If you haven’t yet fallen under the spell of Mal Waldron’s music, you’re missing out on one of the most hypnotic, moody, and masterful voices in jazz. The New York Times recently put a spotlight on him, and honestly? It’s about time.
Waldron isn’t just another pianist—he’s a mood. His sound is dark, brooding, repetitive in the most mesmerizing way, and yet so deeply expressive. He’s the kind of artist who doesn’t just play notes; he builds atmospheres. If you’ve ever listened to Billie Holiday’s late-career masterpieces, you’ve heard Waldron’s work—he was her accompanist, and his playing provided the shadowy, poignant backdrop to her haunting voice.
But where should you start? The Times suggests diving into pieces like "Soul Eyes," a Waldron original that’s been covered countless times but never quite duplicated. Or check out his work with Eric Dolphy, John Coltrane, or Max Roach. This is music that doesn’t rush. It simmers. It pulls you into its world—a world of minor keys, deliberate pacing, and emotional gravity.
What’s fascinating about Waldron is how he turned personal struggle into artistic strength. After a breakdown in the ’60s, his style became even more distilled, more focused. There’s a sense of resilience in those chords, a quiet determination.
So take five minutes. Put on "Soul Eyes" or "The Quest." Close your eyes. Let those dark, rolling harmonies pull you in. You might just find yourself falling in love with one of jazz’s most overlooked geniuses.
Trust me—it’s five minutes well spent.
