# New CD – 2025: Michael Waldrop – Native Son: Video, CD cover, Direct purchase

- Link: https://jazzblues.eu/2025/06/11/new-cd-2025-michael-waldrop-native-son-video-cd-cover-direct-purchase/
- Published: 2025-06-11T00:03:46+01:00
- Author: https://JazzBlues.EU

**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.

**Michael Waldrop** is arguably one of the most diverse percussionists in the world.
He is comfortable in a jazz or commercial music setting as a drumset player, and
he is equally at home in a classical orchestral setting.

He is a virtuoso marimbist, whether performing his own music, or that of other composers.
Michael is also adept at hand drumming, having studied with some of the greatest
hand percussionists in the world.

He is proficient on the tar as well as conga drums. In addition to these impressive
performance skills, Waldrop is a skilled composer in both the jazz and percussion
idioms.

His compositions are published by Drop6 Media. He was educated at the University
of North Texas, receiving both his BM in Percussion Performance and completing his
DMA in Percussion Performance in 1999. He was the drummer for the renowned One O’Clock
band in 1994 and can be heard on three CD’s with the group: Lab 94, Standard Time,
and Fifty Years.

He is currently the professor of percussion at Eastern Washington University and
has held similar positions prior to this at the University of Toledo, University
of Memphis, and Mesa State College in Colorado.

Waldrop’s musical beginnings were typical. He grew up listening to the radio and
popular music and showed an aptitude for drumming along with the music, so his parents
bought him a small drumset and he started studying in school and later privately.
His musical education progressed rapidly when he moved from the Atlanta area to 
Ithaca, NY in the ’70s.

He had the good fortune to study and perform with some terrific musicians and percussionists
in that area, including Ithaca College percussion professors Bill Youhass and Gordon
Stout.

Waldrop also had the good fortune to perform with renowned guitarist David Torn (
composed and performed music for the movie Traffic) at the young age of 18. He was
playing professionally in upstate NY by the age of 17.

After high school, it was off to the University of North Texas. The UNT experience
was invaluable in terms of gaining essential skills as a performer and also being
exposed to a wide variety of music, ranging from 20th-century contemporary classical
music, avant-garde jazz, and especially big band performance.

Waldrop performed with many fantastic artists at UNT; while there, he was a member
of the Dan Haerle Quartet, The Zebras (with pianist Michael Cain), Inner City recording
artists Condor, the Bob Belden Quartet, and the Jay Saunders Group.

He studied with many great teachers while there, including Robert Schietroma, Ron
Fink, Ed Soph, Henry Okstel, Kal Cherry, Michael Carney, and Greg Bissonette.

A deeply affecting project that runs the gamut from the churning percussion fueled
title track to tender ballads, a slamming funk-laden number in seven and spirited
tributes to masters Elvin Jones and Nana Vasconcelos,- said Bill Milkowski.

**Buy Michael Waldrop’s new Native Son CD!!!**

The best way for me to interact with listeners is through my website:[ www.michaelwaldrop.com](http://www.michaelwaldrop.com/)
or [www.michaelwaldrop.net](http://www.michaelwaldrop.net/) .  It is the same website,
I just have two URLS.   Michaelwaldrop.com URL became available 5 years ago and 
I purchased the rights to it..but decided to keep the original .net version as well.
I have facebook, youtube and Instagram pages as well but my website is the best 
way to find out about my activities.

[https://www.youtube.com/@michaelwaldrop1](https://www.youtube.com/@michaelwaldrop1)

[https://www.facebook.com/michael.waldrop.161/](https://www.facebook.com/michael.waldrop.161/)

[https://www.facebook.com/MichaelWaldropMusic/](https://www.facebook.com/MichaelWaldropMusic/)

[https://www.instagram.com/michaelwaldropmusic/](https://www.instagram.com/michaelwaldropmusic/)

### Track Listing:

1  Native Son  6:34
 2  Vasconcelos  7:57 3  Pythia: The Speaking Water  6:17 4 
El Vino  6:27 5  Belgrade (Београд)  6:02 6  Bitter End  4:43 7  Still Life  7:38
8  The Wrong Blues  6:35

### Performers:

**Vasil Hadžimanov – piano**
 **Martin Gjakonovski – bass** **Michael Waldrop – 
drums** **Brad Dutz – percussion (1-3,5-7)** **Jose Rossy – percussion (1-3)** **
Chris Symer – bass (5)**

[**Buy from here – New CD**](https://www.ebay.co.uk/itm/376252687308)

![](https://i0.wp.com/blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdF5xaPTKseYXctmY9uK88SvR4_AMU3JAusacUJO0ra_m42cunPhnovw5WJn0aJcYL41Z2iIRtwfR-
UtPfjdjUguzglgsxLzO0nEhECliWkqcfIMtJR8-ia2elreOnWekdKTFLK0QUVEFdL84-lqGvmk5cHUB7r63KhhsqSIdDFWwnb5aivC5PQ38oOvu7/
w1376-h1235/Front%20Cover.jpg?resize=640%2C573&ssl=1)

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