Avid Jazz continues with its Four Classic Album series with a re-mastered 2CD second set release from Ahmad Jamal, complete with original artwork, liner notes and personnel details.
“Chamber Music Of The New Jazz”; “Ahmad Jamal Trio”; “Count ‘Em 88” and “Listen To The Ahmad Jamal Quintet”.
Born in Pittsburgh in 1930 Ahmad Jamal started playing piano at 3 years old and turned professional at 14! His early influences include Earl Hines, Erroll Garner and Mary Lou Williams and he had the distinction of being spotted as a “coming great” by none other than Art Tatum. He discovered Islam in his 20s and in 1950 Fred Jones became Ahmad Jamal as he took the Muslim faith…
Tranquility (1968). This hard-to-find recording is of value if only to hear Jamal's interpretation of two Burt Bacharach-Hal David gems from the '60s, "I Say a Little Prayer" and "The Look of Love." Since the early '50s, Jamal has managed to generate commercial appeal within the piano trio format by crafting memorable arrangements without resorting to clichés. (Jamal's trio concept paved the way for the success of Ramsey Lewis, the Three Sounds, and others.) He treats the entire trio - not just the piano - as his instrument and has mastered the use of space and dynamic variation in shaping his distinctive group sound. Jamal has a keen sense of formal structure; his concise renderings of standards and pop tunes always offer a fresh take on the familiar by deconstructing and reconstructing melodic, harmonic, and rhythmic themes…
Emerald City Nights: Live at the Penthouse (1965-1966) brings forth a collection of previously unreleased recordings of the iconic pianist Ahmad Jamal captured live at the hallowed Seattle jazz club. Featuring trios with bassist Jamil Nasser, and drummers Chuck Lampkin, Vernel Fournier and Frank Gant.
There are some magical moments on this quartet set featuring pianist Ahmad Jamal, bassist James Cammack, drummer David Bowles and percussionist Willie White. Jamal's control of dynamics and inventive use of space proved to be as effective as it had been when he first made his mark in the 1950s, although his chord voicings and general style had evolved. Jamal and his group perform ten of his originals with taste, swing and subtle surprises.
With a beautifully economical piano style full of grace, depth, tone, and plenty of swing, Ahmad Jamal is simply one of the greatest pianists in the history of jazz, but he has been woefully underexposed, even as he has been a giant influence in the genre, on Miles Davis, for one, and Gil Evans, who flirted with Jamal's chamber jazz style. This set collects eight of Jamal's seminal albums, 1955's Chamber Music of the New Jazz, 1956's Count 'Em 88, 1958's Ahmad Jamal Trio at the Spotlight Café and Ahmad Jamal at the Pershing: But Not for Me, 1959's Jamal at the Penthouse, 1960's Happy Moods, and 1961's All of You and Standard Eyes, all in one package. Together they form perhaps Jamal's richest creative stretch, making this set a welcome delight.
What a find. Brilliant original compositions and arrangements by one of the Jazz worlds greatest pianists; performing with a classical string quartet who opened their hearts to the whole concept of what Jazz is all about..a true spiritual fusion. Ahmad's solo improvisations are jewels of wisdom, tenderly recorded… This is a great CD.
With courage and humility Ahmad Jamal and the Assai Quartet venture into their uncharted common ground - a place where culture and tradition become muted backdrops to voices speaking freely. As it ought to be, the final composition, A Short Piece, features a solo for each member of the string quartet and then concludes with sophisticated harmonies that resolve into a simple lullaby.
It is a pity that this LP is long out of print (and that the Catalyst label went out of business quite awhile ago), for it gives listeners an excellent example of the playing of pianist Ahmad Jamal in the mid-1970s. His group (comprised of guitarist Calvin Keys, bassist John Heard, drummer Frank Gant and Seldon Newton on conga) was temporarily larger than usual, and Jamal stretches out on three originals (including "Effendi") and a lengthy remake of his biggest hit, "Poinciana."