1. But Not for Me
2. Surrey With the Fringe on Top
3. Moonlight in Vermont
4. (Put Another Nickel in) Music Music Music
5. No Greater Love
6. Poinciana
7. Woody'n You
8. What's New

Artists:
Ahmad - Jamal Piano
Israel Crosby - Bass
Vernell Fornier – Drums

Recorded at the Pershing Club in Chicago, IL, Jamal's third album (including the hit "Poinciana") was the turning point in his career. His liberal use of silence influenced many jazz musicians, including Miles Davis. --- Michael Erlewine, Rovi

The release in 1958 of the LP 'But Not For Me', recorded by the AHMAD JAMAL Trio during an engagement at the Pershing Hotel in Chicago, proved to be a turning point in Jamal's career. Almost overnight the trio was in national demand, and the record was one of the year's top selling albums. The album displays Jamal's noted use of space and time as well as the trio's extraordinary percussive meld of piano and rhythm section - all of which influenced no less than Miles Davis, who later covered several of the tunes here using ideas similar to Jamal's. The death of ISRAEL CROSBY in August 1962 put an end to the trio, which however is still a reference for musicians and critics. --- jazzcenter.org

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01. Marseille (Instrumental) (8:34)
02. Sometimes I Feel Like A Motherless Child (5:48)
03. Pots en verre (8:30)
04. Marseille (feat. Abd Al Malik) (7:23)
05. Autumn Leaves (8:49)
06. I Came To See You / You Were Not There (5:56)
07. Baalbeck (6:24)
08. Marseille (feat. Mina Agossi) (8:14)

Ahmad Jamal – piano
James Cammack - double bass
Herlin Riley – drums
Manolo Badrena – percussion
Abd Al Malik (4), Mina Agossi (8) – vocals

There are few true jazz legends left alive now let alone still recording albums of the calibre of Marseille. Ahmad Jamal is one such venerable figure and the octogenarian (born July 2, 1930) has recorded an album of consistent brilliance. Jamal prefers to refer to his playing as American classical music rather than jazz and he's been regarded as a "mainstream" pianist but to stylistically stereotype him in this fashion is to do him an injustice.

The title track is afforded three different versions, the first being a mesmeric modally-inspired instrumental foray. The title is also a paean to a country that has enthusiastically supported Jamal throughout his long career culminating in the French government awarding him the prestigious Chevalier De L'Ordre Des Arts Et De Lettres in 2007. The album itself was recorded in Malakoff, a suburb on the outskirts of Paris.

It's well-known that Miles Davis was a fan of Jamal's and admitted to being influenced by the pianist. Miles and Jamal became friends in the 1950s and Davis recorded Jamal's "Ahmad's Blues" on Workin' and "New Rhumba" on Miles Ahead. So on one level, it's not too surprising that on "Sometimes I Feel Like A Motherless Child" Jamal includes a funky quote from Davis's "Jean Pierre" from We Want Miles, released in 1982. But on another level the inclusion of this vamp, which bookends the track, demonstrates how versatile is Jamal's approach, and how a standard can be completely transformed so seamlessly.

The quoting continues on "Pots En Verre" with a repetition of two tantalisingly familiar chords from Lee Morgan's "The Sidewinder." The French rapper Abd Al Malik contributes tersely spoken words in French on the next beguiling version of "Marseille" on which Jamal evinces an alternative chordal interpretation.

"Autumn Leaves" is given a rich makeover, with percussionist Manolo Badrena and drummer Herlin Riley adding a Latin-esque feel and all underpinned by James Cammack's resonant double bass. There's even a micro-quote from Oliver Nelson's "Stolen Moments" here too. The languid "I Came To See You / You Were Not There" and the more vibrant "Baalbeck" almost conclude this set but for the addition of a sumptuous third version of "Marseille," adorned by Mina Agossi's mellifluous vocals.

It's undoubtedly Jamal's use of space and deft light and shade which characterise his playing and this proves that frenetic pyrotechnics are not necessary to make a huge impact on an audience.

This extraordinarily beautiful album, simultaneously released on CD and double vinyl, demonstrates how age alone does not diminish an artist's musical ability and creativity. This superb album's appeal will be undoubtedly very wide indeed. ---Roger Farbey, allaboutjazz.com

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A1. When You Wish Upon a Star   4:58 
A2. Deja Vu   5:02 				play
A3. Need to Smile   5:29 
A4. Bad Times   4:27 

B1. Touch Me in the Morning   4:46 
B2. Night Song   6:53 				play
B3. Theme From M*A*S*H   4:41 
B4. Something's Missing in My Life   4:10	

Personnel:
Pete Christlieb- Alto Sax 
Ahmad Jamal- Keyboards
Chester Thompson- Drums 
Gil Askey- Keyboards,Horn Arrangements,String Arrangements
Oscar Brashear- Trumpet 
Garnett Brown- Trombone 
Robert Bryant (Trumpet) 
Ernie Fields Jr.- Baritone Sax 
Calvin Keys- Guitar
Greg Poree- Guitar 
Maurice Spears- Trombone

Critic Stanley Crouch cites AHMAD JAMAL's impact on the fresh form in jazz as an outstanding conceptionalist. Crouch considers Mr. Jamal's distinctive style as having had an influence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Theolonius Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions."

Considering his trio "an orchestra", Mr. Jamal not only achieves a unified sound, but subtly inserts independent roles for the bass and drums. The hallmarks of Mr. Jamal's style are rhythmic innovations, colorful harmonic perceptions, especially left hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal substitutions and alterations and pedalpoint ostinato interludes in tasteful dynamics. He also incorporates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Mr. Jamal impressed and influenced, among others, trumpeter Miles Davis. Like Louis Armstrong, Mr. Jamal is an exemplary ensemble player -- listening while playing and responding, thus inspiring his musicians to surpass themselves. Audiences delight in Mr. Jamal's total command of the keyboard, his charismatic swing and daringly inventive solos that always tell a story.

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1 Milan
2 If I Find The Way
3 Without You
4 Acorn
5 Yellow Felow
6 Autumn Rain
7 Winter Snow
8 Rossiter Road

Ahmad Jamal — piano
James Cammack — bass
Herlin Riley — drums
Manolo Badrena — percussion

Few of pianist Ahmad Jamal's many recordings are not worth picking up, and this effort for Atlantic boasts some fresh material and fine playing. Jamal (joined by bassist James Cammack, drummer Herlin Riley, and percussionist Manolo Badrena) performs seven of his little-known originals and the obscure "Yellow Fellow." The close musical communication by the players is, as always, the main reason to acquire this release. –Scott Yanow, Rovi

This disc sizzles for one reason: Herlin Riley, the drummer. Jamal flies, he soars across the keyboard, across modalities and changes like few others, but unlike some other discs, Riley, along with the solid, if sweating, James Cammack, on bass, provides a solid launch pad. Get it, listen, and wonder why this trio hasn't made more discs. ---amazon.com

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A1 Billy Boy 		
A2 Sweet And Lovely 		
A3 I Didn't Know What Time It Was 		
A4 Taboo 		
A5 I'll Never Stop Loving You 		
A6 I'll Remember April 
		
B1 So Beats My Heart For You 		
B2 For All We Know 		
B3 The Breeze And I 		
B4 Like Someone In Love 		
B5 Angel Eyes 		
B6 The Girl Next Door

Musicians:
Bass – Israel Crosby
Drums – Vernell Fournier
Piano – Ahmad Jamal

One of Ahmad Jamal's most popular trios, with bassist Israel Crosby and drummer Vernel Fournier, is featured in this Cadet LP anthology of live recordings made between 1958 and 1961 for Argo. Even though the pianist sticks almost exclusively to very familiar standards, his fresh approach to each of them makes his interpretations very distinctive. His spacious, light-hearted and Afro-Cuban-flavored arrangement of "Taboo" (which Art Tatum played as a virtuoso showstopper), the adventurous take of "Billy Boy," and the playfulness of his rapid but brief rendition of "I'll Remember April" are among the standout tracks. While it is preferable to locate each of the original records from which each of these dozen tracks were compiled (since not all of them have been reissued on CD), this LP contains a well-rounded sampling of early Ahmad Jamal for those who neither have the time nor the funds to acquire all of them. ---Ken Dryden, allmusic.com

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1.The World Is A Ghetto 	9:44
2.Children Of The Night 	5:04
3.Superstition 	4:03
4.Trilby 	4:34
5.Sustah, Sustah 	6:44
6.Soul Girl 	3:25
7.Peace At Last 	6:17

Arranged By [Orchestra], Conductor, Piano  – Richard Evans
Producer – Ahmad Jamal, Richard Evans

Most famous for his '60s Argo and Cadet stint, this is Jamal's first album for 20th Century after a few albums with Impulse, including 1971's Outertimeinnerspace. By this effort, Jamal had already begun to play an electric piano. For this effort, Jamal also decides to do more pop material. Although those two things might irritate a few fans, Ahmad Jamal '73 proves that at times the idea is interesting. From the beginning, Jamal and co-producer Richard Evans attempt to do three of the more popular tracks of the time. While the premise isn't horrifying, overblown horn, string, and vocal productions weigh the effort down. The album starter "The World Is a Ghetto" is way too long at nearly ten minutes. Jamal does better with Thom Bell and Linda Creed's "Children of the Night." On the always poignant track, the disconsolate tone of Jamal's Fender Rhodes possesses the right measure of melancholy. As that was good, his pointless take of "Superstition" basically has Jamal all but wasting time and adding nothing to it. Despite the attempts, the more mature material works better here. Orlando Murden's "Trilby" gets a warm, middle-of-the-road treatment with Jamal hitting the keys so softly they at times sound like vibes. The up-tempo "Sustah, Sustah" has an earthy arrangement and nice multi-layered tones from Jamal. Ahmad Jamal '73 is an early instance of him playing an instrument besides acoustic piano, but it is a few tracks away from being a necessity. ---Jason Elias, AllMusic Review

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A1. We Kiss In A Shadow 5:04  
A2. Sweet And Lovely 4:01  
A3. The Party's Over 3:59  
A4. Love For Sale 4:02   
A5. Snow Fall 2:35  
B1. Broadway 7:48    
B2. Willow Weet For Me 3:59  
B3. Autumn Leaves 3:52   	play	
B4. Isn't It Romantic 4:27     play	
B5. The Breeze And I 2:24  

Musicians:
Israel Crosby- Bass  
Vernell Fournier- Drums  
Ahmad Jamal- Piano

The legendary pianist is caught on his home turf at his (then) newly-opened Alhambra night club, a pretty cool Eastern-themed place on Chicago's classy Michigan Ave. The material's standard Jamal for the time played with his trio that included Israel Crosby on bass and Vernell Fournier on drums. ---Dusty Groove.

Taken from what were probably bassist Israel Crosby's final recordings with pianist Ahmad Jamal (14 months before the bassist's unexpected death), this LP features the classic version of Jamal's Trio (with drummer Vernell Fournier) playing live at the leader's short-lived Chicago club. The interplay between the musicians was often magical, as can be heard on such numbers as "We Kiss In a Shadow," "Love for Sale," "Broadway" and "Isn't It Romantic." ---Scott Yanow

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A1. Heat Wave 3:37				play    
A2. April in Paris 3:22   
A3. Allison 2:54   
A4. Gloria 2:53   
A5. St. Thomas 4:20   
B1. Misty 2:49					play   
B2. Maybe September 2:50   
B3. The Fantastic Vehicle 4:08   
B4. The Girl Next Door 6:37

Musicians:
Ahmad Jamal – Piano
Jamil Nasser – Bass
Frank Gant – Drums

Ahmad Jamal - Heat Wave This stereo LP Record was released on Cadet Records LPS 777 in 1966. Ahmad Jamal (piano) is featured with Jamil Nasser (bass) and Frank Gant (drums). The track listing is as follows: Heat Wave * April In Paris * Allison * Gloria * St. Thomas * Misty * September * The Fantastic Vehicle * The Girl Next Door The album cover shows wear and is graded as "VG+" -- the vinyl is clean and is graded "M-". Unless Otherwise Noted, All Grading is visual - Grading is as follows: NEW: Still factory sealed...brand new product M-: Mint minus...used product in near new condition EX: Excellent...used product with minor flaws not affecting play VG: Very Good...used product with some damage possibly audible G: Good...used product that will play, but not with passable quality. ---Editorial Reviews

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1. Ghetto Child
2. Misdemeanor
3. Along the Nile
4. Trouble Man
5. Jamaica
6. Don’t Misunderstand
7. Theme Bahamas
8. Children Calling
9. Theme from M*A*S*H (Suicide Is Painless)

Ahmad Jamal – piano, keyboards
Richard Evans – bass
Jamil Nasser – bass
Frank Gant - drums
Brian Grice - drums
Marilyn Haywood – vocals
Vivian Haywood – vocals
Jimmy Spink – vocals

Released in 1974, Jamalca is a far cry from Ahmad Jamal's classic trio recordings from the '50s but in line with his other early-'70s releases. In fact, it has a strong early-'70s vibe in general, in terms of both the arrangements -- which feature blaxploitation-tinged strings, anonymous female background singers, and the occasional flute -- and the repertoire, which includes such then-current numbers as Thom Bell's "Ghetto Child," Marvin Gaye's "Trouble Man," and the Johnny Mandel-penned "M*A*S*H Theme" (also known as "Suicide Is Painless," and a tune that was covered by several other jazz musicians during this era, including Bill Evans, Paul Desmond, and Jimmy Smith ). Jamal himself splits time between Fender Rhodes and acoustic piano and showcases his usual taste and elegance throughout, despite occasionally being overwhelmed by easy listening strings and obtrusive background vocals. This is essentially a crossover album, and while it is dated, it is still enjoyable in spots. Highlights include the breezy "Misdemeanor," the chipper (if somewhat goofy) title track, and the M*A*S*H theme, which stays on just the right side of the cocktail-lounge background music line. At this point, the potential audience for this album will consist more of crate-digging rare groove enthusiasts than straight-ahead jazz fans, but for those in the aforementioned demographics, Jamalca is at least worth a listen. ---William York, rovi

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