Ahmad Jamal

小簡(jiǎn)介
1930/07/02 匹茲堡.50年代開始進(jìn)入爵士樂壇，他是很有特色的鋼琴手。Ahmad Jamal擅長(zhǎng)運(yùn)用時(shí)間的空白來架構(gòu)出音樂的創(chuàng)意，意思就是指他好像小喇叭手Miles Davis那樣，運(yùn)用較少的音符而能夠表示最多的意義。 11歲時(shí)開始有演出機(jī)會(huì)，40年代時(shí)他加入George Hudson的大樂隊(duì).1951年組織三重奏，團(tuán)員有吉他手Ray Crawford以及貝斯手Eddie Calhoun。1958年的專輯Ahmad Jamal at the Pershing，是很精彩的，其中有名曲 "Poinciana"至今仍很受歡迎。1962年，他的三重奏解散，不過她仍是持續(xù)在成長(zhǎng)，70年代他開始使用電子鋼琴來演奏。
by Steve Huey
A sorely underexposed figure and a major influence on Miles Davis, pianist Ahmad Jamal isnt generally ranked among the all-time giants of jazz, but he impressed fellow musicians and record buyers alike with his innovative, minimalist approach. Jamals manipulations of space and silence, tension and release, and dynamics all broke new ground, and had an impact far beyond Jamals favored piano trio format. 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. 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.
Jamals own playing was a model of economy; because he didnt overwhelm listeners with his technique, his flashes of virtuosity had significantly more impact. His lines were spare and light, yet melodically and harmonically inventive, and driven by complex left-hand chord voicings that broke with Bud Powells right-hand emphasis. A chamber-like sensibility and a classical formality permeated much of his playing, yet he swung like a jazzman without fail. Miles Davis greatly admired him, borrowing liberally from his repertoire and arrangements, and encouraging his pianist Red Garland to imitate Jamals playing as closely as possible; additionally, Jamals concepts of space and subtlety greatly affected Davis in his own right, both as a soloist and as a bandleader who (as its often put) let the music breathe. Ahmad Jamal was born Frederick Russell Jones in Pittsburgh, PA, on July 2, 1930. He first started playing the piano at age three, began his formal training at age seven, and was performing professionally by 11 under the name Fritz Jones (though he also used Freddie during World War II because of the German flavor of Fritz). By his teenage years, he had completed studies equivalent to a masters 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. After graduating from high school, he toured in a supporting role, and caught on with George Hudsons orchestra in 1949. Later that year, he joined swing violinist Joe Kennedys group the Four Strings, where he served as pianist and arranger.
In 1950, Jamal formed his own group, the Three Strings, which also included bassist Eddie Calhoun and the highly percussive guitarist Ray Crawford. They were discovered by Columbia executive and talent scout John Hammond in 1951, and signed to the labels OKeh subsidiary. Calhoun was later replaced briefly by Richard Davis, and then by Israel Crosby in 1955; in the meantime, Fritz Jones converted to Islam and changed his name to Ahmad Jamal around 1952. Over that period, the group — eventually renamed the Ahmad Jamal Trio — recorded two albums, which included the classic original Ahmads 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 Coltranes Impressions (years before either had composed those respective pieces).Later in 1955, Jamal switched over to the Chess labels Argo subsidiary, where his trio cut the groundbreaking Chamber Music of New Jazz. 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 Jamals interpretations. 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. The group took up residency in the lounge of the Pershing Hotel in Chicago, where its gigs were greeted with excitement and frequented by many local jazz musicians. These shows resulted in the classic live album Ahmad Jamal at the Pershing: But Not for Me, which became a left-field smash in 1958, climbing all the way to number three on the pop charts; its hit version of Poinciana remains Jamals signature tune. Some jazz critics never forgave Jamal for this crossover success, though his championing by other musicians has largely muted their derision over time.In the wake of But Not for Mes success, Jamal opened his own club, the Alhambra, and recorded prolifically for Argo during the 60s. Some of his albums continued to enjoy crossover success, including 1958s Ahmad Jamal Trio, Vol. 4 and 1960s Ahmad Jamal at the Penthouse, the latter of which teamed the trio with a 15-piece string section masterminded by Joe Kennedy. Two live albums, Alhambra and All of You, documented the groups 1961 performances at Jamals club, though unfortunately it would not exist for much longer. Neither would Jamals trio, which disbanded in 1962; Crosby joined George Shearings group, but was felled by a heart attack not long after. With arranger Richard Evans, Jamal recorded another jazz-with-strings session, Macanudo, that year, and subsequently formed a new trio with bassist Jamil Nasser (aka Jamil Sulieman) and drummer Chuck Lampkin. Lampkin departed in 1965 and was briefly replaced by Fournier (on the LP Extensions) before Frank Gant was brought in on a permanent basis the following year.Jamal experienced a minor resurgence in popularity during the late 60s thanks to albums like 1967s Standard Eyes and 1968s Cry Young, the latter of which returned him to the pop charts for the first time in eight years. Later that year, he moved from Cadet (the renamed Argo) to Impulse!, and recorded five albums over the next four years, including the live Montreux Jazz Festival set Freeflight (1971) and Outertimeinnerspace (1972), both of which found him experimenting with the Fender Rhodes electric piano in addition to his standard sound. Additionally, in 1970, he performed an oft-heard version of the theme from the film M.A.S.H. that was included on the soundtrack.
Jamal moved to 20th Century in 1973 for a series of decent-selling albums that kicked off with Ahmad Jamal 73, another session with arranger Richard Evans. Others included 1974s Jamalca, 1975s Jamal Plays Jamal, 1976s Steppin Out With a Dream, 1979s One, and 1980s Intervals and Genetic Walk; of those, the former two and Intervals all made the R&B charts, while Genetic Walk was Jamals fifth and final album to reach the pop charts. Nasser left the trio in the mid-70s and was replaced by John Hurd, and the lineup was also expanded to include guitarist Charlie Keys for the 1976 concert set Live at Oil Can Harrys (a one-off for the short-lived Catalyst label).Night Song, recorded for Motown and released in 1980, found Jamal working with an atypically large group; elsewhere, he assembled a new trio of bassist Sabu Adeyola and drummer Payton Crossley. In the early 80s, Jamal toured and recorded in tandem with vibraphonist Gary Burton, and returned to a major label when he signed with Atlantic in 1985. Digital Works, Rossiter Road, Crystal, and Pittsburgh all made the jazz album charts over the next five years. He recorded for Telarc in the early 90s, including the well-received Chicago Revisited: Live at Joe Segals Jazz Showcase (1992) and I Remember Duke, Hoagy & Strayhorn (1994). Also in 1994, Jamal was awarded the American Jazz Master Fellowship by the National Endowment for the Arts.
Jamal subsequently signed with the French Birdology label, signaling the start of a full creative renaissance; his recordings were initially distributed in the U.S. by Verve and Atlantic, and later by the smaller Dreyfus Jazz label. His first effort, The Essence of Ahmad Jamal, Pt. 1, was rapturously received in France, and marked the first time hed recorded in a small-group format with a saxophonist (tenor man George Coleman). He followed it with Big Byrd: The Essence, Pt. 2 (1997) and Nature: The Essence, Pt. 3 (1998), as well as the acclaimed 70th-birthday concert LOlympia 2000. The 2003 set In Search of Momentum was also critically well-received. The live trio session After Fair, which combined standards and Jamal originals, was released on Birdology/Dreyfus Jazz in 2005, one year after it was recorded in France.