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. The horn players -- top-flight boppers
Idrees Sulieman on trumpet and
Gigi Gryce on alto sax -- contribute hot solos played with class and authority, and disciplined ensemble work supports the overall structure of
Waldron's charts. Some of the arrangements seem written with a larger ensemble in mind, but they also work in the quartet setting, with
Waldron's effective use of staggered horn entries, dynamics, interesting harmonies, and occasional countermelodies adding color and variety to the performances. The tracks comprise a bright, focused performance of
Benny Golson's "Stablemates," a sparse, bluesy take of the standard "Yesterdays," a pair of good
Waldron originals and one from
Sulieman, along with
Lee Sears' "Transfiguration." Bassist
Julian Euell and drummer
Arthur Edgehill supply a strong and reliable bop pulse.