Mal Waldron With Eric Dolphy And Booker Ervin

The Quest

★★★★

Dolphy has this way of entering my mind and ears that not many other saxophonists have. Coltrane doesn't even give me this chilling feeling as often. A mix of euphoria and pure aural joy comes to mind when Dolphy begins to blow, he becomes this burrowing worm that quickly moves from ear canal to brain stem. I am surprised I haven't heard more acclaim regarding this album; it's very rarely, if ever, mentioned as one of Dolphy's great recordings. Even if he's a sideman, Dolphy stands out as an individual and leader in more ways than one. Not to forget that this is the album of the playful Mal Waldron who shines as well. Booker Ervin proves himself on this too, if he hasn't already with other sessions. This album is a bit unique in that it has Ron Carter on cello and Joe Benjamin on bass, something I'm not sure that I've encountered on a jazz album in a long time. 

Starting off with "Status Seeking" really puts you in the mood for more Dolphy and a 1950's cop chase, guns blasting. This album is also special in the way that the music is a transitional plane between the worlds of Hard Bop and the more avant and "out" Post Bop that was beginning to emerge and cement itself within the Jazz scene. There's some very effective and moody ballads but also some heaters that make you almost feel the sweat being bled from the pores of the musicians. Whether that be the opening track or "We Diddit", your foot is tapping and following every blow the horn players give you. The rhythm section kills throughout this whole project and the solos are perfectly timed and sweet to listen to. Dolphy and Ervin are a great duo that should not be underestimated. 

Now there are some issues on this for me, it's not a perfect album. Maybe it's just my version, but it seems that Waldron's playing is lost when he's not soloing. Not completely lost in the mix but just barely there, which is strange considering it's HIS name on the cover as leader. But when he does solo, it's always boppy and entertaining. And when it comes to Carter on cello; I understand the unusual and interesting nature of it. I've read many reviews that completely rip his playing as sub par and out of tune but I don't really see that way. Carter on cello is no Carter on bass, but that doesn't make him horrible either. To me, he's just good enough to stand up with the rest of the crowd but never go above them. 

I'm sure I will return to this and perhaps even find more concepts that I enjoy. Whether it's the austere and pensive clarinet opener on "Warm Canto" or the staggering and drunken bliss that ends the album on "Fire Waltz". I admire these moments already but I'm sure with more listens they might evoke even more emotion from me. Dolphy was a rare breed of saxophonist and musician. He could be daring and powerful but in the most graceful and intelligent way possible, and his mastery does not go unnoticed in the slightest on this album. Now the challenge is to pick a favorite composition from this great set of varying flavors and colors. Also now I'm stuck searching in the "W" marked bins for a physical copy. 

Favorite Song: Warm Canto