Saturday, May 18, 2013
Ahmad Jamal: “… I think it has to do with philosophy and how I approach the disciplines. There’s a discipline in music. There’s an amount of showiness and showing off in front of musicians, which is always a mistake. So I kind of backed off sometimes and I think it’s part of the discipline that I’ve employed through the years. I still have that. Some people call it space, but I call it discipline.”
“These sides are glistening examples of the polished skill and remarkable interplay that are the hallmarks of the Jamal trio. Israel Crosby is on-hand to give imaginative and rock-steady support. Vernel Fournier is, as ever, fluid and quick as mercury. Jamal displays all the qualities that have elicited so much vociferous respect from fellow musicians, critics and records buyers ….”
Jack Tracy/Original liner notes to Jamal at The Pershing, Vol. 2
“The mid fifties was a fertile time for Jazz; fresh, original ensembles were taking shape all over the country. The Modern Jazz Quartet, the
Dave Brubeck Quartet, The Jazz Messengers and the Ahmad Jamal Trio immediately come to mind. Among musicians, each group had its imitators and its creative disciples who took its innovations one step further.
But no group in this era was as pervasive as the 1957 incarnation of Jamal’s trio with bassist Israel Crosby and drummer Vernel Fournier. Like the Nat King Cole Trio of the previous decade, its influence penetrated so many different aspects of music.
Jamal is first and foremost a pianist with a natural gift for the instrument. His technique, dynamics and control are something to behold, but the mind that manipulates what comes out of the piano is extraordinary. Like only the greatest of improvising artists, Jamal is a master architect, realizing with his mind conceives with seeming ease.”
Michael Cuscuna, Mosaic Records