How Ahmad Jamal Expanded the Spatial Frontiers of Jazz

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How Ahmad Jamal Expanded the Spatial Frontiers of Jazz
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The pianist Ahmad Jamal’s solos, through the ‘50s and early ‘60s, were filled with surprises, lurches, disjunctions, humor; but, in new releases of previously unissued recordings from 1963 through 1966, those bursts are explosive.

The new releases of previously unissued recordings by the pianist Ahmad Jamal and his trio, from 1963 through 1966, “Emerald City Nights: Live at the Penthouse,” is among the jazz events of the year. The Penthouse, a club in Seattle, was a prime musical venue in the sixties . In recent years, the producer Zev Feldman, working with Charlie Puzzo, Jr., whose father owned the club, has been bringing out treasures from the club’s vaults.

In the early sixties, jazz was in a state of radical transformation, owing in significant measure to Davis and to Coltrane, who came to prominence as Davis’s sideman. Jamal, too, found his sensibility shifting. In 1962, he disbanded his famous trio . He moved to New York, where he and Davis lived two blocks apart . He formed new trios with different musicians that embodied a new perspective—new ideas for his playing and his arrangements.

Musical space, as Davis noted, is at the heart of Jamal’s artistic concepts and achievements, and what emerges in both double-disk sets is the shift in his spatial sensibility. Here, he’s a miniaturist who’s going big. If his earlier trios are interior music, with their sense of genre paintings and portraiture , the “Emerald City Nights” recordings are landscape-like expanses, parsed and organized yet grand and vast.

Jamal’s solos, through the fifties and early sixties, were filled with surprises, lurches, disjunctions, humor; but, here, those bursts are explosive, laugh-riotous, church-bell-ringing, wall-rattling; angular, dancing, jubilant. He revels in the fullness and variety of his own sound and the feel of letting his own impetuous imagination fly—without sacrificing his melodic grace, his precision, or his wit.

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