Ahmad Jamal - Emerald City Nights: Live at the Penthouse 1966-1968 Disc 1, Disc 2

Album: Emerald City Nights: Live at the Penthouse 1966-1968 Disc 1
Styles: Piano Jazz
Year: 2023
File: MP3@160K/s
Time: 45:11
Size: 52,0 MB
Art: Front

( 4:49) 1. Gloria
( 7:33) 2. Fantastic Vehicle
(12:36) 3. Misty
(15:08) 4. Mr. Lucky
( 5:03) 5. Autumn Leaves

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Album: Emerald City Nights: Live at the Penthouse 1966-1968 Disc 2
Time: 48:35
Size: 55,9 MB

(11:01) 1. Corcovado (Quiet Night Of Quiet Stars)
( 8:36) 2. Where Is Love
( 9:30) 3. Dance To The Lady
( 6:58) 4. Naked City Theme
( 2:51) 5. Emily
( 9:36) 6. Alfie

It was a time of warring nations, either within themselves or without. John Coltrane had fallen as Miles Davis was firing up the jazz/funk. It was a time of young men screaming, their bodies on fire. Black and white images of villages savaged and children starving.

Into these unrivaled moments they had just taken down a holy man in Memphis a month before Ahmad Jamal, his uncluttered allegiance to cool, underscored syncopation, and profound ease and understanding of Erroll Garner's orchestral maneuvers, rides high the groove on Emerald City Nights: Live At The Penthouse 1966-1968 and conclusively, both then and now, takes your mind off those, and these, turbulent times.

Volume three could unarguably be the master class of the whole endeavor. Which is no small feat considering the gymnastics of Emerald City Nights: Live At The Penthouse 1963-1964 and Emerald City Nights: Live At The Penthouse 1965, (both from Elemental Music, 2022.) Here, Jamal, bassist Jamil Sulieman Nasser and drummer Frank Gant lock into that Vulcan Mind Meld thing we were hearing so much about back then, making these performances no these passing works of art that burn in the brain until only shadows remain lift the audience into a state of euphoria that is hard to explain but one damn well knows it when it hits.

Take for instance the narrative stretch of "Fantastic Vehicle" and "Misty" from September 29,1966 and "Mr. Lucky," and "Autumn Leaves" from just under a year later. True masterpieces of the form each and every one. Yet this trio plays them in an unprecedented manner and exhilarating form. It is that provocative, harmonic grace only Jamal mastered and with which Davis took great electric liberty.

This is sly, rhythmic derring-do at its best. And it is within these four performances alone that the disc becomes invaluable. "Mr. Lucky" rips with a morse code punctuation and Nasser's fast and furious double timing. Hear him rip full force again on Antonio Carlos Jobim's ageless bossa nova "Corcovado (Quiet Night Of Quite Stars)." "Misty" is just an epic performance, that whole Vulcan Mind Meld thing in full swing. These three are tight but increasingly footloose, (let the two relentless Jamal/Gant fusillades be Exhibits A and B. Let Jamal's effortlessly fascinating runs here and, as on "Autumn Leaves," serve as Exhibits C and D)

Even with the 1967-1968 performances holding to a more classical, yet no more gregarious flaunting, trio approach, Emerald City Nights: Live At The Penthouse 1966-1968 is immensely satisfying and promises to be one of those killer hot Record Store Day Black Friday releases. But that is hardly the point and probably of no consequence at all. For the music on Emerald City Nights: Live At The Penthouse 1966-1968 has a decisively no-holds-barred pulse. It may not be exactly the steady beat of the blood, but it is definitely a pulse that keeps one alive.By Mike Jurkovic
https://www.allaboutjazz.com/emerald-city-nights-live-at-the-penhouse-1966-1968-ahmad-jamal-jazz-detective

Personnel: Ahmad Jamal piano; Jamil Nasser bass; Frank Gant drums

Emerald City Nights: Live at the Penthouse 1966-1968 Disc 1, Disc 2

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Ahmad Jamal - Emerald City Nights: Live At The Penthouse 1963-1964, 1965-1966

Emerald City Nights Live At The Penthouse 1963-1964 CD 1
Styles: Piano Jazz, Bop
Year: 2022
Time: 34:23
File: MP3 @ 320K/s
Size: 78,9 MB
Art: Front

(10:29) 1. Johnny One Note
( 7:20) 2. Minor AdJustments
( 6:06) 3. All Of You
(10:27) 4. Squatty Roo

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Emerald City Nights Live At The Penthouse 1963-1964 CD 2
Styles: Piano Jazz, Bop
Year: 2022
Time: 56:27
File: MP3 @ 320K/s
Size: 129,5 MB
Art: Front

(12:17) 1. Bogota
( 7:45) 2. Lollipops & Roses
( 8:16) 3. Tangerine
( 8:58) 4. Keep On Keeping On
(13:48) 5. Minor Moods
( 5:21) 6. But Not For Me

Emerald City Nights Live At The Penthouse 1963-1964 CD 1, CD 2

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Emerald City Nights Live At The Penthouse 1965-1966 CD 1, CD 2

Styles: Piano Jazz

Year: 2022
File: MP3@320K/s
Time: 78:02
Size: 179,5 MB
Art: Front

(15:06) 1. I Didn’t Know What Time It Was
( 5:17) 2. Who Can I Turn To?
(10:33) 3. My First Love Song
( 9:26) 4. Feeling Good
(11:46) 5. Concern
( 5:43) 6. Like someone In Love
( 8:36) 7. Invitation
( 8:43) 8. Poinciana
( 2:47) 9. Whisper Not

Let's entertain the undisputed truth that Ahmad Jamal, all ninety-two years of him, is quite possibly the coolest cat on a warming planet and these companion double sets Emerald City Nights: Live at the Penthouse (1963-1964), and Emerald City Nights: Live at the Penthouse (1965-1966) take on a rather folklorish, must-have status.

With the blessing of His Coolness Jamal himself, Grammy-nominated producer and musical gumshoe Zev Feldman christens his new imprint, Jazz Detective, (itself a division of the Feldman-founded Deep Digs Music Group) in high, high fashion he has set as a standard with other crazy good releases by Cannonball Adderley Swingin' In Seattle Live At The Penthouse 1966-67 (Reel to Reel Recordings, 2019) and Bill Evans Some Other Time: The Lost Session From the Black Forest (Resonance Records,2016) just to name two of many.

Stunning on every possible sensory level audio, graphics, liner notes, performance both sets (a third set of recordings from the Penthouse, 1966-1968 is planed for future release) simultaneously captures Jamal and his cohorts in hot performance mode and sets them free to be heard like all greats should be: At the top of their game. Riding the frothy crest of the jazz world at the time, Jamal, along with bassist Richard Evans and drummer Chuck Lampkin (Disc 1-2 '63) and bassist Jamil Sulieman Nasser (Disc 3-4 '63) set the fires burning early. Rodgers & Hart's show tune "Johnny One Note" gets a fierce recalculation as Jamal creates off the cuff, on the spot, in synch to a whole other rascal level of show tune. This here is what live jazz, on any given moment of any night in any city or backwater, is and should be. Genius revealed. Genius shared.

Evans's romping, "Minor Adjustments" rolls from the stage with a spry and wiry minimalism too impossible (or too improbable) to describe. Let's just say cool abounds. Cool abides and Johnny Hodges's wild ranging "Squatty Roo" is a fast-paced testament to that. Evans' "Bogota" with Nassar on bass for this 3/26/64 gig, snaps and recoils making for a swaying, rhythmic adventure. Jamal throughout pulls from Art Tatum, Erroll Garner, as well as his contemporary Ramsey Lewis, whose insights into Jamal and the times they played accentuates the beautiful packaging, as do essays and analysis by Hiromi, Kenny Barron, Jon Batiste, Marshall Chess , Penthouse broadcast engineer Jim Wilke, Feldman, Aaron Diehl and others in the know.

Emerald City Nights: Live at the Penthouse (1965-1966) kicks off with another Rodgers/Hart show tune, "I Didn't Know What Time It Was" and the tune's inherent whimsy, when fused with Jamal's eccentric economy and the crackling pace of Nasser and Lampkin just skyrockets and ricochets from one end of the Penthouse to another. Hold tight as drummer Vernel Fournier engages in some playful wrangling to wrest control from Jamal on the pianist's own "Concern." Frank Gant picks up the drums and sets that soul/exotic hit single pace of "Poinciana," assuring Emerald City Nights: Live at the Penthouse (1965-1966) is indeed as worthy and exciting a set as the earlier 63-64 set and promises greater heights for all future releases. By Mike Jurkovic
https://www.allaboutjazz.com/emerald-city-nights-live-at-the-penthouse-1963-1964-emerald-city-nights-live-at-the-penthouse-1965-1966

Personnel: Ahmad Jamal: piano; Jamil Nasser: bass; Chuck Lampkin: drums; Richard Evans: bass .

R.I.P.
Born Jul 2, 1930
Died April 16, 2023

Emerald City Nights: Live At The Penthouse 1965-1966 Cd 1, Cd 2

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Ahmad Jamal - Live in Paris (1971)

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 39:45
Size: 91,2 MB
Art: Front

(15:32) 1. Bogota
(10:19) 2. Manhattan Reflections
(13:53) 3. Effendi

Following the release of two incredible previously unreleased live sessions by jazz greats Pharoah Sanders and Archie Shepp, the French label Transversales Disques has now issued the third of their brilliant Lost ORTF Recordings series featuring a 1971 Paris recording featuring legendary pianist Ahmad Jamal and his trio.

Recorded on June 25, 1971 at the Grand Auditorium Studio 104 in the Maison de la Radio, the trio, who also features Jamil Nasser on double bass and Frank Gant on drums perform expanded renditions of three tracks often associated with Ahmad, including “Bogota” (by Richard Evans), “Effendi” (by McCoy Tyner), and his own composition, “Manhattan Reflections”, which was first introduced on his classic Freeflight full-length for Impulse!.

This well-crafted unearthed live session truly captures Ahmad Jamal and his group at the beginning of what could arguably be his most exploratory and experimental period. Definitely a must-own LP for any Ahmad Jamal fan!
https://beatcaffeine.com/transversales-disques-unearths-incredible-live-1971-recording-of-ahmad-jamal-trio/

Personnel: Ahmad Jamal - (piano, Fender Rhodes); Jamil Nasser - (double bass); Frank Gant - (drums)

Live in Paris (1971)

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The Ahmad Jamal Trio - Chamber Music Of The New Jazz

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 35:39
Size: 82,0 MB
Art: Front

(4:39) 1. New Rhumba
(4:23) 2. A Foggy Day
(3:15) 3. All Of You
(3:00) 4. It Ain't Necessarily So
(3:25) 5. I Don't Wanna Be Kissed (By Anyone But You)
(4:50) 6. I Get A Kick Of You
(4:52) 7. Jeff
(3:10) 8. Darn That Dream
(4:01) 9. Spring Is Here

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 know 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).~Scott Yanow https://www.allmusic.com/album/chamber-music-of-the-new-jazz-mw0000656533

Personnel: Piano – Ahmad Jamal; Double Bass – Israel Crosby; Guitar – Ray Crawford

Chamber Music Of The New Jazz

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Ray Brown Trio - Some Of My Best Friends Are... The Piano Players

Bitrate: MP3@320K/s
Time: 55:48
Size: 127.7 MB
Styles: Contemporary jazz, Piano jazz
Year: 1995
Art: Front

[4:17] 1. Bags' Groove
[4:33] 2. Love Walked In
[7:11] 3. St. Louis Blues
[3:34] 4. Lover
[5:24] 5. Just A Gigolo
[3:46] 6. Ray Of Light
[6:05] 7. Giant Steps
[4:44] 8. My Romance
[4:36] 9. Close Your Eyes
[5:06] 10. St. Tropez
[6:26] 11. How Come You Do Me

Bass – Ray Brown; Drums – Lewis Nash; Piano – Ahmad Jamal (tracks: 4 to 6), Benny Green (tracks: 1 to 3), Dado Moroni (tracks: 7, 8), Geoff Keezer (tracks: 9), Oscar Peterson (tracks: 10, 11). Tracks 1-9 recorded November 21, 1994 at Clinton Recording Studio, Studio A, New York, NY. Tracks 10 & 11 recorded November 18, 1994 at Glenn Gould Hall, Toronto, Ontario, Canada.

On his Telarc disc, Ray Brown teams up with five different piano players but, rather than this being a tribute to the veteran bassist (who has solo space on every selection), the CD ends up being a celebration of the great Oscar Peterson because Benny Green, Dado Moroni, and Geoff Keezer have, to various degrees, based their styles on Peterson's, but the indivual standout is actually Ahmad Jamal, who had never previously recorded with Brown. Together with Lewis Nash they perform two blues and "Love Walked In," all renditions that make a liberal use of space and pay close attention to dynamics. Benny Green, who plays his "Ray of Light" along with two standards, had performed regularly with Brown in recent years and his selections offer few surprises. Dodo Moroni is fine on "My Romance" and inserts a bit of Erroll Garner on "Giant Steps," while Geoff Keezer (who had also never played with Brown) swings well on "Close Your Eyes." The CD concludes with a reunion between Oscar Peterson (who had recently recovered from a stroke) and Brown on "St. Tropez" and the upbeat "How Come You Do Me like You Do?" The results overall are pleasing and swinging (serving as a sampler of the pianists' styles), but not all that innovative. ~Scott Yanow

Some Of My Best Friends Are... The Piano Players

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Ahmad Jamal - Live In Paris 1996

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:33
Size: 137,9 MB
Art: Front

(14:07) 1. Bellows
(11:02) 2. Patches
(12:05) 3. Autumn Leaves
(12:23) 4. Devil's In My Den
( 9:55) 5. There's A Lull In My Life

In this glorious live document from 1996, the master pianist/composer/bandleader breaks from the trio format to feature guitar, violin, the great Manolo Badrena on percussion, and the thrilling sax work of George Coleman.~Editorial Reviewshttps://www.amazon.com/Live-Paris-1996-Ahmad-Jamal/dp/B00009WVTF

Ahmad Jamal - Piano; Calvin Keys - Guitar; Joe Kennedy Jr. - Violin; Yoron Israel - Drums; George Coleman - Tenor Saxophone; Jeff Chambers - Bass; Manolo Badrena - Percussion

Live In Paris 1996

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Ahmad Jamal - A Quiet Time

Styles: Piano
Year: 2009
File: MP3@320K/s
Time: 66:34
Size: 153,5 MB
Art: Front

(4:56) 1. Paris After Dark
(4:02) 2. The Love Is Lost
(7:45) 3. Flight to Russia
(6:02) 4. Poetry
(8:20) 5. Hi Fly
(5:15) 6. My Inspiration
(6:26) 7. After JALC (Jazz at Lincoln Center)
(6:33) 8. A Quiet Time
(7:23) 9. Tranquility
(4:29) 10. The Blooming Flower
(5:18) 11. I Hear a Rhapsody

Pianist Ahmad Jamal continues his career-long winning streak with A Quiet Time. The album expands on a stream of superb, post-mid 1990s releases made with largely the same working band: the Verve label's three-part The Essence series (1996-98), followed by Dreyfus' In Search of Momentum (2003), After Fajr (2005) and the excellent It's Magic (2008), among others. Jamal has achieved living legend status by constantly evolving and refining his sound throughout these albums, going well beyond the influential work that established his unique piano artistry and innovative trio conception back in the 1950s.

Jamal's longtime bandmates, bassist James Cammack and percussionist Manolo Badrena, remain in the mix on A Quiet Time. The drum throne previously held by an intimidating list of stars beginning with Vernel Fournier and, most recently, Idris Muhammad is newly filled by Kenny Washington - Vocals. Despite not sounding as immediately distinctive as his predecessors, Washington is a highly skilled expert with deep swing and a driving yet subtle style.

The album features nine original Jamal songs, mostly composed since 2000, as well as versions of the standard "I Hear a Rhapsody" and fellow piano giant Randy Weston's classic "Hi-Fly." Opening with the brisk stroll of "Paris After Dark," Jamal's instantly familiar warmth emanates from the stereo, the tune's smooth groove intercut with rubato passages in a tightly controlled but loosely interpreted orchestration. "The Love Is Lost" is a waltz spotlighting Badrena's nature-influenced, coloristic playing; understated brushwork from Washington and the sinewy tones of Cammack's bass lift the song to an ultimate definition of swing.

"Flight to Russia" is full of bluesy twists, energized pursuits and escapades into strange territory, all while remaining focused in its many transitions. Washington's presence is light yet funky throughout, and the track is punctuated by Jamal's signature use of space. An exclamation point of an ending is tempered by Manolo's bell ringing out hauntingly. "Poetry" begins as an otherworldly reverie; impressionistic, but sharp and quick-witted. Sparkling metallic percussion from Badrena captures the ear, cushioned by Washington's slippery cymbal rolls as Jamal plays some sensual blues. The band dives and spirals around a tonal center, and the ending tag always a speciality of Jamal's bands could be considered straight-up avant-garde. Silence, alternating with Jamal's distant rumbling bass notes, is pierced by the ghostly groans of Badrena's scraped metal.

It's a total thrill to hear the collision of two masterminds on "Hi Fly," with Jamal's interpretation of the well-known Weston theme giving a voice to the pianists' common roots and mutual respect. A New Orleans vibe is well-represented (as expected from Jamal), with a second-line vamp supporting the distinctive phrasing of the melody. Washington takes a killer solo, heightened by the comping of Cammack's heavy bass line and Jamal's twinkling, fractured patterns.

A trio of tunes keeps things on the mellow side. The delicate, bossa-flavored "My Inspiration" matches the title track's mood. "A Quite Time" has the kind of funky, slow-burning pocket that hip-hop heads like Dilla and Madlib would surely appreciate, with a double-time midsection and Badrena's jungle bird calls adding Latin flair. "The Blooming Flower" is likewise a lush tone portrait, built on a powerful bass line, Washington's mallets, and Jamal's elegant musings.

Things heat up on "After JALC," which sways with a hard-walking bass and ride cymbal feel in 4/4 that locks infectiously with a surging 6/8 shaker pattern. The form transitions to a solo Jamal section, where the pianist utilizes classical-derived techniques to get baroque and rapturous. The suite-like, multiple movements of the meditative piece suggest the long-form strategies of the Jazz at Lincoln Center Orchestra, with whom Jamal collaborated in a September 2008 concert in New York.

"Tranquility" is not necessarily a match for its title; instead, it cooks at a dynamic, medium sizzle spiced with African-infused rhythms. Revised from its original appearance on Jamal's 1968 Impulse! album of the same name, this track finds the band pulsating as one breathing organism, and concludes in a beautiful, lingering fade-out. The album closes as "I Hear a Rhapsody" is performed in a piano-bass duet. Jamal and Cammack are telepathic soulmates on this chestnut, that was originally a 1941 chart-topper for bandleader Jimmy Dorsey, and was first performed by Jamal himself on Rhapsody (Cadet, 1966).

The pianist's consistency for over 60 years track for track, album after album displays a remarkable individuality and integrity. As he continues his artistic progression on A Quiet Time, an engaging listen for all of its 66-plus minutes, Jamal proves again that his mastery is supreme.~Greg Camphire https://www.allaboutjazz.com/ahmad-jamal-a-quiet-time-by-greg-camphire.php

Personnel: Ahmad Jamal: piano; James Cammack: bass; Manolo Badrena: percussion; Kenny Washington: drums

A Quiet Time

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The Ahmad Jamal Trio - The Awakening

Bitrate: MP3@320K/s
Time: 40:35
Size: 92.9 MB
Styles: Piano jazz
Year: 1970/1997
Art: Front

[6:18] 1. The Awakening
[7:22] 2. I Love Music
[6:14] 3. Patterns
[5:05] 4. Dolphin Dance
[4:40] 5. You're My Everything
[6:28] 6. Stolen Moments
[4:25] 7. Wave

Bass – Jamil Nasser; Drums – Frank Gant; Piano – Ahmad Jamal. Recorded at Plaza Sound Studios, New York City on February 2nd and 3rd, 1970.

By 1970, pianist Ahmad Jamal's style had changed a bit since the 1950s, becoming denser and more adventurous while still retaining his musical identity. With bassist Jamil Nasser (whose double-timing lines are sometimes furious) and drummer Frank Gant, Jamal performs two originals (playing over a vamp on "Patterns"), the obscure "I Love Music," and four jazz standards. These are intriguing performances showing that Ahmad Jamal was continuing to evolve. ~Scott Yanow

The Awakening

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Ahmad Jamal - Digital Works

Styles: Piano Jazz 
Year: 1985
File: MP3@320K/s
Time: 63:45
Size: 146,6 MB
Art: Front

(8:28)  1. Poinciana
(3:34)  2. But Not for Me
(3:22)  3. Midnight Sun
(5:14)  4. Footprints
(3:19)  5. Once Upon a Time
(7:18)  6. One
(5:23)  7. La Costa
(3:59)  8. Misty
(6:32)  9. Theme from Mash
(4:28) 10. Biencavo
(6:41) 11. Time for Love
(5:23) 12. Wave

Ahmad Jamal was never as distinctive on electric piano as he was on the acoustic counterpart, making this two-LP set, Digital Works, (which finds him doubling) a slight disappointment. Jamal does play well throughout, engaging his sidemen (bassist Larry Ball, drummer Herlin Riley, and percussionist Iraj Lashkaryl) in close interplay, but no new revelations occur on such remakes as "But Not for Me," "Wave" and Jamal's greatest hit, "Poinciana." Good music overall, but not essential. ~Scott Yanow  https://www.allmusic.com/album/digital-works-mw0000188321

Digital Works

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Ahmad Jamal - Ballades

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 41:53
Size: 96,5 MB
Art: Front

(4:55)  1. Marseille
(6:00)  2. Because I Love You
(3:24)  3. I Should Care
(4:28)  4. Poinciana
(2:15)  5. Land of Dreams
(4:52)  6. What's New
(3:04)  7. So Rare
(3:29)  8. Whisperings
(5:00)  9. Spring is Here / Your Story
(4:21) 10. Emily

At 89, Ahmad Jamal remains a master of space, time, openness and poetics. Never one to add too much, yet always one to mine a song for all its rich natural flavors, Jamal is an artist whose work speaks with a direct and engaging sweep. His early trio classics became a model of sorts, inspiring Miles Davis and many others, and his latter day, percussion-laced combo dates carry elegance and some swagger in their DNA. Now, showing us that he still has a surprise or two left up his sleeve, Jamal leaves the comforts of those formats behind, going (mostly) solo for Ballades. Seven of the ten tracks constituting this album find Jamal all by his lonesome. His calling cards vamping moorings, dancing lines, intelligent restraint, mastery over time, orchestral visions, a Midas touch all play a part in the production. Originals like "Because I Love You," with the in-and-out left hand ostinatos lighting the way, and "Whisperings," with both seductive and scampering charms, mark Jamal as a man wholly comfortable in his skin. So too does "Poinciana," a reflection of past glories in the present tense. A hit for the pianist some 60 years ago, buoyed back then by Vernell Fournier's famous drum beat and Israel Crosby's supportive bass, he recasts it here as more of a reverie and cascading glimpse at romance.  Beauty and artistic certitude abound in other solo spaces a patient trip through "Land Of Dreams" that lives up to its name, an "Emily" with curious asides and malleable time but Jamal also saves some self-possessed playing for the three duo encounters with his longtime bassist, James Cammack. Reprising "Marseille" with Cammack and using it as the opener proves logical and appropriate, as all of this music was recorded at the same sessions that yielded Jamal's 2017 release of the same name. "So Rare" is just that, a jaunty find highlighting seemingly telepathic exchanges and pure trust. And the gossamer graces and dewy resonance of Rodgers & Hart's "Spring Is Here" melded with Bill Evans' "Your Story" makes for a pleasing shift in shine. It's tempting to suggest that Jamal's playing ages like fine wine, but that might insult the flavorful bouquet that's already been there for decades. Better to simply say that he remains a treasure capable of stirring passions without force or forced ambitions. ~ Dan Bilawsky https://www.allaboutjazz.com/ballades-ahmad-jamal-jazzbook-records-review-by-dan-bilawsky.php

Personnel: Ahmad Jamal: piano; James Cammack: bass (1, 7, 9).

Ballades

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Ahmad Jamal - Jazz Cafe Presents Ahmad Jamal

Bitrate: MP3@320K/s
Time: 38:39
Size: 88.5 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[6:22] 1. Waltz For Debby
[5:40] 2. Folks Who Live On The Hill
[5:24] 3. People
[8:31] 4. Baia
[4:39] 5. The Good Life
[5:16] 6. Autumn In New York
[2:44] 7. I've Never Been In Love Before

The Jazz Cafe is an award winning live venue with a live music rota that leans towards the jazz & eclectic side of things. Some very fresh and upfront music across a variety of genres - from the coolest things in live electronic to soulful jazzy beats.

Hailing from Pittsburgh, Pennsylvania, Jamal began playing Piano at a young age and his talents were acknowledged fast within the community. He has been described as one of the “Zen masters of jazz piano” and one of the greatest innovators of the genre. He came at a time where improvisation and speed were core to the success of jazz, however true to his personality he took steps in an opposing direction and formed what he later coined as “cool jazz”, this was an attempt to bring jazz out of the underground and further into the public domain.

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Ahmad Jamal - Tranquility

Bitrate: MP3@320K/s
Time: 38:25
Size: 88.0 MB
Styles: Bop, Piano jazz
Year: 1968/1977
Art: Front

[2:25] 1. I Say A Little Prayer
[2:50] 2. The Look Of Love
[4:17] 3. When I Look In Your Eyes
[2:29] 4. Illusions Opticas
[2:42] 5. Nothing Ever Changes My Love For You
[3:43] 6. Emily
[8:52] 7. Tranquility
[4:44] 8. Free Again
[6:18] 9. Manhattan Reflections

Bass – Jamil Sulieman; Drums – Frank Gant; Piano – Ahmad Jamal.

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. This collection is no exception. Check out the bass ostinato which frames Mercer & Mandel's "Emily," or the superimposed rhythms of "Nothing Ever Changes My Love for You." Jamal, himself a major innovator in modern jazz (his significant influence on Miles Davis has been widely noted) is able to continually find inspiration in the developments of other jazz artists. Listen to the modal vamps on his original compositions "Manhattan Reflections" and "Tranquility," inspired by McCoy Tyner's work. Or the reference to Herbie Hancock's Maiden Voyage in "When I Look in Your Eyes." Though he remains open to new trends in jazz, Jamal's music always retains its essential uniqueness. While not to be ranked amongst his greatest works, Tranquility is a very fine recording and any opportunity to hear this master should not be missed. Along with bassist Jamil Nasser and drummer Frank Gant, Ahmad Jamal makes beautiful and accessible trio music conceived with great depth and clarity. ~Lee Bloom

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Tranquility zippy

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Ahmad Jamal - Happy Moods

Bitrate: MP3@320K/s
Time: 36:51
Size: 84.4 MB
Styles: Piano jazz
Year: 1960/2008
Art: Front

[5:13] 1. Little Old Lady
[2:45] 2. For All We Know
[5:45] 3. Pavanne
[3:01] 4. Excerpts From The Blues
[3:18] 5. Easy To Love
[1:34] 6. Time On My Hands
[4:41] 7. Raincheck
[3:00] 8. I'll Never Stop Loving You
[4:53] 9. Speak Low
[2:37] 10. Rhumba No. 2

The immortal 1958 Pershing and Spotlite performances marked the turning point in Ahmad Jamal's career. By 1960, when Happy Moods was recorded, the trio of Jamal (born Fritz Russell Jones on July 2, 1930 in Pittsburgh, Pennsylvania, he is 83 at this writing), Israel Crosby and Vernel Fournier (July 30, 1928-November 4, 2000) was a true sensation and had taped various successful albums. Recorded almost two years after his most popular trio album, At the Pershing, Happy Moods is a program of mostly standards, a flirtation with a classical piano piece and two Jamal originals. According to All Music Guide critic Dave Nathan, ''Playing with his patented sneaky left-hand voicings and his jingling right hand, interspersed with block chords all within a lean framework, the performances offered by this album are representative of Jamal's work of the period. He takes a piece of fluff like Little Old Lady and transforms it into a fugue replete with the counterpoint that personifies this classical form. An up-tempo 'Easy to Love', highlighting Fournier's brushes, is tastefully garnished with runs and chords borrowed from fellow Pittsburgher Erroll Garner. Billy Strayhorn's 'Raincheck' features heady arpeggios as well as quotes from 'I'm Beginning to See the Light'.'' The formation would see a change after making live recordings at the Alhambra club in mid-June 1961, for Israel Crosby left the trio to join the George Shearing quartet. A posterior reunion of the classic trio would be tragically impeded by Crosby's untimely death of a heart attack at the age of 43 on August 11, 1962 (he was born in Chicago on January 19, 1919). The new trio, formed in 1963, would include Jamil Nasser on bass and Chuck Lampkin on drums.

Happy Moods mc
Happy Moods zippy

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Ahmad Jamal - Marseille

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:38
Size: 136,8 MB
Art: Front

(8:34)  1. Marseille (Instrumental)
(5:48)  2. Sometimes I Feel Like A Motherless Child
(8:30)  3. Pots en verre
(7:23)  4. Marseille (feat. Abd Al Malik)
(8:48)  5. Autumn Leaves
(5:55)  6. I Came To See You / You Were Not There
(6:23)  7. Baalbeck
(8:14)  8. Marseille (feat. Mina Agossi)

There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice. The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris. It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.

The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation. "Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals. It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience. This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed. ~ Roger Farbey https://www.allaboutjazz.com/marseille-ahmad-jamal-jazz-village-review-by-roger-farbey.php

Personnel: Ahmad Jamal: piano; James Cammack: double bass; Herlin Riley: drums; Manolo Badrena: percussion; Abd Al Malik (4), Mina Agossi (8): vocals.

Marseille

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Ahmad Jamal - The Essence, Part 1

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 55:22
Size: 127,4 MB
Art: Front

( 6:33)  1. Flight
( 6:56)  2. Toulouse
(10:14)  3. The Essence
( 5:49)  4. Lover Man (Oh, Where Can You Be?)
( 6:44)  5. Catalina
( 6:58)  6. Autumn Leaves
( 5:33)  7. Street Of Dreams
( 6:34)  8. Bahia

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. One fascinating quirk  Jamal seemed fixated upon Oliver Nelson's "Stolen Moments" at these sessions, for he quotes the tune several times on the album. These sessions were so fruitful that Verve was able to serve up a tasty second helping a year later. ~ Richard S.Ginell http://www.allmusic.com/album/the-essence-pt-1-mw0000732792

Personnel: Ahmad Jamal (piano); George Coleman (tenor saxophone); Jamil Nasser, James Cammack (bass); Idris Muhammad (drums); Manolo Badrena (percussion).

The Essence, Part 1

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Ahmad Jamal Trio - Count 'Em 88

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 35:07
Size: 80,8 MB
Art: Front

(3:54)  1. Volga Boatman
(3:21)  2. Green Dolphin Street
(5:30)  3. How About You
(2:05)  4. I Just Can't See for Lookin'
(2:38)  5. Spring Will Be a Little Late T
(5:28)  6. Beat Out One
(3:40)  7. Maryam
(5:41)  8. Easy to Remember
(2:49)  9. Jim Love Sue

This LP (not yet reissued on CD) was pianist Ahmad Jamal's first with his new group, a trio also including bassist Israel Crosby and drummer Walter Perkins. Although he was reasonably popular around the Chicago area at the time, Jamal's major breakthrough would be the following album, But Not for Me, recorded more than a year later. 

The "Jamal sound," with its expert use of dynamics, close interplay, space and subtle surprises was very much in place, and this out-of-print set is on the same level as his better-known hits to come. Highlights include "Green Dolphin Street," "How About You" and "Easy To Remember." Well worth searching for. ~ Scott Yanow http://www.allmusic.com/album/count-em-88-mw0000929365

Personnel:  Ahmad Jamal – piano;  Israel Crosby – bass;  Walter Perkins – drums

Count 'Em 88

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Ahmad Jamal - At The Pershing / But Not For Me

Styles: Piano Jazz 
Year: 1958
File: MP3@320K/s
Time: 31:39
Size: 74,9 MB
Art: Front

(3:31)  1. But Not For Me
(2:35)  2. Surrey With The Fringe On Top
(3:09)  3. Moonlight In Vermont
(2:56)  4. (Put Another Nickel In) Music, Music, Music
(3:26)  5. No Greater Love
(8:07)  6. Poinciana
(3:40)  7. Woody 'N You
(4:11)  8. What's New

Recorded at the Pershing Club in Chicago, IL, Jamal's third album (including the hit "Poinciana") was the turning point in his career. His liberal use of silence influenced many jazz musicians, including Miles Davis. ~ Michael Erlewine http://www.allmusic.com/album/at-the-pershing-but-not-for-me-mw0000196077

Digitally remastered edition. At the Pershing: But Not for Me album for sale Having worked extensively in a piano, guitar and bass trio, pianist Ahmad Jamal changed the group's dynamics in 1957 by switching the guitar to drums, linking with Israel Crosby (bass) and Vernel Fournier (drums). At the Pershing: But Not for Me CD music The house group for the Pershing Hotel in Chicago, the trio recorded this live album (also known as But Not For Me) in 1957 and following its release in January 1958 it would spend more than two years on the chart. The financial success of the album enabled Ahmad to buy and open his own restaurant and club in Chicago, whilst the critical success established Ahmad's reputation for the following four decades. At the Pershing: But Not for Me CD music contains a single disc with 8 songs.

Personnel:  Ahmad Jamal (Piano);  Israel Crosby (bass);  Vernel Fournier (drums).

At The Pershing / But Not For Me

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Ahmad Jamal - Saturday Morning

Bitrate: MP3@320K/s

Time: 62:17

Size: 142.6 MB

Styles: Piano jazz

Year: 2013

Art: Front

[ 4:09] 1. Back To The Future

[ 4:34] 2. I'll Always Be With You

[10:21] 3. Saturday Morning

[ 4:47] 4. Edith's Cake

[ 7:15] 5. The Line

[ 6:37] 6. I'm In The Mood For Love

[ 4:04] 7. Firefly

[ 4:40] 8. Silver

[ 5:36] 9. I Got It Bad And That Ain't Good

[ 6:29] 10. One (Ahad)

[ 3:41] 11. Saturday Morning (Reprise)

Ahmad Jamal: piano; Reginald Veal: double bass; Herlin Riley: drums; Manolo Badrena: percussion.

Just over a year after Blue Moon (Jazzbook Records, 2012) Jamal's stellar homage to American cinema and Broadway—the Pittsburgh pianist returns in the same rich vein of form on Saturday Morning. Blue Moon earned a Grammy nomination, and for the second time in recent years Jamal was invited to open the Lincoln Center season in September; clearly, Jamal is enjoying his status as one of jazz's great, elder statesmen. Saturday Morning could almost be part of the same sessions that produced Blue Moon with its mixture of standards, new compositions and reworked older material. Like Blue Moon, this recording occasionally evokes his classic 1950s Argo years, only there's more meat on Jamal's arrangements these days, and remarkably, greater fire in his fingers.

Though drummer Herlin Riley and former Weather Report percussionist Manolo Badrena first played with Jamal in the 1980s, these latter two Jamal recordings have the feel of a new quartet, especially in the wake of the departure of long-standing drummer Idris Muhammad and bassist James Cammack. Happily, bassist Reginald Veal is much more prominent than on Blue Moon, engendering real swing and irresistible funk grooves. Stepping into Cammack's shoes Jamal's bassist for 29 years can't have been easy but Veal's lyricism, bold motifs and striking improvisations color the music greatly. Badrena conversely, plies his wares more subtly than before, while Riley keeps a simple, in the pocket groove throughout, rarely slipping the leash.

Jamal has created his own language on piano; on "Back to the Future" his jangling left-hand powers like rising flood water while rhapsodic right-hand explorations alternate between chordal steps, spinning flurries and long, cascading runs. On this opening number Jamal's two-handed synchronized run towards the finishing line and his trademark final punctuation epitomizes the sense of drama that inhabits his play. On "I'll always be with You" Jamal emerges from a tempestuous improvisation to land on the most delicate of blue notes, as though flung from a washing machine only to land on his feet immaculately attired. Jamal admirers and detractors alike point to his continual, restless motivic development and compositions like the gently paced "Edith's Cake" and the grooving "The Line" have enough "fiddling and diddling" to quote Cammack from a 2012 interview to delight and frustrate according to taste. At his most fluid, when there don't seem to be enough keys on the piano to accommodate his dazzling runs, it's easy to see where pianist Hiromi Uehara finds much of her inspiration.

For all his technical dexterity and passion, Jamal is never more at home than when caressing and teasing the melody of a ballad. There are a few to savor here, notably a majestic rendition of "I'm In the Mood for Love" and Duke Ellington's "I Got it Bad and that Ain't Good." On the latter, Jamal plays with the melody, letting it drift before gently rekindling the flame. Bass, brushes and percussion lend tender support. Jamal can't resist quoting the melody to "Take The A-Train" here, and on numerous occasions throughout the album he exercises his penchant for quoting the popular melodies he has breathed for a lifetime. Jamal pays tribute to pianist Horace Silver on the Afro-Caribean flavored "Silver," whose simple melody and uncluttered arrangement harks back to the Jamal of yesteryear. Similarly, the sparse architecture and beautiful minimalism of Saturday Morning recall At The Pershing:But Not For Me (Argo, 1958) a million-selling album that cemented Jamal's reputation as an original and influential voice. The lilting melody of the title track is hypnotic enough for the quartet to repeat it throughout the song's ten-minute duration without it ever sounding less than charming a signature tune to replace "Poinciana" perhaps?

The title track from One (20th Century Fox Records, 1978) seems like an unnecessary indulgence on an album that weighs in at a healthy one hour. Nevertheless, its jaunty melody and infectious groove will appeal to new fans and maybe send others back to rediscover an overlooked recording nestled in the middle ground of a discography that dates to 1951. "Saturday Morning (reprise)" a three and a half-minute radio-friendly version serves up that delightful melody one last time and burns it into the subconscious mind if it wasn't already there. Jamal proves once again that he's lost none of his customary elegance or electricity. His expansive imagination as an interpreter of standards particularly ballads remains almost unmatched. The four musicians sound fully molded to each other contours and the result is music that is fantastically tight yet exhilarating. Jamal is still minting great melodies, still blazing his own trail and for many still leading the way. ~Ian Patterson

Saturday Morning 

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Ahmad Jamal Trio - Cross Country Tour 1958-1961 (Disc 1) And (Disc 2)

Album: Cross Country Tour 1958-1961 (Disc 1)

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:06
Size: 149,8 MB
Art: Front

(3:32)  1. But Not For Me
(2:35)  2. Surrey With The Fringe On Top
(3:09)  3. Moonlight In Vermont
(2:57)  4. Music! Music! Music! (Put Another Nickel In)
(3:40)  5. Woody'n You
(8:06)  6. Poinciana
(2:30)  7. Too Late Now
(3:13)  8. All The Things You Are
(3:43)  9. Cherokee
(3:27) 10. It Might As Well Be Spring
(2:42) 11. I'll Remember April
(3:24) 12. Gone With The Wind
(3:00) 13. Billy Boy
(3:36) 14. It's You Or No One
(3:31) 15. You Don't Know What Love Is
(3:03) 16. Tater Pie
(4:56) 17. This Can't Be Love
(3:55) 18. Old Devil Moon

Album: Cross Country Tour: 1958-1961   (Disc 2)

Year: 1998
File: MP3@320K/s
Time: 66:12
Size: 152,1 MB

(4:01)  1. Sweet And Lovely
(4:00)  2. The Party's Over
(7:40)  3. Broadway
(2:31)  4. Snowfall
(6:20)  5. Time On My Hands
(4:13)  6. Angel Eyes
(6:10)  7. What Is This Thing Called Love?
(6:17)  8. I'll Take Romance / My Funny Valentine
(2:53)  9. Like Someone In Love
(4:20) 10. Falling In Love With Love
(4:39) 11. The Best Thing For You
(4:09) 12. April In Paris
(4:15) 13. The Second Time Around
(4:37) 14. Darn That Dream

This two-CD set has highlights from pianist Ahmad Jamal's famous trio dates for Argo, with selections drawn from At the Pershing, At the Pershing Vol. 2, Portfolio of Ahmad Jamal, Alhambra, and At the Blackhawk, plus one selection only out before in a sampler. It is a pity that the five valuable albums were not reissued in full on a three-CD set, for these were among the most important recordings of Jamal's career. His trio (with bassist Israel Crosby and drummer Vernel Fournier) had a unique sound, utilizing close communication and dynamics to an extraordinary degree. 

"Poinciana" was a huge hit, and other highlights included on this twofer include "But Not for Me," "Cherokee," "Billy Boy," "This Can't Be Love" and "Falling In Love With Love." Although easily recommended as an introduction to this classic group, the preferred complete sessions will hopefully appear on CD someday too.~ Scott Yanow http://www.allmusic.com/album/cross-country-tour-1958-1961-mw0000035421

Personnel: Ahmad Jamal (piano); Israel Crosby (bass); Vernel Fournier (drums).

Cross Country Tour: 1958-1961 (Disc 1)
Cross Country Tour: 1958-1961 (Disc 2)

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Ahmad Jamal - In Search Of Momentum

Bitrate: MP3@320K/s
Time: 57:57
Size: 132.7 MB
Styles: Bop, Piano jazz
Year: 2003
Art: Front

[6:19] 1. In Search Of
[5:25] 2. Should I
[3:06] 3. Excerpts From I'll Take The 20
[6:34] 4. Whisperings
[4:37] 5. Island Fever
[6:12] 6. I've Never Been In Love Before
[7:00] 7. Where Are You
[6:55] 8. Where Are You Now
[6:46] 9. You Can See
[4:58] 10. I'll Always Be With You

A guy who Miles Davis called his favorite piano player, Ahmad Jamal has always earned respect among other musicians and critics for his consistent and innovative five-decade career, but the general public has never celebrated him. Why is anybody's guess, except that he's never been one for self-promotion; he's always been too busy making music to talk about it much. This trio date, featuring the greatest soul-jazz drummer of all time -- Idris Muhammad -- and bassist James Cammack, is one of the most fiery and inspired of Jamal's career. Kicking it off with "In Search Of," Jamal's more percussive style is in evidence, kicking it with ninths and even elevenths in shifting time signatures in a modern version of something that unites McCoy Tyner's Coltrane period with the barrelhouse. Jamal's trademark dissonances are juxtaposed against his whimsical lyric side in "Should I," a tune he has played live for decades. His right-hand legato phrasing and a near Monk-ish sense of harmony highlight his cascading arpeggios and enormous chord voicings. And harmony is the central motif of this album. Jamal's sense of melodic and harmonic development is under-recognized, even as he has used both Ellington and Oscar Peterson for starting points and built upon them via Monk's engagement with rhythm and "wrong" notes. His chords are unique among jazz pianists in that they can be incorporated wholesale as part of a rhythmic attack or in single- or double-note clusters to swing the tune into its lyric.

As a rhythm section, Muhammad and Cammack are perfectly suited to Jamal because the seemingly teetering shifts in time and pulse are never taken for granted and never merely followed, but executed according to the pianist's penchant for making his compositions swing in a songlike manner. A wonderful surprise here is the vocal of soul singer O.C. Smith on the Jamal/Aziza Miller tune "Whispering." Smith is best known as the singer of the soul hit "Little Green Apples," but his talent is far more diverse than that. Here are traces of Big Joe Williams, Lou Rawls, and Charles Brown caressed by the trio's shimmering accompaniment. His performance is flawless. While Jamal's compositions are the album's high points, there are no dead-dog tracks here at all: A reading of the Frank Loesser nugget "I've Never Been in Love Before" reflects in the trio's playing the vocal stylings of both Dinah Washington and Ella Fitzgerald. Also, Monty Alexander's "You Can See" is reinvented by the Jamal trio and comes off as a splashy, singing number suited for the stage as much as a jazz band. Jamal's ostinato and glissandi theatricality are dramatic but never showy. He punches the melodic invention in his solos and keeps the rhythm section moving, but never overshadows the body of the tune. This is a beautiful offering by one of the true jazz masters of our time. At 72, Jamal is even more of a pianistic enigma than he was as a young man. Highly recommended. ~Thom Jurek

In Search Of Momentum

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