Ahmad Jamal (p); Jamil Nasser [aka Jamil Sulieman, formerly George Joyner] (b); Frank
Gant (d)
Recorded on February 2 - 3, 1970
The Awakening is a powerful and evocative title because it suggests so many dimensions—spiritual, political, musical, or personal. It's a phrase that evokes images of breakthrough, transcendence, and growth. The title is characteristic of the turbulent times that Jamal was living through, but it's also timeless. And the same could be said of the music that's on the album.
By 1970, Jamal's approach at the piano had begun to change. The light touch that characterizes his music on the Argo/Cadet label, where he had recorded for more than ten years, was growing more forceful. In interviews about this record, Jamal has remarked that the producer Ed Michel gave him wide latitude, so Jamal was free choose the music and play exactly as he wished.
Jamal composed two of the six cuts on the LP, the title cut and "Patterns." Other well-known jazz composers are featured on the disc, including Herbie Hancock ("Dolphin Dance"), Oliver Nelson ("Stolen Moments"), and A.C. Jobim ("Wave"). But Jamal's trio is so well-integrated and the arrangements are so distinctive that it all comes off as Ahmad Jamal music.
More Ahmad Jamal
Jamal’s late-60s and early-70s
recordings for Impulse are all easy to recommend.
But, along with The Awakening, I’m especially partial to the LPs that
Jamal made at the Montreux Jazz Festival in 1971, Freeflight
and Outertimeinnerspace. (Just like on The Awakening, these live recordings feature Jamal's superb trio with Jamil Nasser and Frank Gant.) ... One note
to electric piano-phobes: These Montreux recordings are Jamal’s first to include the
Fender Rhodes electric piano. I think he
plays the instrument beautifully, and the music is enhanced by the instrument’s
new tonalities and colors. Without a
doubt, the piano is my favorite instrument—and specifically the non-electrified,
“acoustic” kind. But I don’t object to electrified
instruments (of any type) based on any sort of principle. Adding electrified sounds to jazz is no different
than a sculptor choosing to shape an object in resin or foam instead of stone
or wood. Different materials imply different sets of assumptions, dimensions, traditions, tonalities, and colors (either literal or metaphorical). Ultimately, there's nothing inherently right or wrong with any choice. They're all just means for expressive ends.
Just chiming in to say that i'm loving this blog; have been and will be following avidly. Cheers and happy new year from 'xybert'.
ReplyDeleteThank you for the kind words, xybert. Happy New Year to you too!
ReplyDeleteAhmad Jamal's career spans my entire life in jazz, and he's still cooking. From the popular appeal of the Pershing recordings in the 1950s to his multiple recordings this decade, he epitomizes excellence and taste, with a constant ability to surprise and delight. I agree with Scott's comments, but wish to share an anecdote from another musician who played a festival gig with Jamal back in 1981.
ReplyDeleteThe musician who shared the anecdote with me is Gary Burton, who wrote back and forth with me a while back. The festival was the Cannes Festival in France and the group was put together on the spot without much planning. According to Gary, Jamal had no interest in talking out the arrangements beforehand, which bothered Gary who is a guy who likes to prepare and rehearse. There is a video of the concert with the 2 of them exchanging looks of puzzlement from Gary and smiles from Ahmad. It's hilarious. (Gary also said the same about Paul Bley).
The anecdote explains why Ahmad Jamal's music is never boring or predictable. He is the essence of jazz improvisation.