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.
One By One
Mal Waldron Lyrics
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Now that we're cosy and clinging,
Well sir, all I can say is
If I were a bell I'd be ringing!
From the moment we kissed goodnight,
That's the way I just gotta behave,
And if I were a lamp I'd light,
Ask me how do I feel,
Little me with my quiet upbringing,
Well sir, all I can say is
If I were a gate I'd be swinging!
And if I were a watch,
I'd start popping my spring,
Oh, and if I were a bell
I'd go "Ding dong ding dong ding!".
Ask me how do I feel
From this chemistry lesson I'm learning,
Well sir, all I can say is
If I were a bridge I'd be burning!
Well, I knew my moral would crack
From the wonderful way you looked,
Boy, if I were a duck I'd quack,
Or if I were a goose I'd be cooked!
Ask me how do I feel
Now that we're fondly caressing,
And if I were a salad,
I know I'd be splashing my dressing!
Or if I were a season,
I'd surely be Spring,
Yes, and if I were a bell,
Say, if I were a bell,
If I were a bell
I'd go "Ding dong ding dong ding!".
The lyrics to "One By One" by Mal Waldron are playful and whimsical, expressing the singer's joy and excitement in a romantic relationship. The singer is asked how they feel now that they are in a cozy and intimate relationship, to which they respond by using vivid metaphors to convey their happiness.
The first stanza sets the tone with the line, "If I were a bell I'd be ringing!" This metaphor suggests that the singer is so joyful that they would emit a joyous sound like a ringing bell. It signifies their readiness and eagerness to embrace love. The second stanza continues with the theme, describing how the singer's behavior has changed since they shared a kiss goodnight. They express that if they were an inanimate object like a lamp or a banner, they would radiate light and wave with enthusiasm.
The third stanza highlights the singer's background, describing themselves as someone who had a quiet upbringing. Despite their reserved nature, the connection they feel is so strong that it makes them want to swing like a gate. The following lines use humorous comparisons, imagining themselves as a watch that starts popping its spring or as a bell making a joyful sound.
The fourth stanza acknowledges the singer's surprise at how deeply they have fallen for their partner. They mention that their moral values might have cracked because of the way their partner looks at them. The comparison of themselves to a duck quacking or a goose being cooked showcases their willingness to surrender to the overwhelming emotions they experience in love.
In the final stanza, the singer reflects on their physical connection with their partner. They suggest that if they were a salad, they would be splashing their dressing, evoking a sense of playfulness and sensuality. The mention of the season Spring symbolizes new beginnings and growth. And, of course, they end by reaffirming their desire to be like a bell, expressing their happiness and contentment with a joyful "Ding dong ding dong ding!"
Overall, the lyrics of "One By One" capture the exhilaration and delight that comes with falling in love and embracing a new relationship. The playful use of metaphorical comparisons adds a sense of whimsy and lightheartedness to the song.
Line by Line Meaning
Ask me how do I feel
Inquire about my emotional state
Now that we're cosy and clinging
Now that we are comfortable and close
Well sir, all I can say is
Honestly, the only response I can give is
If I were a bell I'd be ringing!
I would be filled with excitement and joy
From the moment we kissed goodnight
Starting from the time we shared a goodnight kiss
That's the way I just gotta behave
That's how I am compelled to act
And if I were a lamp I'd light
I would radiate brightness like a lamp
Or if I were a banner I'd wave!
I would proudly flutter in the wind like a banner
Little me with my quiet upbringing
I, who had a humble and reserved upbringing
If I were a gate I'd be swinging!
I would swing open energetically like a gate
And if I were a watch
If I were a timepiece
I'd start popping my spring
I would vigorously release my stored tension
Oh, and if I were a bell
Oh, and if I were a bell
I'd go "Ding dong ding dong ding!"
I would emit a joyful ringing sound
From this chemistry lesson I'm learning
From this experience of romantic chemistry, I'm gaining knowledge
If I were a bridge I'd be burning!
I would be overcome by intense passion, like a burning bridge
Well, I knew my moral would crack
Well, I anticipated that my moral principles might weaken
From the wonderful way you looked
From the captivating manner in which you appeared
Boy, if I were a duck I'd quack
Boy, I would express my uncontrollable delight, just like a quacking duck
Or if I were a goose I'd be cooked!
Or I would be caught up in a hopeless situation, similar to a cooked goose
Now that we're fondly caressing
Now that we are affectionately touching
And if I were a salad
And if I were a dish of mixed greens
I know I'd be splashing my dressing!
I am certain that I would be enthusiastically tossing my dressing
Or if I were a season
Or if I were a period of time
I'd surely be Spring
I would undoubtedly represent the season of Spring
Yes, and if I were a bell
Indeed, if I were a bell
Say, if I were a bell
Imagine, if I were a bell
If I were a bell
If I were a bell
I'd go "Ding dong ding dong ding!"
I would emit a joyful ringing sound
Lyrics © Sony/ATV Music Publishing LLC
Written by: MARY C BROCKERT
Lyrics Licensed & Provided by LyricFind
theHellza Poppin
thank you R H for sharing this rare pearl :D
Eyesayah
Album credits:
John Coltrane Guest Artist, Performer, Sax (Tenor)
Julian Euell Bass
Bill Hardman Trumpet
Jackie McLean Guest Artist, Sax (Alto)
Sahib Shihab Sax (Alto)
Idrees Sulieman Guest Artist, Trumpet
Art Taylor Drums, Guest Artist
Ed Thigpen Drums, Guest Artist
Mal Waldron Composer, Performer, Piano, Primary Artist
Mal Waldron Sextet Primary Artist
Paul Kelly
Mal is one of the most underrated pianists and composers of the 20th century.
namebutler
Here from NY Times article?
Thom Liakos
X oh on.