Описание CD

вернуться        закрыть окно  

 


  Исполнитель(и) :
   Jamal, Ahmad  (Piano)
◄◄◄        ►►►

  Наименование CD :
   Chicago Revisited



Год издания : 1993

Компания звукозаписи : Telarc, Galactic, (ru)

Музыкальный стиль : Mainstream Jazz, Post-Bop

Время звучания : 59:47

  Комментарий (рецензия) :

CD, стоящие на полке рядом : Jazz (Piano)      

Live at Joe Segals Jazz Showcase

Although it had been more than 40 years since his debut recording, pianist Ahmad Jamal's playing was as viable as ever in the 1990s. Teamed up with bassist John Heard and drummer Yoron Israel for this live Telarc CD, Jamal plays a particularly inspired repertoire that includes "All the Things You Are," Clifford Brown's "Daahoud," John Handy's "Dance to the Lady" and "Be My Love" among its nine selections. Jamal's style had developed since his early days, but his basic approach was unchanged while still sounding quite fresh. This date is an excellent example of Ahmad Jamal's unique sound and highly appealing music in the 1990s.

All Music Guide

========= from the cover ==========

November 13-14,1992: Not a cold weekend - at least, not by Chicago standards. But just outside the Blackstone Hotel, on Michigan Avenue, the famous wind has picked up steam, barreling in from the lake, propelling the season's leafy remnants out of its path.

Inside, at Joe Segal's Jazz Showcase, Ahmad Jamal accomplishes something similar as he breezes into his unique arrangement of "Autumn Serenade." The song itself has an exotic, flowing melody; Jamal highlights the exotica, but simultaneously shatters the flow, with unexpected caesuras. As a result, the song keeps springing forward from islands of silence. And each time it does, the pianist fills the air first with subtle displacements of the melody, then small motivic inventions that he worries to conclusion before settling into the next.

"Small detail, keenly observed." This phrase serves not only to describe the process behind Ahmad Jamal's music, but also to guide those hearing it. It is a phrase that for a long time applied as well to Miles Davis, who in the "50s was among the first to admire Jamal's piano work. Davis recognized in Jamal a kindred need to let air into the music - the intuitive realization that the space between the notes could be as important as the notes themselves. Davis's many published comments about Jamal ("I live until he makes another record," Davis said in those days) established the then-young pianist as a compeer of cool jazz; the trumpeter further showed his respect by performing several tunes from the Jamal Trio's repertoire. And years later, in his autobiography, Davis remained unstinting in his praise, adding, "When people say Jamal influenced me a lot, they're right."

Yet for all its understated power, Jamal's music (like Davis's) can still achieve the grand gesture that sweeps together those myriad small details he has scattered along the way. Although he came to prominence in the '50s when the second generation of beboppers held sway, Ahmad Jamal was never one of them; in his solos he has never employed the extended development sought by his contemporaries. Instead, each improvisation comprises a series of discrete segments, many of them familiar in their melodic design or chord sequence, on which he spins discriminating, nuanced variations. (As such, he remains among the foremost jazz minimalists.)

If Jamal's music were a film, these segments would be called set pieces; but musically, don't they function much like the riffs used in Swing Era big bands? Those big-band riffs, albeit simpler than Jamal's elegantly constructed musical scene lets, built drama and attained power through well-placed repetition. In a related fashion, Jamal structures his own solos through the placement of one fully contained segment after another; you can think of each segment as a separate, highly evolved riff sequence, gaining power and drama as they pile up after each other. Jamal thus updates a technique almost as old as jazz itself, and his use of it helps explain the high emotional energy that co-exists with his keyboard grace. (And is it just coincidence that Count Basie, whose band riffed better than any other, played a style of piano almost as spare and breathy as Jamal's own?) Like any other approach to improvised music, this one has its pitfalls. In the wrong or even tired hands, it can become academic, dusty: a museum display. But on this weekend in Chicago, with all the elements in place, with two well-matched accompanists on their toes and the leader reaching higher still, Ahmad Jamal brought forth music as strong, as intricate, and as well-realized as any previously captured in his long career.

Don't mistake that claim for hyperbole: on this disc, you'll hear the ageless Jamal at the top of his game. (At the time of this recording, he had recently turned sixty-two, yet he sounds anything but retiring.) It may have something to do with Chicago, which had so much to do with the pianist's early success. Born in Pittsburgh - where he was something of a prodigy, performing regularly enough to have joined the musicians' union by the age of fourteen - Jamal settled in Chicago after visiting the city with two touring groups. In Chicago he formed his first combo, a "chamber jazz" group featuring bass and guitar; in Chicago, he converted to Islam; and in Chicago, in 1952, the Ahmad Jamal Trio began a long-running engagement at the Pershing Lounge on 64th Street.


  Соисполнители :

John William Heard (Bass)
Yordon Israel (Drums)


№ п/п

Наименование трека

Текст

Длительность

Комментарий
   1 All The Things You Are         0:07:38 Oscar Hammerstein / Jerome Kern
   2 Daahoud         0:03:58 Clifford Brown
   3 Tater Pie         0:06:57 Irving Ashby
   4 Bellows         0:12:36 Ahmad Jamal
   5 Blue Gardenia         0:07:58 Lester Lee / Sydney Russell
   6 Dance To The Lady         0:06:16 John Handy
   7 Be My Love     T       0:05:21 Nicolas Brodzky / Sammy Cahn
   8 Where Are You?     T       0:04:12 Harold Adamson / Jimmy McHugh
   9 Lullaby Of Birdland     T       0:04:53 George Shering / George Weiss

      Обозначения:

 T   'щелкнуть' - переход к тексту композиции.

вернуться        закрыть окно

Последние изменения в документе сделаны 20/10/2016 22:03:26

Главная страница коллекции

Collection main page