| | Ahmad Jamal Chamber Music Of The New Jazz CD Ahmad Jamal Discography of CDs
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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 music a cerebral, floating feel. (Oddly enough, the drummerless background actually highlights the rhythmic intensity of each musician's playing--especially Crawford's pizzicato guitar work). The music also differentiates itself from the hard bop of the time in managing to merge advanced, complex playing with an exquisite sensitivity to dynamics and delicacy of mood. On each of these nine compositions, the musicians play with understated intensity, often using space as a rhythmic element (as on the interlude to "Darn That Dream").
Recording information: 1955.
Personnel: Ahmad Jamal (piano); Ray Crawford (guitar); Israel Crosby (bass instrument).
Liner Note Author: Herbert Lust.
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SITTIN' IN is a jazz lover's dream come true. On this historic session, recorded in the summer of 1957, Dizzy Gillespie, Stan Getz, Coleman Hawkins, and Paul Gonsalves got together to create one of the most formidable frontlines ever captured on tape. The program, which includes "Dizzy Atmosphere," the chestnut "The Way You Look Tonight," and two lengthy ballad medleys, lets each horn player take a turn in the spotlight.
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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 from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone ...
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