Native Son

Drummer, vibraphonist, and composer Michael Waldrop's on Native Son is an ambitious and diverse representation of his work, highlighted by a wide-ranging, cross-genre aesthetic and his wildly dynamic big band.

Inspired by the earthy and primal works of Cuban artist Wilfredo Lam, arranger Jack Cooper transformed three of Waldrop's compositions into an evocative and epic "Native Son," with the movements titled after three of his paintings.

A Bridge Between Eastern Europe and the U.S. Michael Waldrop's Transatlantic Vision. Well known throughout Europe for decades, the virtuoso Serbian pianist Vasil Hadžimanov only became known to drummer Michael Waldrop while performing in a Belgrade club that Waldrop dropped in on during one of his yearly visits with in-laws.

Later, stuck in his Pacific Northwest home during the pandemic, Waldrop thought to include Vasil in a remote recording session of his tune "Belgrade," which he had composed in 2001, reflecting the feelings of his first exposure to the city.

Thrilled with the outcome, they eventually met in a Belgrade studio in 2024, joining with the equally inspired Macedonian bassist Martin Gjakonovski, to record this set of Waldrop originals as a trio. Waldrop then enlisted Brad Dutz and Jose Rossy to enhance the proceedings with an array of Afro-Cuban and Middle Eastern percussion instruments.

Running the gamut from the churning percussion-fueled title track to tender ballads, and spirited tributes to masters Nana Vasconcelos and Elvin Jones, Native Son is another vibrant offering from Waldrop's growing catalog of ambitious releases.

A bridge between Eastern Europe and the United States that's precisely what composer and drummer Michael Waldrop sets out to create with his latest album. To understand how this ambitious musical dialogue came to life, it helps to know the story behind it.

The virtuoso Serbian pianist Vasil Hadžimanov has long been a household name across Europe. Yet he only came to Waldrop's attention much later, during an impromptu visit to a jazz club in Belgrade while Waldrop was spending time with his in-laws in Serbia. That serendipitous encounter left a lasting impression.

Native Son started as a casual collaboration during the pandemic with Serbian pianist Vasil Hadžimanov. I had composed Belgrade during my first visit to Belgrade in 2000. My wife is Serbian and we visit their often. I first heard Vasil play in a club in 2012 and was deeply impressed. I reached out to Vasil later about doing a remote collaboration on that tune; I wanted to hear a pianist from Belgrade interpret the tune. The remote collaboration sounded fantastic; I used this recording as a demo to appy for a creative works grant from my employer Eastern Washington University to fund the CD.

The grant proposal was accepted and I spent most of 2024 working on the project. Vasil introduced me to the great Macedonian/German bassist Martin Gjakonovski and we recorded the album in three days in Belgrade in August of 2024,- an interview with us said Michael Waldrop,- Native Son represents a return to the trio format introduced in my first album "Triangularity". It differs in the use of auxiliary percussion and in that it was recorded in Europe. I've always liked the fresh approach Europeans bring to jazz. They in many ways have a more objective view of jazz. I love ECM recordings. America is the birthplace of jazz but Americans can have a myopic view of the art form; lately it manifests as an obsession with tradition. This is of course important, cause the American jazz tradition runs very deep. However it's kind of like my ideas regarding the collaborative process in composition and recording of my albums; sometimes it takes someone OUTSIDE of the music to hear characteristics that are hidden to the originators of the music. The "Native Son" title track began with a drum groove. Other compositions begin with a motive or phrase that I like (usually found while improvising on piano or vibraphone). I'll then use compositional techniques to expand on the original idea. I use a lot of techniques in my compositions: inverting motives for different sections. Rhythmic and or tonal augmentation/diminution of the original motive to sustain interest. Occasionally I will take a programmatic idea (story based) and turn it into a composition. "Bitter End" from Native Son is one such piece; that is based on a strange dream I had.

Waldrop revisited a piece he had composed back in 2001 Belgrade, a sonic impression of his first visit to the city. He reached out to Vasil, proposing a remote recording session. The resulting track exceeded expectations. Energized by the experience, they convened in a Belgrade studio in 2024, joined by inspired Macedonian bassist Martin Gjakonovski, to record a full set of Waldrop's original compositions as a trio.

To broaden the album's rhythmic color, Waldrop invited Brad Dutz and José Rossy to contribute a rich palette of Afro-Cuban and Middle Eastern percussion. The result is Native Son a recording that seeks to transcend borders and distill a shared musical language.

More and more albums today strive to build bridges between Europe and the U.S. Céline Bonacina's brilliant Jump, in which the French saxophonist invited American musicians into her world, is one such example. Yet Native Son stands out as the most compelling project of its kind I've encountered to date.

As is often the case with European pianists, Hadžimanov's classical background permeates his playing adding both depth and refinement to the music. This fusion of classical sensibility and jazz improvisation contributes greatly to the album's distinctive magic. One gets the sense that the Serbian musicians had a strong hand in shaping the arrangements, especially evident during the instrumental solos moments where the drums take a respectful step back.

Waldrop's own musical path was deeply shaped by his time in Memphis during the late 1980s. After earning a scholarship to pursue a Master's in Jazz Performance at the University of Memphis, he studied jazz piano and composition under the guidance of Gene Rush, a noted pedagogue who also taught Harold Danko. It was there that Waldrop immersed himself in the spiritual and aesthetic richness of the blues, a constant presence in Memphis's cultural fabric. This period became a turning point, expanding his musical vision beyond conventional forms and modes.

He played across the spectrum jazz concerts, musicals, funk and blues bands collaborating with legends such as Phineas Newborn, Della Reese, Frank Gambale, Eliane Elias, Randy Brecker, and Marvin Stamm. In 1989, he performed on the soundtrack of Christmas Vacation, at the invitation of celebrated keyboardist Lester Snell (a longtime collaborator of Isaac Hayes and Shaft composer).

All in all, Native Son is a compelling and adventurous project. If the mix had allowed more breathing room for the ensemble, its emotional impact might have been even greater. Nevertheless, the compositions shine with a singular voice, and the artistic propositions throughout the album offer much to reflect upon and to learn from.