It was probably one of the most bizarre artistic demonstrations, New York city has experienced: At 7. In July 1973, as a, as always, the illustrious society for the Carnegie Hall opened to a gathering of the greatest living jazz pianists – from Eubie Blake to Bill Evans to attend, held at the corner 57. Street, 7. Avenue, a lone man was a cardboard sign in the amount that the full extent of the artistic scandal summarized: “A night of the piano without Ahmad Jamal? The Watergate the music!“
Whether the protester was able to recruit many like-Minded people among the concert-goers, is not known. After all, his action has found its way into the anecdotes Treasury of Jazz. The vile override, Jamal responded, almost four decades later, very confident and only with a shrug: “I have so often played in Carnegie Hall, for the first Time in 1952, together with Duke Ellington and Louis Armstrong, then with Charlie Parker, Dizzy Gillespie, and Stan Getz. In the next year, there is a program with McCoy Tyner, Dave Brubeck and me.“
it was 2008 and not the last Time that Ahmad appeared Jamal in the Holy hall of the American musical life. But he is one of the Largest in the history of jazz piano, and yet studiously overlooked, or, let’s say better: is underestimated, accompanied his life until today.
Who knows, maybe he would still no longer a Ondit behind his Hand remained, had not a Miles Davis geraunt as one of the three Norns of the greatest pianists behind the mountains at Pittsburgh, was able to impress him as one of the few. Impress, not affect! Miles, the Big one could affect. But Ahmad Jamal has brought him to focus back on his music: “He led me to myself.”
with ten, he played on his beloved Steinway
Ahmad Jamal was a child Prodigy and a genius, the contracted professionally the beloved Steinway, as it was ten years old. At nineteen he made his first recording a year later, he formed a Trio under his name, that should be the most influential small formations of Jazz. And with not even twenty-five he brought out a long-playing record, whose title is as simple as it is arrogant tone and still as a crystal clear source of jazz inspiration.
“Chamber Music of the New Jazz” is a rare jewel among jazz recordings, it shows a pianist, as you knew him by then and did not listen later on got: with a plot, in which the upper tones are not blossomed, but as hypersensitive Mimosas moved in together, in order to keep that sound secret of any sound for Chordal then again, and should replace an entire Symphony orchestra; with the subject of Surprises, forced to listen to the guitarist Ray Crawford and bassist Israel Crosby permanent high performance. Finally, with an ascetic self-assurance in Avoid virtuoso knick knacks that every other jazz pianists such as an artistic impostor to appear.
