not always under Waldron's name), it's nice to have this overview of one of his most fertile periods.

Digitally remastered edition including three bonus tracks. In April-September 1957, John Coltrane and Mal Waldron embarked on a series of all star sessions which were issued on the albums MAL/2 and WHEELIN' AND DEALIN', with further material from the sessions appearing later on an LP titled THE DEALERS. This release contains the complete sessions including all existing material from the aforementioned LPs, plus three further Coltrane-Waldron collaborations recorded that same year.

Digitally remastered edition including three bonus tracks. In April-September 1957, John Coltrane and Mal Waldron embarked on a series of all star sessions which were issued on the albums MAL/2 and WHEELIN' AND DEALIN', with further material from the sessions appearing later on an LP titled THE DEALERS. This release contains the complete sessions including all existing material from the aforementioned LPs, plus three further Coltrane-Waldron collaborations recorded that same year.

Before becoming an expatriate in 1965 and eventually settling in Munich, pianist Mal Waldron cut several stateside hard bop albums full of his idiosyncratic and Monk-ish piano work, and featuring choice contributions by some of the music's finest. For this 1957 date, Waldron worked with a stellar sextet interchangeably manned by John Coltrane, Jackie McLean, Idrees Sulieman, Art Taylor, and others. Bookended by the pianist's ebullient "Potpourri" and the avant-noir blues "One by One," the set also includes a fetching cover of Cole Porter's "From This Moment On" and a beautifully complex arrangement of Billie Holiday's "Don't Explain." (Waldron was Holiday's accompanist for the last two years of the singer's life until her death in 1959)…

This is an unusual set by pianist Mal Waldron. He utilizes a sextet with trumpeter Art Farmer, flutist Eric Dixon, cellist Calo Scott, bassist Julian Euell and drummer Elvin Jones on three of his picturesque originals and his wife Elaine Waldron contributes vocals to the wordless "Portrait of a Young Mother" and Harold Arlen's "For Every Man There's a Woman." The music is not essential but holds one's interest throughout the straight CD reissue of the original LP.

Trumpeter Thad Jones receives first billing on this all-star outing, but vibraphonist Teddy Charles, who contributed three of the six selections (two of the other songs are by pianist Mal Waldron, while the lone standard is "Embraceable You") was really the musical director. Jones, Charles, and Waldron are joined by Frank Wess (doubling on tenor and flute), bassist Doug Watkins, and drummer Elvin Jones for a set of modern hard bop. Although this was not a regular group and there is not an obvious leader, the music is on a higher level than that of a routine jam session. The challenging material and the high quality playing of the young greats makes this fairly obscure modern mainstream set well worth exploring.