Archive for the Ahmad JAMAL Category

Ahmad JAMAL – Chicago Revisited, Live At Joe Segal’s Jazz Showcase 1993

Posted in Ahmad JAMAL, JAZZ on December 26, 2010 by whoisthemonk

Ahmad JAMAL – Chicago Revisited, Live At Joe Segal’s Jazz Showcase 1993


Although it had been more than 40 years since his debut recording, pianist Ahmad Jamal’s playing was as viable as ever in the 1990s. Teamed up with bassist John Heard and drummer Yoron Israel for this live Telarc CD, Jamal plays a particularly inspired repertoire that includes “All the Things You Are,” Clifford Brown’s “Daahoud,” John Handy’s “Dance to the Lady” and “Be My Love” among its nine selections. Jamal’s style had developed since his early days, but his basic approach was unchanged while still sounding quite fresh. This date is an excellent example of Ahmad Jamal’s unique sound and highly appealing music in the ’90s.
By Scott Yanow. AMG.
Ahmad Jamal- (Piano);
John Heard- (Bass);
Yoron Israel- (Drums).
01. All The Things You Are 7:37
02. Daahoud 3:58
03. Tater Pie 6:56
04. Bellows 12:35
05. Blue Gardenia 7:57
06. Dance To The Lady 6:15
07. Be My Love 5:20
08. Where Are You 4:11
09. Lullaby Of Birdland 4:52
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Ahmad JAMAL – Heat Wave 1966

Posted in Ahmad JAMAL, JAZZ on December 22, 2010 by whoisthemonk

Ahmad JAMAL – Heat Wave 1966
LPS 777


Ahmad Jamal– Piano
Jamil Nasser– Bass
Frank Gant– Drums
A1. Heat Wave 3:37
A2. April in Paris 3:22
A3. Allison 2:54
A4. Gloria 2:53
A5. St. Thomas 4:20
B1. Misty 2:49
B2. Maybe September 2:50
B3. The Fantastic Vehicle 4:08
B4. The Girl Next Door 6:37
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Ahmad JAMAL Feat. George COLEMAN – 2000-10-26 Zurich

Posted in Ahmad JAMAL, George COLEMAN, JAZZ on December 20, 2010 by whoisthemonk

Ahmad JAMAL Feat. George COLEMAN – 2000-10-26 Zurich
Jazznojazz Festival
Zürich (Switzerland), Theaterhaus Gessnerallee
October 26, 2000
Thx To *Ubu*


I was at this concert, and it was great! They did “Autumn Leaves” modelled after
the classic version on Cannonball’s “Something Else” as an encore. I stood right
in front of Coleman for most of the concert and enjoyed the sh*t out of it.
Jamal was in a rumbling mood… his style certainly changed a lot since his
classic 50s sides with Crosby/Fournier (still my favourite Jamal), and I must
say, I don’t like his current playing nearly as much – but at spots, his
brilliance is still there… Cammack provides solid support, but not much more,
but Muhammad is *great*! Earlier that night there were sets by Jacky Terrasson
with Leon Parker (I may have that, but I’m not sure) and Larry Goldings’ trio
with Bill Stewart (not broadcasted) – so it was sort of a “drummer’s night”, and
all the better!
Then after 3 tunes enters George Coleman… check it out yourself!
By Ubu.
Ahmad Jamal- Piano
James Cammack- Bass
Idris Muhammad- Drums
George Coleman – Tenor sax, on #4-8
01. Aftermath (Jamal) 8:58
02. Kaleidoscope (Jamal) 10:28
03. Crossroads (Jamal) 9:59
04. This I Dig of You (Hank Mobley) 14:27
05. My Foolish Heart (Victor Young) 13:29
06. You Can’t See (Monty Alexander) 12:21
07. Devil’s in My Den (Jamal) 9:10
08. Autumn Leaves (Kosma-Prévert-Mercer) 9:17

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Ahmad JAMAL with Voices – The Bright, Blue, and the Beautiful 1968

Posted in Ahmad JAMAL, JAZZ on December 18, 2010 by whoisthemonk

Ahmad JAMAL with Voices – The Bright, Blue, and the Beautiful 1968
Recorded February 12-13, 1968 at NY.


Jamal typically plays with a bassist and drummer; his current trio is with bassist James Cammack and drummer Idris Muhammad. At the Toronto Jazz Festival (June 2008) and perhaps elsewhere, Jamal’s group included innovative percussionist Manolo Badrena.[5] Jamal has also recorded with saxophonist George Coleman on the album The Essence; with vibraphonist Gary Burton on the recording “In Concert”; with the voices of the Howard A. Roberts Chorale on the recordings “Bright, Blue and Beautiful” and “Cry Young”; with brass, reeds, and strings celebrating his hometown of “Pittsburgh”; and with “The Assai Quartet”, among other non-trio achievements.
Sounds cheesy – but this is a pretty wonderful album, the kind that really gets at the dark genius of Jamal! Ahmad’s trio with Frank Gant and Jamil Sulieman is joined by the Howard A Roberts Chorale, set to arrangements by Jamal and Joe Kennedy that create these dreamy pillows of sound, pushing the voices forward like piles of feathers, supporting Ahmad’s lines on piano with amazing subtlety, evoking a really moody late night sound. Richard Evans produced, and the whol thing has that sophisticated groove of the best late 60s Cadet work. Titles include “Never Let Me Go”, “Wild Is The Wind”, “Yesterdays”, “Of Bass I Love”, and “By Myself”.
From Dusty Groove.
Bass- Jamil Sulieman
Choir- The Howard A. Roberts Chorale
Conductor- Hale Smith
Drums- Frank Grant
Piano- Ahmad Jamal
A1. Wild Is The Wind  2:38
A2. Ballad For Beverly  3:24
A3. Of Bass I Love  2:40
A4. Yesterdays  2:40
A5. I Wish I Knew (How It Would Feel To Be Free)  2:47
B1. At Long Last Love  2:50
B2. Never Let Me Go  2:23
B3. Gypsies In The Wind  2:55
B4. Lover Man  2:48
B5. By Myself  3:00

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Ahmad JAMAL – Chamber Music of the New Jazz 1955

Posted in Ahmad JAMAL, JAZZ on December 15, 2010 by whoisthemonk

Ahmad JAMAL – Chamber Music of the New Jazz 1955
2004 Issue


This album is unusual in two ways. Because pianist Ahmad Jamal would soon become famous for his piano/bass/drums trios, it is often forgotten that, up until 1956, his group consisted of bassist Israel Crosby and guitarist Ray Crawford. Crawford’s percussive hitting of his guitar would soon be utilized by Herb Ellis in Oscar Peterson’s Trio.
And, although it is known that Miles Davis listened closely to Jamal and often “borrowed” his repertoire, few probably realize that Gil Evans based some of his famous arrangements on Jamal’s interpretations.
A comparison of “New Rumba” and “Medley” (which is really “I Don’t Want To Be Kissed”) on this album with Evans’ version for Miles Ahead in 1957 sounds nearly identical despite the very different personnel. It is a pity that Jamal would soon change his group’s instrumentation since his communication with Crawford and Crosby (heard here on such tunes as “A Foggy Day,” “All of You,” “I Get a Kick out of You” and “Spring Is Here”) was often magical, but he would soon gain great popularity with the upcoming guitarless trio (which was just as telepathic).
If we stress the delicacy of Jamal’s style, we do not mean that this quality is absent from his contemporaries, they all have it in varying degrees, but no one has pushed the quiet tone to its limit as he has done, for example, in the opening strains of his PERFIDIA, or WILL YOU STILL BE MINE, and his records on Okeh, which made him famous. His recent releases on Argo seem to point to a second Jamal phase, a new development of thequietly rhythmic. In passing it might be said that his first LP has one side superior to the other, the one with I GET A KICK OUT OF YOU, JEFF, DARN THAT DREAM.
In this accent on the delicate beat Jamal is as different from his contemporaries as a Mozart trio is from Beethoven’s ninth symphony. In introducing the light lyric, one might almost say the “pastoral” tone, into the new jazz Jamal has found a style as original as any of his contemporaries. The predominance of the high register, played softly but with great rhythm, and in simple swing patterns without a great deal of chording and fireworks, is probably the leading formal aspect of his style. His combo, whose most noticeable feature is a guitar doubling for a high-pitched bongo effect, also has a distiner style. This bongo effect is very successful. At its best, it is like listening to a bubbling brook on a jazz kick.
In addition to the new style there is a great mood in Jamal. His contemporaries are spectacular and complicated in comparison to the quiet joy, the fairylike simplicity and ease of this young pianist. In his tremulous lyrics we find something of a friendly child, something natural and clear. This music, however, is not cheaply relaxing. Its simple beauty is born of a tender sadness, the wonderment of a lost child in short, this music has that rarest form of vibrancy and joy, the kind that knows of tragedy.
End Review:
Ahmad Jamals “Chamber Music For The New Jazz” remains one of the most technically brillant works recorded. And to think he was 25 when he recorded this, just boggles the mind. This album has that desert island status about it, just to good to leave behind.
A solid find for a serious jazz library. If this is not cataloged in your library here is that rare opportunity to acquire.
By  Edward Abbott.
Well, if you are not a jazz fan, stop reading…For you jazz lovers, this album is a taste of the creation of the modern trio. Although back then trio’s were not always b/d/p, this is a classic trio. Ahmad has inspired monsters such as Jarrett and Mehldau, with his classic, smooth playing. This album sounds really old, but the classics never get old to me…
By  Juno Hopsker.
Ahmad Jamal- Piano
Israel Crosby- Bass
Ray Crawford- Guitar
01. New Rhumba 4:39
02. A Foggy Day 4:23
03. All Of You 3:15
04. It Ain’t Necessarily So 3:00
05. I Don’t Wanna Be Kissed 3:26
06. I Get A Kick Out Of You 4:50
07. Jeff 4:52
08. Darn That Dream 3:10
09. Spring Is Here 4:01

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Ahmad JAMAL – In Concert with Gary BURTON 1981rton

Posted in Ahmad JAMAL, Gary BURTON, JAZZ on December 14, 2010 by whoisthemonk

Ahmad JAMAL – In Concert with Gary BURTON 1981


Two of the major stylists in contemporary jazz, pianist, Ahmad Jamal and Vibraphonist, Gary Burton, join forces for the first time in a spirited, greatly entertaining program of improvisations. Recorded live at the Palace of Festivals Theatre during the 1981 MIDEM music industry convention, in Cannes, France, this special evening produced some marvelous and memorable music. It is a tribute to the deep communicative powers of these two superlative melodists.
Ahmad Jamal- Piano
Gary Burton- Vibraphone
Payton Crossley- Drums
Sabu Adeyola- Bass
01. Spoken Introduction 0:51
02. Morning Of The Carnival 10:47
03. One 9:46
04. Bogata 10:28
05. Tones For Joan’s Bones 4:37
06. Autumn Leaves 5:56

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Ahmad JAMAL – Portfolio of Ahmad Jamal 1959

Posted in Ahmad JAMAL, JAZZ on December 12, 2010 by whoisthemonk

Ahmad JAMAL – Portfolio of Ahmad Jamal 1959
LP 2638
Recorded: September 5 & 6, 1958, Spotlite Club, Washington, DC
Thx To *Prestontw*


There’s this, from Shirley Horn in 1991: “Ahmad Jamal is my Debussy and Oscar Peterson my Rachmaninov.” Or Jarrett, on growing up: “You couldn’t hear jazz in Allentown. Then one day I found this album called Portfolio of Ahmad Jamal. I was completely fascinated by it.” Or Diana Krall: “I’m inspired by Ahmad Jamal and the way he took standards and did them his own way. I find that creatively fulfilling.”
“I believe in improvisation. All musicians improvise. Even Bach, Mozart and Beethoven improvised. Improvisation and freedom are synonymous. The goal of every musician is to be free, but freedom is rare.”

“I’m a wordless storyteller, someone who cares about the dynamics of music…Musical dynamics are human dynamics.”
“I’ve tried every context imaginable, but the trio is the most demanding. It’s very difficult to get an orchestral sound out the trio, but we do because I think orchestrally. The trio allows me a lot of space. I can play solo piano, duets with the bassist, drums and piano. Playing at optimum level is the challenge. What’s necessary for me is establishing a meaningful statement musically; and my experiences dictate certain musical utterances; and my training and inherent sense of judgment all feed into this. I already know what is happening before I reach the bandstand ninety per cent of the time. The value lies in my skill to interpret a song. It may go better than I planned, in some instances, but it’s not going to go any worse.”
“I listen to my own music now because I’m busy writing now–I started hearing some things–I’m writing all the time.  When you write you have to listen.  Writing music is very difficult. At a certain level the work begins to dictate itself.   I write the piano score first, then I’ll set down a bass line.  Sometimes I’ll give the bass the bottom and I’ll play subordinate tones.  I use very close harmonies.  I like strong rhythmic ideas, too.”
“It’s always exciting for me to sit down at the piano, and every time I do, something new happens, something surprises me, or I surprise myself. I played Poinciana last night and it was like a new song. That’s the reason there’s no such thing as old music. The wonderful thing about music is that it’s ageless.”
Ahmad Jamal
This is one fine Ahmad Jamal rekkid…a beautiful limited edition gatefold 2 LP Set which collects the remaining takes of the September 1958 Spotlite Club recordings left off the ‘Volume 4’ side. I think that if you had to first introduce someone to the beauty and genius of Jamal- start with this side. Excellent fidelity off the original Argo mono deep groove vinyl.
By Prestontw.
Ahmad Jamal- Piano
Israel Crosby- Bass
Vernell Fournier- Drums

A1. This Can’t Be Love  4:48
A2. Autumn Leaves  7:34
A3. Ahmad’s Blues  3:54
B1. Ole Devil Moon  3:50
B2. Selertius  3:02
B3. It Could Happen To You  4:06
B4. Ivy  2:45
B5. Tater Pie  2:56
C1. Let’s Fall In Love  4:54
C2. Aki Ukthay  3:13
C3. You Don’t Know What Love Is  4:21
C4. I Didn’t Know What Time It Was  3:20
D1. So Beats My Heart For You  3:36
D2. Gal In Calico  4:45
D3. Our Delight  4:50

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