Ahmad Jamal At The Pershing

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.

Both albums presented here, Ahmad Jamal at the Top: Poinciana Revisited and Freeflight, offer excellent portraits of the great pianist in transition at the end of the '60s and beginning of the '70s. Both feature Jamal's great rhythm section of bassist Jamil Sulieman Nasser and drummer Frank Grant. The first date was recorded in in 1969 at the Top of the Village Gate in New York City. Its reveals Jamal playing in a more driving, percussive style, though he keeps his utterly elegant chord voicings intact. Check the opening reading of Rodgers & Hart's "Have You Met Miss Jones," played as a slippery, complex, hard bop tune with some modal and Latin elements added. The version of "Poinciana" here is quicker, deeper in the rhythmic cut…

Mostly recorded in Paris, with two additional tracks from New York, this absorbing collection is a testament to the continuing ability of Ahmad Jamal to startle and engage jazz listeners who are tired of Tyner/Evans clones and want to hear something different. An equal mixture of standards and Jamal compositions, some of which move through several contrasting sections, this CD reaches its peaks when Jamal and company dive in and work around a single bass ostinato and a propulsive rhythm groove. Bassists James Cammack (Paris) and Jamil Nasser (New York) provide the former, drummer Idris Muhammad and percussionist Manolo Badrena are in charge of the latter, and a tough-sounding George Coleman turns up on tenor on the New York tracks…

Although Ahmad Jamal's recording career was erratic at this period, his live performances were as good as his earlier work. Teamed up with bassist Sabu Adeyola and drummer Payton Crossley, Jamal interprets a diverse program highlighted by "Waltz for Debbie" and "I've Never Been In Love Before," although recording "People" was probably a mistake.

AFew of pianist Ahmad Jamal's many recordings are not worth picking up, and this effort for Atlantic boasts some fresh material and fine playing. Jamal (joined by bassist James Cammack, drummer Herlin Riley, and percussionist Manolo Badrena) performs seven of his little-known originals and the obscure "Yellow Fellow." The close musical communication by the players is, as always, the main reason to acquire this release.

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…