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Ahmad Jamal

One of the most individualistic pianists, composers, and arrangers of his generation, Ahmad Jamal's disciplined technique and minimalist style had a huge impact on trumpeter Miles Davis, and Jamal is often cited as contributing to the development of cool jazz throughout the 1950s. Though Jamal was a highly technically proficient player, well-versed in the gymnastic idioms of swing and bebop, he chose to play in a more pared down and nuanced style. Which is to say that while he played with the skill of a virtuoso, it was often what he chose not to play that marked him as an innovator. Influenced by such pianists as Errol Garner, Art Tatum, and Nat King Cole, as well as big-band and orchestral music, Jamal developed his own boundary-pushing approach to modern jazz that incorporated an abundance of space, an adept use of tension and release, unexpected rhythmic phrasing and dynamics, and a highly melodic, compositional style.

Born in Pittsburgh, Pennsylvania on July 2, 1930, Jamal was a child prodigy and began playing piano at age 3, discovered by his uncle. By the time he was 7 years old, Jamal was studying privately with Mary Cardwell Dawson, the founder of the National Negro Opera Company. An accomplished musician by his teens, Jamal performed regularly in the local jazz scene and in 1949 toured with George Hudson's Orchestra. After leaving Hudson, he joined swing violinist Joe Kennedy's group the Four Strings, with whom he stayed until Kennedy's departure around 1950.

After leaving the Four Strings, Jamal relocated to Chicago, where he formed his own group, the Three Strings with bassist Eddie Calhoun and guitarist Ray Crawford. The precursor to the later Ahmad Jamal Trio, the Three Strings would, at different times, include bassists Richard Davis and Israel Crosby. During a stint in New York City, the Three Strings caught the ear of legendary Columbia record exec and talent scout John Hammond who signed the group to the Columbia subsidiary Okeh in 1951. During this time, Jamal released several influential albums including Ahmad Jamal Trio Plays (also known as Chamber Music of the New Jazz ) on Parrot (1955), The Ahmad Jamal Trio on Epic (1955), and Count 'Em 88 on Argo (1956). Some of the landmark songs recorded during these sessions included "Ahmad's Blues" and "Pavanne," both of which had a profound impact on Miles Davis, who later echoed the spare, bluesy quality of Jamal's playing on his own recordings.

In 1958, Jamal took up a residency in the lounge of the Pershing Hotel in Chicago. Working with bassist Crosby and drummer Vernell Fornier, Jamal recorded the seminal live album, Ahmad Jamal at the Pershing: But Not for Me. Comprised primarily of jazz standards, including his definitive version of the buoyant Latin number "Poinciana," the album showcased Jamal's minimalist phrasing and unique approach to small group jazz, emphasizing varied dynamics and nuanced shading as opposed to the high energy freneticism commonly associated with jazz of the '40s and '50s.

Though somewhat misunderstood by critics at the time who did not fully appreciate the inventive qualities of Jamal's playing, the album proved a commercial success and remained on the Billboard album charts for over two years -- a rarified achievement for a jazz musician of any generation.

The smash success of Ahmad Jamal at the Pershing: But Not for Me raised the musician's profile and allowed him to open his own club and restaurant, The Alhambra, in Chicago in 1959. During this time, Jamal released several albums on the Argo label including Ahmad Jamal Trio, Vol. 4 (1958), Ahmad Jamal at the Penthouse (1960), Happy Moods (1960), Ahmad Jamal's Alhambra (1961), and All of You (1961). Unfortunately, The Alhambra closed in 1961. The following year, Jamal disbanded his trio, moved to New York City and took a two year hiatus from the music industry.

In 1964, Jamal returned to performing and recording. Working with a new version of his trio that included bassist Jamil Nasser and drummer Frank Gant, with whom he would work until 1972, Jamal recorded several more albums for Argo (later renamed Cadet) including Naked City Theme (1964), The Roar of the Greasepaint (1965), and Extensions (1965), Rhapsody (1966), Heat Wave (1966), Cry Young (1967), and The Bright, the Blue and the Beautiful (1968). Also in 1968, Jamal made his Impulse Records debut with the live album Ahmad Jamal at the Top: Poinciana Revisited. This was followed by several more Impulse releases including The Awakening (1970), Freeflight (1971), and Outertimeinnerspace (1972), both of which culled tracks from his appearance at the Montreux Jazz Festival in 1971. These albums found Jamal moving toward an expansive, funk-infused style, sometimes playing a Fender Rhodes electric keyboard. Also during the '70s, Jamal moved to the 20th Century label and continued to release a steady stream of albums that attracted both hardcore jazz and crossover audiences. Of his '70s albums, both Genetic Walk (1975) and Intervals (1979) made the R&B charts.

The '80s continued to be a productive time for Jamal, who kicked the decade off with such albums as Night Song on Motown (1980) and Live in Concert Featuring Gary Burton (1981). After signing with Atlantic, Jamal released several well-received albums that found him returning to his classic, acoustic small group sound including Digital Works (1985), Live at the Montreal Jazz Festival 1985 (1985), Rossiter Road (1986), Crystal (1987), and Pittsburgh (1989).

The '90s also saw a resurgence in interest and acclaim for Jamal, who was awarded the American Jazz Master Fellowship by the National Endowment for the Arts in 1994. Though he never stopped interpreting standards, Jamal utilized his own compositions more and more as the decades passed. During this period, he delivered such albums as Chicago Revisited: Live at Joel Segal's Jazz Showcase on Telarc (1992), Live in Paris '92 on Verve (1993), I Remember Duke, Hoagy & Strayhorn on Telarc (1994), as well as a handful of superb releases for Birdology including The Essence, Pt. 1 (1995), Big Byrd: The Essence, Pt. 2 (1995), and Nature: The Essence, Pt. 3 (1997).

In 2000, Jamal celebrated his 70th birthday with the concert album L'Olympia 2000 (2001), which featured saxophonist George Coleman. He followed up with In Search of Momentum (2003), After Fajr (2005), It's Magic (2008), A Quiet Time (2010), and Blue Moon: The New York Session/The Paris Concert (2012). In 2013, Jamal released the album Saturday Morning: La Buissone Studio Sessions, featuring bassist Reginald Veal and drummer Herlin Riley. Also in 2013, Jamal opened Lincoln Center's concert season by performing live with the Lincoln Center Jazz Orchestra. ~ Matt Collar, Rovi
full bio

Selected Discography

Comments

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Can't find the words. Skynndove
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Well, of course it's Ahmad Jamal. I could tell from the next room. Every note is exactly right.
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Alfoti1940


That's all I listened to while I was in high school was Mr Jamal!
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Jamal is unique in his delivery!
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Goldfingers.
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2nd best version of that tune. Bravo!
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One of the songs he played at the Jazz Festival was Saturday Morning from my note below is what I was referencing. He is one of the all time greats. I continue to enjoy his music.
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Heard him at our last Jazz Festival in Detroit, MI. Still smooth and easy. Great music all through the years. ay Morning that day and it was so good. I have the (CD) and play it all the time.
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The. Awakening
by. Ahmad. Jamal
on. The. Awakening
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Always there!!
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It's the A man.
Nothing else needs to be said.
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pjchubbear-p a n d o r a
One of the best!
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Love all his work, fell in love with the Atlantic recordings
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gedstover
Beautiful jazz. I've been a fan since the early 60's.
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Just Looove It!
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I put him right with Monk.
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AWESOME!
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aldersonw
ONE OF THE ALL TIME BEST!
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he's very smooth!
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Saw him at Basis Street East NYC 70's and went back a second night. He quieted the crowd by playing so softly you had to strain to hear the first few bars, then WOW.
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If Ahmad is good enough for the off track series, its good enough for me!
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perkins.fran k
His music is the theme of life
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great jazz
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Where's Jamal's Live at the Blackhawk recordings?
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chidiego
One of the Best from the 50's & 60's in Chi town my town. You can't beat Poinciana and But not for me !
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yup
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bejamb
Clean riffs, stirring
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Nuff' said!!!!
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edwardmclean 1
Truley a talanted jazz pianist. Been a fan since 1958.
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rlgiffin
Saw him in Washington, DC in 1959 in pouring rain and been a fan ever since.
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I love all instruments to paint to the tune,.My uncle had me hooked on the piano @ 5 years old! He was a very stricked piano teacher I felt sorry for his students but He, Bishop McMride was the best! He taught me to hear and appreciate music. Jamal is one of the greatest/bes t I've heard!
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vmills007
Gives the best live show!!
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hartfield2
Bought "But Not for me" in 1959, been a fan ever since.
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herb.blacker
Listened to him since '55. Still the best.
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I think when even Miles Davis says that you influenced him, you're doing something right. Ahmad Jamal has got to be one of the best pianists I have ever heard in my entire life.
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blumenjsr
love ahmad jamal.
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Mmmm, just cool and groovy man.
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e_beltran7
Me encanta, no me canso de escuchar Ahmad Jamal.
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davel48
I love this redition of a very interesting song.
Dave
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ktshoe say he is the bomb if you dont get up and shake your booty on ponciana you dont have any rhytem.
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First LP I ever purchased was "At The Pershing-But Not For Me". I've been a fan ever since. See, hear him every time he visits the Bay Area. Miles told Red Garland that he wanted him to play more like Ahmad.
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Ever a giant.
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Have been a fan since the early 60's when I saw him in Chicago at the Blue Note.
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bogaloo
Its magic all over again, melody blues meets chamber-like jazz.....
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Was unable to see him in his prime - or so I thought. A couple years ago in a small hall in Daytona, he gave us one of the most stimulating, intelligent and virtuosic performances we've ever witnessed. This guy is the real deal! Long live Ahmad Jamal!
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johnfitz44
Jamal is an under appreciated artist, and I love his style and grace.
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He was all the rage as far as I was concerned in the mid- to late- fifties and on into the sixties. Ahamd's sound was the coolest of all the jazz pianists at that time. I'm wondering if he is still with us.
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He's coming to Baton Rouge, LA! I truly can not say that I have ever attended a live concert of a more talented jazz artist.
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I love one of his early albums I discovered as a high schooler. It was in terrible condition still served to become one of my all time favorites. It was MACANUDO recorded about 1963 following President Kennedy's historic trip to South America. All the tracks are named for South American cities. It is great, exciting music. I'd love to get a fresh album in any form. Always looking--can ' t find it anywhere, Any ideas? Leave a POST-I'LL CHECK BACK.
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