![]() ![]() In 1956, Jamal elected to replace guitarist Crawford with a drummer, Walter Perkins he in turn was replaced by Vernell Fournier in 1958, which cemented the classic Jamal Trio lineup. It was here that he first drew Davis' enthusiastic approval, and over the next few years, arranger Gil Evans would base some of his seminal work for Davis on Jamal's interpretations. Later in 1955, Jamal switched over to the Chess label's Argo subsidiary, where his trio cut the groundbreaking Chamber Music of New Jazz. ![]() Over that period, the group - eventually renamed the Ahmad Jamal Trio - recorded two albums, which included the classic original "Ahmad's Blues" and a version of "Pavanne" that likely provided the basis for Miles Davis' legendary "So What," not to mention the note-for-note melody of John Coltrane's "Impressions" (years before either had composed those respective pieces). Calhoun was later replaced briefly by Richard Davis, and then by Israel Crosby in 1955. They were discovered by Columbia executive and talent scout John Hammond in 1951, and signed to the label's OKeh subsidiary. In 1950, Jamal formed his own group, the Three Strings, which also included bassist Eddie Calhoun and the highly percussive guitarist Ray Crawford. Later that year, he joined swing violinist Joe Kennedy's group the Four Strings, where he served as pianist and arranger. After graduating from high school, he toured in a supporting role, and caught on with George Hudson's orchestra in 1949. By his teenage years, he had completed studies equivalent to a master's degree, and he had also taken up jazz, inspired by the likes of Erroll Garner, Art Tatum, Teddy Wilson, Count Basie, and Nat King Cole. He first started playing the piano at age three, began his formal training at age seven, and was performing professionally by 11. Miles Davis greatly admired him, borrowing liberally from his repertoire and arrangements, and encouraging his pianist Red Garland to imitate Jamal's playing as closely as possible additionally, Jamal's concepts of space and subtlety greatly affected Davis in his own right, both as a soloist and as a bandleader who (as it's often put) let the music breathe.Īhmad Jamal was born in Pittsburgh, PA, on July 2, 1930. A chamber-like sensibility and a classical formality permeated much of his playing, yet he swung like a jazzman without fail. His lines were spare and light, yet melodically and harmonically inventive, and driven by complex left-hand chord voicings that broke with Bud Powell's right-hand emphasis. Jamal's own playing was a model of economy because he didn't overwhelm listeners with his technique, his flashes of virtuosity had significantly more impact. Nonetheless, his ensembles were always tightly focused as well, following their leader through sudden changes in tempo or time signature, and often carrying the main riff of a tune. As an arranger, Jamal made the most of his small-group settings by thinking of them in orchestral terms: using his trademark devices to create contrast and dramatic effect, and allowing the rhythm section a great deal of independence in its interplay. Jamal's manipulations of space and silence, tension and release, and dynamics all broke new ground, and had an impact far beyond Jamal's favored piano trio format. A sorely underexposed figure and a major influence on Miles Davis, pianist Ahmad Jamal isn't generally ranked among the all-time giants of jazz, but he impressed fellow musicians and record buyers alike with his innovative, minimalist approach. ![]()
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