Malcolm Earl Waldron (August 16, 1926 – December 2, 2002) was an American j… Read Full Bio ↴Malcolm Earl Waldron (August 16, 1926 – December 2, 2002) was an American jazz and world music pianist and composer.

Born in New York City, his jazz work was chiefly in the hard bop, post-bop and free jazz genres. He is known for his distinctive chord voicings and adaptable style, which was originally inspired by the playing of Thelonious Monk.

After obtaining a B.A. in music from Queen's College, New York, he worked in New York City in the early 1950s with Ike Quebec, "Big" Nick Nicholas, and rhythm and blues groups. He worked frequently with Charles Mingus from 1954 to 1956 and was Billie Holiday's regular accompanist from 1957 until her death in 1959. He also supervised recording sessions for Prestige Records, for which he provided arrangements and compositions (including the jazz standard "Soul Eyes"). After Holiday's death he chiefly led his own groups.

Waldron had a unique playing style. He played chords in a lower bass part of the keyboard, and is comparable to Bud Powell in his dissonant voices. His solo style is in noted contrast to players like Red Garland.

He was frequently recorded, both as a leader and sideman, with, among others, John Coltrane, Eric Dolphy, Clifford Jordan, Booker Little, Steve Lacy, Jackie McLean and Archie Shepp.

Besides performing he composed for films (The Cool World, Three Bedrooms In Manhattan and Sweet Love Bitter), theatre, and ballet. In 1963 he had a major nervous breakdown, and had to re-learn his skills, apparently by listening to his own records. Waldron's playing style re-emerged more brooding, starker and percussive, combining bebop and avant-garde melodies, and at times weaving repetitive melodic motifs using just a few notes over a drone like accompaniment figure. After working on a film score in Europe he moved there permanently in 1965 initially living in Munich, Germany and in his last years he was based in Brussels, Belgium. On the principle that working at local venues reduced his fee, he avoided playing in the city in which he lived. He regularly returned to the United States for bookings.

Through the 1980s and 1990s he worked in various settings with Steve Lacy, notably in soprano-piano duets playing their own compositions as well as Monk's.

After some years of indifferent health, though continuing to perform, Waldron died in December 2002 in Brussels, Belgium.

All God's Chillung Got Rhythm
Mal Waldron Lyrics

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Chillun', listen here to me
This is my philosophy
To see me through the day
To scare my cares away

All God's Chillun Got Rhythm
All God's Chillun got swing
Maybe haven't got money

Maybe haven't got shoes
All God's Chillun Got Rhythm
For to push away the blues
Yeah !

All God's Chillun got trouble
Trouble don't mean a thing
When they start to go ho ho ho de ho
Troubles bound to go 'way, say!

All God's Chillun Got Swing.

Overall Meaning

In Mal Waldron's song "All God's Chillun Got Rhythm," the lyrics convey a powerful and uplifting message about the resilience of all individuals, regardless of their circumstances. The singer addresses the audience as "chillun" or children, suggesting a sense of camaraderie and universality among humanity. The singer shares their personal philosophy, which serves as a source of strength and a means to overcome difficulties.

The lyrics highlight the idea that despite not having material wealth or possessions like money or shoes, all people possess something invaluable: rhythm. Rhythm is a metaphor for the inherent musicality and vitality within each individual, representing their connection to the world and their ability to find joy and happiness. The repetition of the line "All God's Chillun Got Rhythm" emphasizes the universality of this quality and suggests that it is not exclusive to a particular group of people, but rather a characteristic inherent in all individuals.

Additionally, the lyrics acknowledge that everyone faces troubles and challenges in life. However, the singer asserts that these troubles are ultimately inconsequential in the face of the power of rhythm. The use of onomatopoeic expressions like "ho ho ho de ho" enhances the sense of joy and celebration, implying that when people embrace their rhythmic nature, their troubles will naturally dissipate.

Line by Line Meaning

Chillun', listen here to me
Children, pay attention to what I'm about to say

This is my philosophy
This is the belief system that guides me

To see me through the day
To help me overcome the challenges of each day

To scare my cares away
To chase away my worries and concerns

All God's Chillun Got Rhythm
Every person, regardless of their circumstances, possesses a sense of rhythm

All God's Chillun got swing
Everyone has their own unique style and flair

Maybe haven't got money
Perhaps they lack financial wealth

Maybe haven't got shoes
Perhaps they don't even have proper footwear

All God's Chillun Got Rhythm
But despite their material shortcomings, they still have rhythm

For to push away the blues
To help alleviate sadness and melancholy

Yeah !
Indeed!