| | Ahmad Jamal Ahmad's Blues CD Ahmad Jamal Discography of CDs
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Recorded live at The Spotlite Club, Washington, D.C. on September 6, 1958.
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.
Includes liner notes by Neil Tesser.
Reissue producer: Orrin Keepnews.
Personnel: Ahmad Jamal (piano); Israel Crosby (bass); Vernel Fournier (drums).
Producer: Dave Usher.
Ahmad Jamal Ahmad's Blues Songs Ahmad's Blues Music Review Purchase Ahmad's Blues CD To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Ahmad's Blues
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With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of ...
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Verve should be endlessly praised for reissuing superb albums like Ahmad Jamal's CHAMBER MUSIC OF THE NEW JAZZ on CD, bringing them back into commercial circulation so that jazz fans old and new can experience (or re-experience) their splendor. While the set list of 1955's CHAMBER MUSIC may appear standard, with treatments of "It Ain't Necessarily So" and "A Foggy Day" (Jamal's fine original "New Rumba" is the exception), there is nothing "standard" about this excellent session, in conception, sound, or execution.
Both "chamber music" and "the new jazz" are appropriate appellations. The simultaneously stark/lush trio format--which features Jamal's piano in deep conversation with Israel Crosby's bass and Ray Crawford's guitar--gives the ...
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On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support ...
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CHANGES ONE (and its companion disc CHANGES TWO, both recorded in a single session) features outstanding performances of Mingus's intense, expressive compositions and is considered, even by the bassist himself, to be among his finest work. This group of intelligent, technically superior musicians, consisting of tenor sax, trumpet, piano and drums, had been playing together for two years at the time of recording and were at the peak of their collaborative powers. The tracks are as diverse as they are engaging-- ranging from the mind-boggling complexity of "Sue's Changes (with shifts of tempo, theme and mood, ...
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Based in Ireland, the Revs (for the uninitiated) are a three-piece alt rock band who call to mind everyone from Blondie to The Ramones. This 12-track lp is a winner, in many ways. For instance, it contains the much-lauded single "Death of a DJ", loved by reviewers all around the globe. This song is worthy of its praise: all plaintive vocals, thumpin' toms and angsty lyrics ("disco is over-the dj's been murdered)...etc.. The Revs have captured the hearts of the Irish punters and press alike, so far. They've produced and mixed this effort themselves (no mean feat). They've been touted as the hottest Irish exports of the moment. The sound is concise, high-energy pop/rock arrangements. The album is all energetic pacing, alternative melodies and rock beats. Comprising: guitar and vocals, John McIntyre, Bass and vocals, Rory Gallagher and drums by Micky D. O'Donnell, the Revs have mastered melodic, pop-rock...heavy on the off-kilter beats and vocal harmony. If you have to listen to pop in today's atmosphere, let it be The Revs and their style of anti-establishment, beautiful rebellion. Punk at times, this album delivers upbeat drums and dueling pop/punk guitars in spades. ...
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