JACKIE McLEAN — 4, 5 And 6 (1956) Four Version | RM | SACD | RVG | The Prestige Mono Series | FLAC (image+.tracks+.cue), lossless

In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. 4, 5 and 6 presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist willing to explore different sizings and shadings of progressive jazz, is a wonderful complement for McLean's notions, with bassist Doug Watkins and drummer Art Taylor the impervious team everyone wanted for his rhythm section at the time. The quartet versions of "Sentimental Journey," "Why Was I Born?," and "When I Fall in Love" range from totally bluesy, to hard bop ribald, to pensive and hopeful, respectively. These are three great examples of McLean attempting to make the tunes his own, adding a flattened, self-effaced, almost grainy-faced texture to the music without concern for the perfectness of the melody. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," with Byrd and McLean's quick replies, faint and dour, that somewhat illuminates the darker side. As a stand-alone recording, 4, 5 and 6 does not break barriers, but does foreshadow the future of McLean as an innovative musician in an all-too-purist mainstream jazz world. Michael G. Nastos
Tracklist :
1.    Jackie McLean Quartet–    Sentimental Journey    (9:59)
 Les Brown / Bud Green / Ben Homer
2.    Jackie McLean Quartet–    Why Was I Born?    (5:16)
 Oscar Hammerstein II / Jerome Kern
3.    Jackie McLean Quintet–    Contour    (5:02)
 Kenny Drew
4.    Jackie McLean Sextet–    Confirmation    (11:25)
 Charlie Parker
5.    Jackie McLean Quartet–    When I Fall In Love    (5:35
 Edward Heyman / Victor Young
6.    Jackie McLean Quintet–    Abstraction (8:02)
 Mal Waldron
Credits :
Jackie McLean - Alto Saxophone
Donald Byrd - Trumpet (#3, 4, 6 only)
Hank Mobley - Tenor Saxophone (#4 only)
Mal Waldron - Piano
Doug Watkins - Bass
Arthur Taylor - Drums

CHARLES MINGUS — Blues & Roots (1959) Two Version (2002, RM | Atlantic Masters Series) + (2007, RM | Atlantic 60th Series) APE (image+.cue), lossless & FLAC (tracks+.cue), lossless

In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, Blues and Roots, isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously -- somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. After Blues and Roots, there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based -- like the groundbreaking classic "Wednesday Night Prayer Meeting" -- or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, Blues and Roots isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography. Steve Huey
Tracklist  :
1. Wednesday Night Prayer Meeting 5:39
 Charles Mingus
2. Cryin' Blues 4:58
 Charles Mingus
3. Moanin 8:01
 Charles Mingus
4. Tensions 6:27
 Charles Mingus
5. My Jelly Roll Soul 6:47
 Charles Mingus
6. E's Flat Ah's Flat Too 6:37
 Charles Mingus
– BONUS TRACKS –
7. Wednesday Night Prayer Meeting (Alternate Take)    6:54
8. Tensions (Alternate Take)    5:14
9. My Jelly Roll Soul (Alternate Take)    11:20
10. E's Flat Ah's Flat Too (Alternate Take)    6:47
Credits :
Charles Mingus – Bass
John Handy, Jackie McLean – Sax Alto
Booker Ervin – Sax Tenor
Pepper Adams – Sax Baritone
Jimmy Knepper, Willie Dennis – Trombone
Dannie Richmond – Drums
Horace Parlan (tracks: 1 to 5, 7 to 9), Mal Waldron (tracks: 6, 10) - Piano

KENNY BURRELL · JIMMY RANEY — Two Guitars (1957-1992) RM | Two Version | APE + FLAC (tracks+.cue), lossless

For this 1957 studio session, the two distinctive but complementary guitarists Kenny Burrell and Jimmy Raney are teamed up in a septet with trumpeter Donald Byrd, altoist Jackie McLean, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. The full group gets to stretch out on one original each by Watkins and McLean ("Little Melonae") and three from Waldron, while the two standards ("Close Your Eyes" and "Out of Nowhere") are individual features for Burrell and Raney. This is a well-rounded set that may not contain any real surprises, but will be enjoyed by collectors of hard bop. Scott Yanow
Tracklist :
1 Blue Duke 8:46
Written-By – Mal Waldron
2 Dead Heat 4:05
Written-By – Waldron 
3 Pivot 5:12
Written-By – Waldron
4 Close Your Eyes 4:46
Written-By – Bernice Petkere
5 Little Melonae 9:27
Written-By – Jackie McLean
6 This Way 11:20
Written-By – Doug Watkins
7 Out Of Nowhere 4:31
Written-By – Hyman, Green
Credits :
Alto Saxophone – Jackie Mclean
Bass – Doug Watkins
Drums – Arthur Taylor
Guitar – Jimmy Raney, Kenny Burrell
Piano – Mal Waldron
Trumpet – Donald Byrd

IDREES SULIEMAN | WEBSTER YOUNG | JOHN COLTRANE | BOBBY JASPAR — Interplay for 2 Trumpets And 2 Tenors (1957-1992) RM | FLAC (image + .cue), lossless

John Coltrane (tenor sax) resumed his association with the Prestige label on a late-March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burrell gets some space to stretch out on the understated and refined cool of "Anatomy." After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed," as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time. Lindsay Planer
Tracklist :
1    Interplay    9:37
 Mal Waldron
2    Anatomy    11:53
 Mal Waldron
3    Light Blue    7:47
 Thelonious Monk / Mal Waldron
4    Soul Eyes    17:29
 Mal Waldron
5    C.T.A. 4:40
Piano – Red Garland
Written-By – Jimmy Heath
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Piano, Written-By – Mal Waldron (tracks: 1 to 4)
Tenor Saxophone – Bobby Jaspar (tracks: 1 to 4), John Coltrane
Trumpet – Idrees Sulieman, Webster Young

GENE AMMONS' ALL STARS — The Big Sound (1958-1991) RM | APE (image+.cue), lossless

Along with its fellow CD, Groove Blues, this reissue fully documents all of the music recorded by tenor saxophonist Gene Ammons on the busy day of January 3, 1958. Although there were many guest soloists, only one of the four songs on this half of the set (Mal Waldron's "The Real McCoy") has appearances by John Coltrane (on alto) and the tenor of Paul Quinichette. However, baritonist Pepper Adams is aboard for two of the performances, and flutist Jerome Richardson (along with pianist Mal Waldron, bassist George Joyner, and drummer Art Taylor) are on all four. Ammons is easily the main star (he really excelled in this setting) and is in generally fine form on the two standards ("That's All" and "Cheek to Cheek"), his own "Blue Hymn," and the Waldron original. Scott Yanow
Tracklist :
1    Blue Hymn 12:37
Written-By – Gene Ammons
2    The Real McCoy 8:33
Written-By – Mal Waldron
3    Cheek To Cheek 14:12
Written-By – Irving Berlin
4    That's All 13:58
Written-By – Bob Haymes
Credits :
Alto Saxophone – John Coltrane (tracks: 3)
Baritone Saxophone – Pepper Adams (tracks: 3, 4)
Bass – George Joyner
Drums – Art Taylor
Flute – Jerome Richardson
Piano – Mal Waldron
Tenor Saxophone – Gene Ammons, Paul Quinichette (tracks: 3)

JOHN COLTRANE — The Prestige Recordings (1991) 16-CD BOX-SET | FLAC (tracks+.cue), lossless

The 16 CDs in this compendium represent nearly everything that John Coltrane recorded for the Prestige label during a 32-month period between May 7, 1956, and December 26, 1958. What's missing are Coltrane's contributions to the mid-'50s Miles Davis band, which are on the equally exhaustive and highly recommended Davis Chronicle box set released in 1990. Otherwise, listeners are treated to the sessions that produced the seminal long-players Coltrane, Cattin' with Coltrane and Quinichette, Traneing In, Soultrane, Lush Life, Settin' the Pace, Standard Coltrane, Stardust, The Believer, Black Pearls, Bahia, and The Last Trane -- all of which highlight the artist as either a leader or co-leader. Not included in that list are an additional 19 albums that boast Coltrane's involvement as a support musician. The music is presented primarily in a chronological fashion -- commencing with a pair of May 1956 outings with pianist Elmo Hope and tenor saxophonist

Sonny Rollins. Wrapping things up are five tunes cut the day after Christmas of 1958 alongside trumpeter Freddie Hubbard. Coltrane's legend is ingrained in the grooves of such indispensable entries as "How Deep Is the Ocean?" flanked by tenor saxophonists Zoot Sims, Hank Mobley, and Al Cohn -- as originally heard on Tenor Conclave. There is also the Tadd Dameron-commanded "Soultrane" and the definitive "The Way You Look Tonight," during one of the many Mal Waldron confabs, plus "Undecided," sporting Red Garland at the helm. And who could forget the Great American Songbook selections "Lush Life," "Come Rain or Come Shine," "Lover," "Russian Lullaby," "Why Was I Born?," "Lover Come Back to Me," "Stardust," and "Time After Time"? Accompanying the music is a 32-page liner notes booklet. Inside are a historical essay from Doug Ramsey, a session-by-session breakdown by Carl Woideck (and the occasional notation from producer Orrin Keepnews), and several different cross-references of the contents. Overall, the audio quality is excellent throughout, especially considering that the original tapes were transferred during the infancy of digital audio technology. Since 1991, the majority of the music has been remastered and issued on the individual album titles with even more astonishing results. Lindsay Planer
All Tracks & Credits :

DIZZY GILLESPIE — The Cool World (Original Score) (1964-2008) RM | Serie Verve Originals | FLAC (tracks+.cue), lossless

Finally available again after a 30-plus year absence from American shelves is the soundtrack to Shirley Clarke's gritty but brilliant 1964 film, Cool World, about young people growing up in Harlem. The score was written and arranged by pianist Mal Waldron but was performed and recorded by Dizzy Gillespie's quintet of the time. This set is one of Diz's best records of the 1960s (which is saying something), and one of the best jazz film scores period. Diz's band at the time included James Moody on tenor and flute, a young Kenny Barron on piano, bassist Chris White, and Rudy Collins on drums. The 11 cues that range between two and five minutes are deeply rooted in the language of hard bop and blues with some excellent, if brief, modal touches by Waldron. The opening theme, the set's longest cut, sets out all the tropes the quintet will visit over and again; lean, tough, expressive blues. Barron's piano sets out a fast, hard swinging groove that sets a pace for the cut time, skittering snare, and frenetic bassline; they urge the two horn players to wail the head and they do. The three solos are as intense and popping as anything on Blue Note at the time, and offer a portal into the rest of the set. The blues articulation of every cue here is on purpose because, if anything, Cool World is a film drenched in them. Waldron's sense of economy in picking both impressionistic and expressionist avenues for blues to speak through jazz in an inspired quintet like this is remarkable -- the temptation would be to excess at every turn, especially given Waldron's gift for sophisticated harmonies and spacy lyrical concerns. There is little that is subtle about this music, but there is nothing overblown about it either. Check the happy-go-lucky flow of "Enter Priest," which signals the arrival onscreen of Duke's (main character) mentor: though he is an underworld figure and a gang leader, his outward appearance to Duke, and his first impression of him, is one of freedom and admiration. The free-flowing cut-time rim shot from Collins and the breezy, open horn section underscores this; Duke's eyes are wide and happy because he thinks he's found a way out of his predicament. On "Duke's Awakening," Waldron deviates -- momentarily -- from the blues/hard bop lexicon. He uses a minor-key modal theme in the intro before unfolding a slow blues. Waldron follows this with a stunning hard bebop cue called "Duke on the Run," that echoes back to the '40s in its unrelenting action and pace -- though Moody's solo is a deeply soulful one. There is also the wonderfully lilting "Coney Island," (where the main character escorts his Bonnie, his love interest, to the seashore, it's her first time seeing the ocean despite having grown up in Harlem). The open octave spill between saxophone and muted trumpeter are the character's voice, and the drums and bassline become the sea and sand -- the only place the pair is free is on the shore. Moody solos on flute to outline just how different this moment is than either character has known before. Ultimately, the soundtrack to Cool World is an enormous success artistically, standing head and shoulders over virtually every other such effort of the period, and a welcome addition to the Gillespie catalog, offering a very keen and muscular view of his 1964 band. Previously available only as a very expensive import, this disc is a must for anyone interested in '60s Gillespie and in hard bop jazz in general.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa'<-
Tracklist + Credits :

ANTHONY BRAXTON - Six Monk's Compositions (1987) (1988) FLAC (tracks+.cue), lossless

The band Anthony Braxton assembled for this unique exploration of the compositions of Thelonious Monk is one of the wonders of the composer's retinue. Braxton, pianist Mal Waldron, bassist Buell Neidlinger, and drummer Bill Osborne use six Monk tunes and go hunting for harmonic invention; in order, they are "Brilliant Corners," "Reflections," "Played Twice," "Four in One," "Ask Me Now," and "Skippy." From the jump, the listener can tell this is no ordinary Monk tribute. The music is fast, skittering along at a dervish's pace on "Brilliant Corners," and Braxton's horn -- an alto on this album -- moves right for that street where interval meets modulation and sticks his solo in the center, careening over the arrangement -- which is what the tune is in essence, an arrangement rather than a "song" -- and slipping just behind the beat to allow Waldron's brittle, almost angular percussive sonority to define the melody enough to move around the harmonic framework. And this is only the beginning. The other five compositions here are treated in a similar fashion, in that they are radically reinterpreted, played and executed with a degree of musicianship seldom found on any tribute. Braxton's intent was to get at the knotty -- even nutty -- harmonic and rhythmic idiosyncrasies that make Monk's music connect so deeply and widely yet remain difficult to interpret correctly. If all you get is a listen to "Four in One" or "Skippy," just listen to how completely each of these musicians reinvents himself to approach the material. On alternating tunes, Braxton and Waldron provide the catalyst, but all four become changelings in light of this intense and addictive harmonic conception.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Composition No. 131    7:09
2    Composition No. 88 (+108C)    5:56
3    Composition No. 124 (+108D+96)    9:07
4    Composition No. 122 (+108+96)    9:33
5    Composition No. 101 (+31+86+30)    11:31
Credits :
Alto Saxophone – Anthony Braxton
Bass – Buell Neidlinger
Composed By – Thelonious Monk
Drums – Bill Osborne
Piano – Mal Waldron

ARCHIE SHEPP & MAL WALDRON - Left Alone Revisited : A Tribute to Billie Holiday (2002) FLAC (tracks+.cue), lossless

Mal Waldron's first tribute to Billie Holiday, titled Left Alone, was recorded in 1959, mere months before the singer's death. He returned to salute the legendary vocalist on several occasions since then, with this CD likely being his final tribute, recorded less than a year before his own death. Waldron, who worked with Holiday during her last years, is intimately familiar with her takes of the six standards heard on this disc, along with her own "Lady Sings the Blues." Archie Shepp's often gritty tenor sax is reminiscent of the texture of Holiday's voice, yet he perfectly complements Waldron's lush piano. They also pack a punch with their stark performance of "Left Alone" (Shepp's occasional reed squeaks seem deliberate, as if to imitate breaks in her voice). Waldron also recites Holiday's lyrics set to his composition at the conclusion of the CD. Shepp switches to soprano sax for an emotional take of "Everything Happens to Me" and "I Only Have Eyes for You," with the latter song sounding as if the unheard singer is being ignored by her love interest. Shepp's "Blues for 52nd Street" is both sassy and swinging. This instrumental salute to Billie Holiday is one of the best albums ever to honor her memory. Ken Dryden
Tracklist :
1    Easy Living 5:58
Written-By – Leo Robin, Ralph Rainger
2    Nice Work If You Can Get It 4:28
Written-By – Ira Gershwin / George Gershwin
3    Everything Happens To Me 5:49
Written-By – Matt Dennis, Tom Adair
4    Left Alone 9:09
Written-By – Mal Waldron
5    When Your Lover Has Gone 5:36
Written-By – Ainer A. Swan
6    I Only Have Eyes For You 7:05
Written-By – Al Dubin, Harry Warren
7    Blues For 52nd Street 5:25
Written-By – Archie Shepp
8    Porgy 8:41
Written-By – D. Heyward, George Gershwin, Ira Gershwin
9    Lady Sings The Blues 3:39
Written-By – Billie Holiday, Herbert Nichols
10    Left Alone (Spoken Lyrics) 0:52
Written-By – Billie Holiday
Credits
Piano – Mal Waldron
Vocals, Tenor Saxophone, Soprano Saxophone – Archie Shepp

EMBRYO ft. JIMMY JACKSON - Steig Aus (1972-1998) FLAC (tracks+.cue), lossless

Steig Aus marks a turning point for Embryo. Recorded in 1971-1972, during three separate sessions that also gave birth to Rocksession, the album captures the group actively looking for the ethnic fusion that will soon become its main m.o. for the better part of the decade. It also signals the beginning of the group's distancing from the record industry -- both albums were rejected by their major label, which led to a transaction with the forward-looking small label Brain. Steig Aus features extremely inspired jazz-rock jams, which makes it a lot less friendly than their 1974 hit record, a lot jazzier too, but still a breathtaking journey into Krautrock-meets-American free jazz-meets-North African percussion. The first session yielded the side-long "Call," a loosely structured suite, and "Dreaming Girls," a Miles Davis-like ballad. Both tracks feature drummer Christian Burchard, bassist Jörg Evers, violinist Edgar Hoffmann, U.S. organist Jimmy Jackson, and American jazz keyboardist Mal Waldron. The latter, who had previously played with Eric Dolphy and Max Roach, among other luminaries, was called in as a guest. "Radio Marrakesch/Orient Express," which ended up opening the album, was recorded a while later, when the group reconvened in the studio, minus Hoffmann and Evers (the latter being replaced by Dave King). The track is already opening a window on Middle Eastern influences, with extra ethnic touches (particularly in the percussion department) added a few months later, when the group came back from a trip to North Africa. Steig Aus is a pretty unique cross between German psychedelic rock and American electric jazz. It is probably not the best place to start exploring Embryo's discography, but it deserves special attention nonetheless. François Couture
Tracklist :
1     Radio Marrakesch/Orient Express 9:50
Roman Bunka
2     Dreaming Girls 10:34
Christian Burchard
3     Call: Call, Pt. 1/Organ Walk/Marimba Village/Lost Violin/Call, Pt. 2 17:25
Waldron/Burchard/Bunka/Jackson/Hofmann
Credits :
Bass – Dave King
Drums, Marimba, Vibraphone [Vibes] – Christian Burchard
Electric Bass [E-Bass] – Jörg Evers
Electric Piano [E-Piano] – Mal Waldron
Guitar, Baglama [Saz] – Roman Bunka
Mellotron [Melotron], Organ – Jimmy Jackson
Violin – Edgar Hoffmann

EMBRYO with MAL WALDRON ft. CHRISTIAN BURCHARD - For Eva (2000) APE (image+.cue), lossless

This album is an Embryo album without being one.. As this collection had appeared under Mal Waldron name back then. Indeed this 67 live collection shows the partnership between American jazz pianist and vibraphonist Christian Burchard, but also many other Embryo familiars like drummer Serfas, bassist Meid (also AD), etc. The whole thing was pure jazz back then, you could even call swing, because of its Lionel Hampton-type mallet-driven jazz. The quartet developed some very enjoyable but out-of-scope for this site jazz that borders Armstrong or the afore-mentioned Hampton. Virtuosic, but certainly not arrogant or show-off-ey, the 9 tracks taken from '67 concerts in Munich or Graz (Austria) are all originals penned by Mal Waldron or Burchard (just one) , with one cover, Autumn Leaves, with none standing out from the selection. web
Tracklist :
1. Sugar Lump (5:09)
Walt Dickerson
2. For Eva (7:54)
Christian Burchard
3. For Bob (11:26)
Mal Waldron
4. Cool World (12:04)
Mal Waldron
5. Anka's Trance (10:24)
Mal Waldron
6. Autumn Leaves (3:50)
Joseph Kosma / Johnny Mercer / Jacques Prévert
7. Infinite You (5:16)
Walt Dickerson
8. Bud Study (5:20)
Mal Waldron
9. Fire Waltz (4:28)
Mal Waldron
Total Time: 65:56
Line-up / Musicians
- Mal Waldron / piano, percussion
- Christian Burchard / vibes
- Dieter Serfas / drums
- Reinhard Knieper / bass

BETTY BLAKE - Betty Blake Sings in a Tender Mood (1961-2000) FLAC (tracks), lossless [24bits-96khz]

Vocalist Betty Blake made one fine recording for Bethlehem in 1960, Betty Blake Sings in a Tender Mood. On the strength of it, she deserved more opportunities and exposure. by Ron Wynn
Tracklist :
1.   Let There Be Love  1:55
2.   I'll Be Around  2:20
3.   Moon And Sand  2:10
4.   Trouble Is A Man  2:30
5.   Love Is Just Around The Corner 2:20
6   Lilac Wine   5:15
7   It's So Peaceful In The Country  2:40
8   While We're Young  2:40
9   Blue Fool  2:30
10   All Of You  2:45
11   Don't Say Love Has Ended  2:35
12   Out Of This World  2:35
Credits :
Bass – Addison Farmer, Eustis Guilemet
Drums – Charles Persip, Ed Shaughnessy
Guitar – Kenny Burrell
Piano – Mal Waldron
Tenor Saxophone – Roland Alexander, Zoot Sims
Trumpet – Marcus Belgrave
Vibraphone [Vibes], Producer – Teddy Charles

JOHN COLTRANE / FRANK WESS - Wheelin' & Dealin' (1957-1991) RM / FLAC (image+.cue), lossless

This two-fer from the excellent Prestige series of two-LP sets features Coltrane at a pair of jam-session-type settings in 1957. He is heard along with fellow tenor Paul Quinichette and Frank Wess on flute and tenor on two long versions apiece of "Wheelin'" and "Dealin" in addition to a fine rendition of "Things Ain't What They Used to Be" and a 15-minute version of "Robbins' Nest." In addition, there are two numbers from a sextet session with trumpeter Bill Hardman and altoist Jackie McLean. Overall the music is not all that essential (since there are so many other Coltrane recordings available) but is quite enjoyable on its own terms and worth picking up. by Scott Yanow
Tracklist:
1 Things Ain't What They Used to Be 8:25
Mercer Ellington / Ted Persons
2 Wheelin' (Take 2) 11:22
Mal Waldron
3 Wheelin' (Take 1) 10:25
Mal Waldron
4 Robbin's Nest 15:32
Illinois Jacquet / Bob Russell / Sir Charles Thompson
5 Dealin'  (Take 2) 10:15
Mal Waldron
6 Dealin' (Take 1) 10:00
Mal Waldron
Credits:
Bass – Doug Watkins
Drums – Art Taylor
Engineer – Rudy Van Gelder
Flute – Frank Wess
Piano – Mal Waldron
Tenor Saxophone – Frank Wess, John Coltrane, Paul Quinichette

JOHN COLTRANE / BOBBY JASPAR / IDREES SULIEMAN / WEBSTER YOUNG - Interplay for 2 Trumpets and 2 Tenors (1957-1992) RM / FLAC (image+.cue), lossless

John Coltrane (tenor sax) resumed his association with Rudy Van Gelder's Prestige label on a late March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burell gets some space to stretch out on the understated and refined cool of "Anatomy." After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed," as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time. by Lindsay Planer  
Tracklist:
1 Interplay 9:38
Mal Waldron
2 Anatomy 11:53
Mal Waldron
3 Light Blue 7:49
Thelonious Monk / Mal Waldron
4 Soul Eyes 17:30
Mal Waldron
- Bonus Track -
5 C.T.A. 4:40
Jimmy Heath
Credits:
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Piano, Written-By – Mal Waldron (tracks: 1 to 4)
Tenor Saxophone – Bobby Jaspar (tracks: 1 to 4), John Coltrane
Trumpet – Idrees Sulieman, Webster Young

JOHN COLTRANE AND PAUL QUINICHETTE - Cattin' with Coltrane and Quinichette (1957-1995) RM / MONO / FLAC (image+.cue), lossless

This mid-'90s DCC Jazz edition of the John Coltrane (tenor sax)/Paul Quinichette (tenor sax) title Cattin' with Coltrane and Quinichette (1958) contains the same excellent remastering and bonus tracks as its standard silver pressing -- without the superfluous expense of a 24-karat gold disc. Audiophile pressing or naught, what remains as the centerpiece are the selections that the co-leads cut during a mid-May 1957 session with Mal Waldron (piano), plus a rhythm section consisting of Julian Euell (bass) and Ed Thigpen (drums). Waldron -- who penned all the album's originals -- proves why he is one of the best composer/arrangers for Coltrane. His stylish tickling of the 88s sets the pace with a stealthy and sinister platform for Coltrane's bluesy blowing, followed by Quinichette's exceedingly soulful solo. "Sunday" exemplifies why Quinichette was considered as a sonic successor to Lester Young. Both of the primary constituents put forth much of their respective selves, with Quinichette's reserved and thoughtful input balancing Coltrane's inspired torrent of notes. Somewhat darker in tone, "Anatomy" is a springboard for indulging the development of singular and personable statements from Coltrane and company. Another key component to Cattin' is the unification of Quinichette and Coltrane on "Vodka." The pair is joined by Waldron for a few energetic and lyrical submissions before converging for a sublime conclusion that will make enthusiasts pine for more. In terms of the extras, "Green Is Blue," "You Belong to Me," and "Birdland Jump" are all credited to the Paul Quinichette Quintet and do not feature Coltrane. by Lindsay Planer  
Tracklist:
1 Cattin' 7:20
Written-By – Mal Waldron
2 Sunday 7:00
Written-By – Cohn, Krueger, Stein, Miller 
3 Exactly Like You 6:45
Written-By – Fields-McHugh
4 Anatomy 8:50
Written-By – Mal Waldron
5 Vodka 9:04
Written-By – Mal Waldron
- Special Bonus Tracks -
6 Tea For Two 8:04
Written-By – Caesar, Youmans
Paul Quinichette Quintet/ Unreleased Tracks From August 14, 1952
7 Studio Chatter & Green Is Blue 3:31
Written-By – Freddie Green
8 You Belong To Me 3:01
Written-By – King, Stewart
9 Birdland Jump 2:47
Written-By – Joe "King" Oliver, Walter Melrose
Credits:
Bass – Gene Ramey (tracks: 7 to 9), Julian Euell (tracks: 1 to 6)
Drums – Ed Thigpen (tracks: 1 to 6), Gus Johnson (tracks: 7 to 9)
Guitar – Freddie Green (tracks: 7 to 9)
Piano – Kenny Drew (tracks: 7 to 9), Mal Waldron (tracks: 1 to 6)
Tenor Saxophone – John Coltrane (tracks: 1, 2, 4, 5), Paul Quinichette

JOHN COLTRANE - Coltrane (1957-2013) RM / THE PRESTIGE MONO SERIES / SACD / FLAC (tracks+.cue), lossless

On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert "Tootie" Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane's fellow Philly denizen Calvin Massey's "Bakai" indicates that Coltrane and company are playing for keeps. Shihab's emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus. Coltrane grabs hold with bright and aggressive lines, turning the minor-chord progressions around into a spirited and soulful outing. While the refined and elegant "Violets for Your Furs" as well as the slinky and surreptitious "While My Lady Sleeps" are undeniably ballads, they aren't redundant. Rather, each complements the other with somewhat alternate approaches. "Violets for Your Furs" develops the role of the more traditional pop standard, whereas the somnolence is disrupted by the tension and release coursing just below the surface of "While My Lady Sleeps." The Coltrane-supplied "Straight Street" is replete with the angular progressions that would become his stock-in-trade. In fact, the short clusters of notes that Coltrane unleashes are unmistakable beacons pointing toward his singular harmonics and impeccably timed phrasing on 1960's Giant Steps and beyond. The closer, "Chronic Blues," demonstrates Coltrane's increasing capacity for writing and arranging for an ensemble. The thick unified sound of Coltrane, Splawn, and Shihab presents a formidable presence as they blow the minor-chord blues chorus together before dissolving into respective solos. The trio's divergent styles prominently rise, pitting Shihab's down-and-dirty growl against Coltrane's comparatively sweet tones and Splawn's vacillating cool and fiery fingering. Regardless of the listener's expertise, Coltrane is as enjoyable as it is thoroughly accessible. by Lindsay Planer 

Tracklist:

1 Bakai 8:45

Baritone Saxophone – Sahib Shihab

Bass – Paul Chambers 

Drums – Al Heath

Piano – Red Garland

Tenor Saxophone – John Coltrane

Trumpet – Johnnie Splawn

Written-By – Calvin Massey

2 Violets For Your Furs 6:10

Written-By – Dennis, Adair

3 Time Was 7:25

Bass – Paul Chambers 

Drums – Al Heath

Piano – Red Garland

Tenor Saxophone – John Coltrane

Written-By – Luna de la Fuente, Prado, Russell

4 Straight Street 6:15

Baritone Saxophone – Sahib Shihab

Bass – Paul Chambers 

Drums – Al Heath

Piano – Mal Waldron

Tenor Saxophone – John Coltrane

Trumpet – Johnnie Splawn

Written-By – John Coltrane

5 While My Lady Sleeps 4:36

Bass – Paul Chambers 

Drums – Al Heath

Piano – Mal Waldron

Tenor Saxophone – John Coltrane

Trumpet – Johnnie Splawn

Written-By – Kaper, Kahn

6 Chronic Blues 8:00

Baritone Saxophone – Sahib Shihab

Bass – Paul Chambers 

Drums – Al Heath

Piano – Mal Waldron

Tenor Saxophone – John Coltrane

Trumpet – Johnnie Splawn

Written-By – Coltrane

Credits

John Coltrane - tenor saxophone

John Splawn - trumpet

Sahib Shihab - baritone saxophone

Mal Waldron - piano

Red Garland - piano

Paul Chambers - bass

Al Heath - drums

JOHN COLTRANE - Dakar (1957-2008) RVG REMASTERS / FLAC (tracks+.cue), lossless

Dakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the "Prestige All-Stars." On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered "leaderless" units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.
The Latin-flavored title track "Dakar" finds Coltrane adapting his solo to faultlessly conform to Payne and Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. "Mary's Blues" is a treat for sax lovers as Adams -- who penned the number -- almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On "Route Four" the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane's tenor sax clearly tests the boundaries of the Taylor/Watkins rhythm section. The moody and sublime ballad "Velvet Scene" is a Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody. If the album is flawed, that may well be due to Coltrane's inability to deliver during "Witches' Pit." Perhaps because he is the first soloist, there seems to be no immediate direction to his playing. In a highly unusual move, he simply trails off rather than concluding his portion with his usual command and authority. "Cat Walk" restores Coltrane's sinuous leads during a couple of jaunty double-time excursions that tread gingerly around the catchy tune. Jazz enthusiasts -- especially lovers of Thelonious Monk -- should easily be able to discern Adams' nod to "'Round Midnight." by Lindsay Planer  
Tracklist:
1 Dakar 7:11
Teddy Charles
2 Mary's Blues 6:49
Pepper Adams
3 Route 4 6:56
Teddy Charles
4 Velvet Scene 4:54
Mal Waldron
5 Witches' Pit 6:42
Pepper Adams
6 Cat Walk 7:10
Teddy Charles
Credits:
Baritone Saxophone – Cecil Payne, Pepper Adams
Bass – Doug Watkins
Drums – Art Taylor
Piano – Mal Waldron
Recorded By, Remastered By – Rudy Van Gelder
Tenor Saxophone – John Coltrane

ERIC DOLPHY - The Complete Prestige Recordings (1995) 9xCD BOX-SET | FLAC (tracks+.cue), lossless

During his 19 months with Prestige, Eric Dolphy recorded 13 sessions as a leader and sideman. All are included in this massive nine-CD set and, even when absorbed in two or three sittings, there is enough variety to hold on to any true jazz fan's attention. Dolphy, whether on alto, bass clarinet, flute, and even on a couple of occasions clarinet, was a true original with distinctive sounds of his own and very unique (but ultimately logical) styles. Included in this box (which has no previously unissued material) are the complete contents of the albums Outward Bound, Here & There, Dash One, Oliver Nelson's Screamin' the Blues, Ken McIntyre's Looking Ahead, Out There, Caribe (with the Latin Jazz Quintet), Eddie Lockjaw Davis' Trane Whistle (during which Dolphy is an anonymous section player), Far Cry, Oliver Nelson's Straight Ahead, Ron Carter's Where, Mal Waldron's The Quest, At the Five Spot, and Eric Dolphy in Europe. Even with the many impressive sidemen (which include trumpeters Freddie Hubbard, Richard Williams, and Booker Little; saxophonists Oliver Nelson, Ken McIntyre, Booker Ervin, and Eddie Lockjaw Davis; pianists Jaki Byard, Richard Wyands, Walter Bishop, Jr., and Mal Waldron; bassists George Tucker, George Duvivier, Sam Jones, Ron Carter (who doubles on cello), Joe Benjamin, and Richard Davis; and drummers Roy Haynes, Art Taylor, Charlie Persip, and Ed Blackwell), Eric Dolphy consistently emerges as the solo star. This often-remarkable music stands apart from the other styles prevalent during the era. by Scott Yanow 
Tracklist
Eric Dolphy Quintet "Outward Bound" (New Jazz, 1960)
1-1 G.W. 7:57
Written-By – Eric Dolphy
1-2 On Green Dolphin Street 5:42
Written-By – Bronislaw Kaper, Ned Washington
1-3 Les 5:21
Written-By – Eric Dolphy
1-4 245 6:48
Written-By – Eric Dolphy
1-5 Glad To Be Unhappy 5:26
Written-By – Lorenz Hart / Richard Rodgers
1-6 Miss Toni 5:40
Written-By – Charles "Majeed" Greenlee
1-7 April Fool 4:07
Written-By – Eric Dolphy
1-8 G. W. (Alternate Take 1) 12:07
Written-By – Eric Dolphy
1-9 245 (Alternate Take 1) 8:08
Written-By – Eric Dolphy
Oliver Nelson Sextet "Screamin' The Blues" (New Jazz, 1960)
1-10 Screamin' The Blues 10:58
Written-By – Oliver Nelson
1-11 March On, March On 4:59
Written-By – Esmond Edwards
2-1 The Drive 5:47
Written-By – Oliver Nelson
2-2 The Meetin' 6:41
Written-By – Oliver Nelson
2-3 Three Seconds 6:23
Written-By – Oliver Nelson
2-4 Alto-itis 4:58
Written-By – Oliver Nelson
Ken McIntyre With Eric Dolphy ‎"Looking Ahead" (New Jazz, 1960)
2-5 Lautir 4:03
Written-By – Ken McIntyre
2-6 Curtsy 5:51
Written-By – Ken McIntyre
2-7 Geo's Tune 7:13
Written-By – Ken McIntyre
2-8 They All Laughed 5:06
Written-By – George Gershwin, Ira Gershwin
2-9 Head Shakin' 10:45
Written-By – Ken McIntyre 
2-10 Dianna 9:05
Written-By – Ken McIntyre
Eric Dolphy ‎"Out There" (New Jazz, 1960)
2-11 Out There 6:52
Written-By – Eric Dolphy
3-1 Serene 6:58
Written-By – Eric Dolphy
3-2 The Baron 2:54
Written-By – Eric Dolphy
3-3 Eclipse 2:43
Written-By – Charles Mingus
3-4 17 West 4:49
Written-By – Eric Dolphy
3-5 Sketch Of Melba 4:36
Written-By – Randy Weston
3-6 Feathers 4:58
Written-By – Hale Smith
The Latin Jazz Quintet + Eric Dolphy "Caribé" (New Jazz, 1960)
3-7 Caribé 10:05
Written-By – Gene Casey
3-8 Blues In 6/8 5:46
3-9 First Bass Line 4:04
Written-By – Gene Casey
3-10 Mambo Ricci 6:54
Written-By – Juan Amalbert
3-11 Spring Is Here 5:00
Written-By – Lorenz Hart / Richard Rodgers 
Eddie "Lockjaw" Davis Big Band ‎"Trane Whistle" (Prestige, 1961)
3-12 Sunday Go To Meetin' 5:48
Written-By – Gene Casey
3-13 Trane Whistle 6:16
Written-By – Oliver Nelson
3-14 Whole Nelson 3:32
Written-By – Oliver Nelson
4-1 You Are Too Beautiful 5:10
Written-By – Lorenz Hart / Richard Rodgers 
4-2 Stolen Moments 7:51
Written-By – Oliver Nelson
4-3 Walk Away 5:24
Written-By – Oliver Nelson
4-4 Jaws 4:36
Written-By – Eddie "Lockjaw" Davis
Eric Dolphy With Booker Little ‎"Far Cry" (New Jazz, 1961)
4-5 Mrs. Parker Of K.C. (Bird's Mother) 8:00
Written-By – Jaki Byard
4-6 Ode To Charlie Parker 8:41
Written-By – Jaki Byard
4-7 Far Cry 3:51
Written-By – Eric Dolphy
4-8 Miss Ann 4:14
Written-By – Eric Dolphy
4-9 Left Alone 6:39
Written-By – Billie Holiday, Mal Waldron
4-10 Tenderly 4:17
Written-By – Jack Lawrence, Walter Gross
4-11 It's Magic 5:38
Written-By – Jule Styne And Sammy Cahn
4-12 Serene 6:36
Written-By – Eric Dolphy
Oliver Nelson With Eric Dolphy ‎"Straight Ahead" (New Jazz, 1961)
4-13 Images 5:43
Written-By – Oliver Nelson
5-1 Six And Four 7:14
Written-By – Oliver Nelson
5-2 Mama Lou 5:01
Written-By – Oliver Nelson
5-3 Ralph's New Blues 9:52
Written-By – Milt Jackson
5-4 Straight Ahead 5:32
Written-By – Oliver Nelson
5-5 III-444 3:26
Written-By – Oliver Nelson
Ron Carter With Eric Dolphy, Mal Waldron ‎"Where?" (New Jazz, 1961)
5-6 Rally 5:40
Written-By – Ron Carter
5-7 Bass Duet 5:41
Written-By – Ron Carter
5-8 Softly, As In A Morning Sunrise 7:37
Written-By – Oscar Hammerstein II, Sigmund Romberg
5-9 Where? 5:58
Written-By – Randy Weston
5-10 Yes, Indeed! 5:48
Written-By – Sy Oliver
5-11 Saucer Eyes 5:06
Written-By – Randy Weston
Mall Waldron With Eric Dolphy And Booker Ervin ‎"The Quest" (New Jazz, 1962)
5-12 Status Seeking 8:52
Written-By – Mal Waldron
6-1 Duquility 4:09
Written-By – Mal Waldron
6-2 Thirteen 4:42
Written-By – Mal Waldron
6-3 We Diddit 4:23
Written-By – Mal Waldron
6-4 Warm Canto 5:37
Written-By – Mal Waldron
6-5 Warp And Woof 5:36
Written-By – Mal Waldron
6-6 Fire Waltz 7:58
Written-By – Mal Waldron
Eric Dolphy At The Five Spot
6-7 Like Someone In Love 19:27
Written-By – Jimmy Van Heusen And Johnny Burke
6-8 God Bless The Child 5:16
Written-By – Arthur Herzog, Jr., Billie Holiday
6-9 Aggression 16:34
Written-By – Booker Little
7-1 Fire Waltz 13:11
Written-By – Mal Waldron
7-2 Bee Vamp 12:11
Written-By – Booker Little
7-3 The Prophet 21:06
Written-By – Eric Dolphy
7-4 Booker's Waltz 14:40
Written-By – Booker Little
7-5 Status Seeking 13:08
Written-By – Mal Waldron
8-1 Number Eight (Potsa Lotsa) 15:27
Written-By – Eric Dolphy
8-2 Bee Vamp (Alternate Take) 9:25
Written-By – Booker Little
Eric Dolphy In Europe, Vol. 1-3
8-3 Don't Blame Me 11:02
Written-By – Jimmy McHugh & Dorothy Fields
8-4 When Lights Are Low 11:59
Written-By – Benny Carter, Spencer Williams 
8-5 Don't Blame Me (Take 2) 11:38
Written-By – Jimmy McHugh & Dorothy Fields
8-6 Les (Untitled Track) 5:42
Written-By – Eric Dolphy
8-7 The Way You Look Tonight 8:59
Written-By – Dorothy Fields, Jerome Kern
9-1 Wodd 'N You 9:48
Written-By – Dizzy Gillespie
9-2 Laura 12:56
Written-By – David Raksin, Johnny Mercer
9-3 Glad To Be Unhappy 6:02
Written-By – Lorenz Hart / Richard Rodgers
9-4 God Bless The Child 6:47
Written-By – Arthur Herzog, Jr., Billie Holiday
9-5 In The Blues 16:48
Written-By – Eric Dolphy
9-6 Hi-Fly 13:10
Written-By – Randy Weston
9-7 Oleo 7:08
Written-By – Sonny Rollins

ETTA JONES - So Warm (1961-1996) FLAC (image+.cue), lossless

MAL WALDRON – Mal / 2 Prestige 7111 (1957-1991) FLAC (tracks+.cue), lossless

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.) Solo highlights include McLean's keenly constructed solo on Waldron's "J.M.'s Dream Doll" (dedicated to the alto saxophonist and his wife) and Sulieman's incredibly rich and supple trumpet work on "One by One." For his part, Coltrane is in good form throughout, save for a few sour notes and some faltering solos; at this time Coltrane was still coming into his own and a few years shy of the masterful hard bop sides he would record for Atlantic. Waldron here leads a potent crew on an engaging and original set of arrangements. A cut above many of the relatively straightforward and blues-based hard bop dates of the time. Stephen Cook 
Tracklist :
1 Potpourri 6:37
Mal Waldron
2 J.M.'s Dream Doll 8:39
Mal Waldron
3 Don't Explain 6:58
Arthur Herzog, Jr.
4 Blue Calypso 8:58
5 Falling in Love With Love 11:40
6 The Way You Look Tonight 8:26
7 From This Moment On 6:17
Cole Porter
8 One by One 9:39
Credits:
Alto Saxophone – Jackie McLean (tracks: 1 to 5)
Alto Saxophone, Baritone Saxophone – Sahib Shihab (tracks: 6 to 8)
Bass – Julian Euell
Drums – Art Taylor (tracks: 1 to 5), Ed Thigpen (tracks: 6 to 8)
Piano – Mal Waldron
Tenor Saxophone – John Coltrane
Trumpet – Bill Hardman (tracks: 1 to 5), Idrees Sulieman (tracks: 6 to 8)