Billboard : 12/16/1957
Score of 71

Waldron‘s fleet, concise style of piano is highly reminiscent of Bud Powell. While Waldron and the members of his two groups are comparatively unknown at this point, exposure to fans of the “hard” modern school could reap buys. Interesting treatments include swingin’ runs of The Way You Look Tonight and Don’t Explain.

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San Francisco Examiner
C.H. Garrigues : 01/26/1958

One of the most cheering thoughts in a record world seemingly given over to the trivial and the meretricious springs from the steady (and apparently profitable) flow of solid jazz records from a few of the smaller companies which steadfastly refuse to compromise their good quality or good taste. Among these labels are Atlantic, Bethlehem, Blue Note, Debut and Prestige, which is perhaps the most dependable of the lot.

On Prestige’s first team are men like Donald Byrd, Idrees Suliman and Bill Hardman, trumpets; John Coltrane, Gene Ammons, Jackie McLean and Sahib Shihab, saxes; Mal Waldron, piano; Kenny Burrell, guitar; Paul Chambers, bass, and Art Taylor, drums. None of these men (unless it be Byrd and possibly Coltrane) is a champion and yet there is not a one who is not a runner-up. And, in addition, Prestige has a second team which includes Thad Jones and Webster Young, trumpets; Bobby Jaspar and Frank Wess, flutes and tenors; Paul Quinichette, tenor; Phil Woods and Gene Quill, altos, and Red Garland, piano.

All this is by way of introduction to a handful of new Prestige albums, most of which are worthy of extended individual review but which constitute enough of a picture to be considered as a group. Each exemplifies the modern, hard bop trend in jazz; together they show nearly best (but, I think, not THE best) in this type of jazz.

…

My third choice would be Mal-2 – the second volume of Prestige’s Mal Waldron series. There is much good Coltrane, McLean and Sulieman on it, too.

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Down Beat : 04/17/1958
Don Gold : 3.5 stars

Waldron is one of jazz’ quietly productive artisans. Without the benefit of widespread recognition, Waldron has been exploring the realms of jazz piano playing and jazz composition quite effectively. The discipline inherent in his approach to jazz lends greater value to the sessions in which he participates than might otherwise be present. It is this discipline which elevates this LP above the blowing session category.

The first side is consumed by the performance of three standards, Moment, Explain, and Tonight. Explain is given an appropriately melancholy treatment, but the two others are somewhat roughly hewn.

The second side, however, contains three Waldron originals. The arrangements are so constructed that they encompass structure and solos. One is a staccato rhythmic theme developed in 16-bar blues units. Potpourri has musical comedy overtones. Doll, the high point of the LP for me, is a delicate ballad dedicated to McLean‘s wife, Dolly. It is interestingly arranged, and the solos are excellent.

Sulieman, like an octopus, is everywhere at once, slashing out in rhythmic bursts. Shihab shouts angrily. Coltrane charges along. Hardman is less communicative than Sulieman and considerably more restrained than Idrees. McLean was not at top form for this date. Euell lays down a firm bass line. Thigpen, one of the best trio drummers, seems a trifle overliberated at times, in this horn-infested atmosphere, but this effect may have been heightened by the recording engineer. Taylor, more used to such goings-on, punches the soloists along.

Waldron, constantly searching, indicates a growing awareness of form in jazz. I’d like to hear him express his philosophy in a trio format, without intruding horns of varying quality. His originals are of interest, and, as in the case of Doll, fascinating. In this case, they’re of far greater interest than the standards covered on side one. And, too, the horn men are not always up to Waldron’s demands. However, thanks to Waldron’s presence, as a pianist and influence, this is a generally productive session.

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Liner Notes by Ira Gitler

This is Mal-2, a further exploration of the talent that is Mal Waldron‘s. Here, the groups employed are sextets rather than a quintet as was used in Mal-1 (Prestige LP 7090). In addition to Mal, there are some other returnees from the first album. Trumpeter Idrees Sulieman is in one of the sextets and bassist Julian Euell is in both.

In Mal-2, Waldron has done three standards, not often recorded, which he had become attached to. Originals have not been neglected either but where Mal-1 featured all original material, Mal-2 is an even mixture of three standards and three originals. Tempo played an important part in Mal’s choosing of the material in both areas.

Side A contains the standards.

From This Moment On, as arranged by Mal, has its melody sharply defined as it is fenced in by accents of the rhythm section. The separation between rhythm and horns is similar to Mal’s usage in his Bud Study of Mal-1. The result is a highly charged atmosphere that heightens the straight swinging improvised section. Swingers are Coltrane, Shihab, Sulieman and Waldron.

Mal has been Billie Holiday‘s accompanist through most of 1957 but this version of Don’t Explain was done prior to his joining Lady. It had always meant sadness and disillusionment to him but after hearing Billie sing it many times from his position at the piano, it took on other aspects. Mal explains that the two notes he had Jackie McLean played in the melody chorus are a minor 7th and a major 7th in order to produce a good major-minor (happy-unhappy) feeling. He chose these instead of changing the third of the tonic chord. Solos are by Hardman and Coltrane.

Mal’s treatment of The Way You Look Tonight has altered chord changes and a four part harmony with the bass playing the bottom line that includes the important roots of the chords. Solos are by Shihab, Sulieman, Coltrane and Waldron.

Side B houses the originals.

One By One recalls the feeling of Mal’s days with the Charlie Mingus group. It is a funky blues with two units of 16 bars, a drum bridge and another unit of 16 bars. Its minor key theme has a cumulative effect as it is stated in a telegraph manner like tapping out a message on a key. The solos by Sulieman, Shihab, Coltrane and Waldron follow a 16 bar pattern without a bridge.

J.M.’s Dream Doll is a dedication to Jackie McLean and his wife Dolly. Mal appreciates the romantic relationship the two have; they are more like loves than a married couple. The composition is a waltz but not one that is immediately evident. The way the bass and drums walk gives it a feeling of four even though there are only three beats to the bar. J.M.’s Dream Doll is an outgrowth of the feeling in some of the waltz section of Mal’s Dee’s Dilemma in Mal-1. It has two key centers, D minor at the beginning and G minor at the end. McLean plays the theme; solos by Waldron, Coltrane, Hartman and McLean follow before Jackie re-states the opening segment.

The closer, Potpourri, was first recorded by Teddy Charles, Thad Jones, Frank Wess and Mal in Olio (Prestige LP 7084). Mal wanted to do it again and since it is a fast and lively piece, it filled a need for this session. This version offers a contrast to the other in terms of tonal colors. Solos are by McLean, Hardman, Coltrane and Waldron.

Mal Waldron epitomizes the serious, searching attitude of our best young jazzmen. As a writer, he produces quality in quantity; as a player he offers provocative patterns, both harmonic and rhythmic. His playing and arrangements together with the solo power of the hornmen make Mal-2 a diverse and stimulating outing. I await Mal-3 as eagerly as I did Mal-2.