All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
It's surprising that Ahmad Jamal, clearly one of the benchmarks of jazz piano in the '50s, has been neglected by most jazz writers. Though he's clearly been a popular favorite, most of the positive commentary has focused on "Miles Davis really liked him. That's actually a bit of an understatement. One might even say Davis was obsessed with Jamal for a while. From the titles on this set, which collects 41 tracks (the first recordings from Jamal's trio recorded between 1951-56), Davis recorded Jamal's "New Rumba, "Ahmad's Blues, the neglected standards "I Don't Wanna Be Kissed and "Gal In Calico, and five other tunes.
But Jamal isn't great because he received Davis' imprimatur. It's his body of work that makes him great, especially a period of explosive creativity from 1968-72, during which he recorded a series of albums for Impulse! that have yet to see comprehensive reissue.
This recording features Jamal's drummer-less trio with Ray Crawford on guitar and either Eddie Calhoun or Israel Crosby on bass. The earliest sessions (from 1951-52) were done for Epic and the later sessions (from 1955) for Argo. As a bonus, this reissue also contains the first (1956) recordings of his standard piano trio with Crosby and drummer Walter Perkins.
All of the hallmarks of Jamal's style are already here, albeit in nascent form: his use of space and anticipation, his rich harmonic sense, his concepts of trio interplay. Crawford was a unique guitarist who could string together solos of melodic richness and also provide the group's rhythmic pulse through a unique style of percussive picking. Though the technique was occasionally overused, ultimately it didn't get in the way of the music.
This group's repertoire was rich in obscure standards, but it also included a few Jamal originals that indicate that there should've been more. (Incidentally, "Black Beauty is credited to Jamal, but it's really the Ellington standard given a wonderful, slightly abstracted reading.) This set also contains Jamal's first recording of his signature song, "Poinciana, of which he gave a definitive reading the following year. The later trio tracks from 1956 with Perkins show Jamal in full flower, his piano dripping with confidence and his interaction with the trio at its highest level.
Definitive's reissue is of a dodgy provenance, but the sound is decent. There are "legitimate" releases of this material, with the exception of the final trio tracks. But, as far I can ascertain, this is the only place to find all of Jamal's early trio recordings in one set.
Track Listing: New Rumba; Foggy Day; All Of You; It Ain't Necessarily So; I Do't Wanna Be Kissed By Anyone Else But You; I Get A Kick Out Of You; Jeff; Darn That Dream; Spring Is Here; Black Beauty; Love For Sale; Something To Remember You By; Poinciana; Don't Blame Me; Autumn Leaves; They Can't Take That Away From Me; Old Devil Moon; It's Easy To Remember; Squeeze Me; Pavanne; Crazy He Calls Me; Perfidia; Rica Pulpa; The Donkey Serenade; Slaughter On 10th Avenue; The Surrey With The Fringe On Top; Will You Still Be Mine; Ahmad's Blues; A Gal In Calico; Aki And Ukthay; Billy Boy; Volga Boatman; On Green Dolphin Street; How About You?; I Just Can't See For Lookin'; Spring Will Be A Little Late This Year; Beat Out One; Maryam; Easy To Remember; Jim Loves Sue; I Wish I Knew.
Personnel: Ahmad Jamal: piano; Ray Crawford: guitar; Eddie Calhoun: bass; Israel Crosby: bass; Walter Perkins: drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...