Jamal hits March 1-4
By Roscoe Crenshaw
For the St. Louis American
Drummer Jack DeJohnette, himself an accomplished pianist, wrote a composition entitled “Ahmad the Terrible,” in tribute to the keyboard legend, Ahmad Jamal – one of his musical inspirations. Devotees will have the chance to hear just how baaad Jamal really is when his group visits March 1-4.
Ahmad has been thrilling audiences for more than five decades, yet he still plays with a fresh, inventive artistry that belies his many years.
Born Frederick Russell “Fritz” Jones in Pittsburgh, PA, July 2, 1930, he began playing at age three and had his professional debut at 11. In the late ‘40’s, he toured with the George Hudson orchestra, although he told me he never actually lived in St. Louis.
He formed his first trio, the Three Strings, in 1951, a unit consisting of guitarist Ray Crawford and bassist Eddie Calhoun. His conversion to Islam came around 1952. In 1955, Israel Crosby succeeded Calhoun on the upright; and the following year Jamal switched to a piano-bass-drums format, with drummer Walter Perkins replacing Crawford.
Like great poetry, the music Ahmad plays is full of surprises. His compositions are replete with unexpected melodic turns and refreshing harmonic ventures. When asked what fascinates him about jazz, he once said, “The confusion – because to me there is no such thing as jazz! Duke Ellington never called himself a jazz musician. Count Basie never called himself a jazz musician.” He prefers to call it “American Classical Music.”
Whatever label one assigns to this music, Jamal placed his stamp on it. Having enjoyed him at various area venues over the years – La Casa on Jefferson and the Hilton Hotel at 4th & Washington in the ‘70’s; the Admiral on the Riverfront in the ‘80s; the Casino Queen and Jazz at the Bistro in this decade – I can verify his dedication to searching compositions, always on the edge.
Discussing the challenge of playing American Classical Music, he said, “In order to play so called jazz, you have to know DeBussy, you have to know Duke Ellington, you have to know Ravel, you have to know Liszt, you have to know Count Basie, you have to know Art Tatum. You have to know the best of both worlds.”
The well-travelled virtuoso echoes his diverse exposure in lush, provocative pieces that underscore his continual evolution. He says, “Everything I heard goes in my brain. Music universal – I played Cuban, I played Brazilian, I played American, European, Chinese, Middle Eastern – all concepts.”
Ahmad’s playing is often spellbinding, noted for his unique use of space and “a very staccato orientation with chords” (as Wikipedia puts it), whether on grand piano, Rhodes electric or Wurlitzer 200 electric. He was one of Miles Davis’ favorites, though he was never in any of Miles’ groups. Ahmad has had rewarding associations with other great players, In 1996, with the release of Big Byrd: The Essence, part 2, he featured a saxophone for the first time – that of George Coleman.
His Bistro group is likely to be a trio; he has frequently employed bassist James Cammack and drummer Idris Muhammad in that setting. He’s appeared on many record labels, even Motown, and seems to triumph aesthetically wherever he lands. No matter the sidemen, the music of this candid, articulate veteran promises to be captivating.
Ahmad Jamal performs at Jazz St. Louis 3536 Washington
March 1-4 at 8:30pm & 10:15pm
