Ahmad's Blues (CD)

With his spare, subtle swing, pianist Ahmad Jamal is an important figure in both mainstream and post-bop jazz. The commercial success of his 1950s trio recordings made important inroads for jazz. His influence on Miles Davis was acknowledged by the trumpeter himself, who recorded many tunes from Jamal's repertoire. Incredibly, Jamal maintained his verve and artistic relevance all the way into the 21st century, long after many of his contemporaries had passed on.

• Category:  Music  »  Jazz  »  Piano
• Format: CD   Learn more about the CD format using Tower WIKI.
• Release Date: June 21, 1994
• Label: GRP Records (USA)
• UPC: 011105180320
• WAPI (Tower ID): 106614406
• Average Customer Review: There are no customer reviews yet. Be the first to write a review!
• Tower.com Sales Rank: #36531 in Music (See Top 100 Music Bestsellers)
• #2731 in Jazz (See Top 100 Jazz Bestsellers)
• #353 in Piano (See Top 100 Piano Bestsellers)

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

Producer: Dave Usher.

Reissue producer: Orrin Keepnews.

Recorded live at The Spotlite Club, Washington, D.C. on September 6, 1958.

Includes liner notes by Neil Tesser.

Digitally remastered by Erick Labson (MCA Music Media Studios).

One of Miles Davis's favorite musicians, Ahmad Jamal has a unique approach as a pianist, composer, and arranger that is highly influential and distinctive. Possessed of a light, almost classical touch, and a purveyor of negative space and minimal phrasing (his influence on Davis can certainly be seen here), Jamal worked largely in trio settings, and used his conceptions of space and subtlety to create dynamic tensions within the group. At the same time, the artist's work is rooted firmly in the blues and swings intently, without fail.

AHMAD'S BLUES, the CD reissue of the trio's 1958 live date in Washington D.C., demonstrates all of these qualities in spades. Supremely attentive playing by bassist Israel Crosby and drummer Vernel Fournier (his brush work on the intricate, gear-shifting "Autumn Leaves" is especially noteworthy) provide groundwork, foil, and shifting frames for Jamal's virtuoso explorations. The ensemble's work brings new ideas--the musicians often incorporate understated mambo, fractured swing rhythms, or airy, abstract structures--to standards ("Stompin' at the Savoy;" "Cheek to Cheek") and to Jamal's own compositions (the delicate "Seleritus"). AHMAD'S BLUES allows us to eavesdrop on the sophisticated, innovative artist and company at work.

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