ON MATTERS OF DUBIOUS INTEREST
I’m out of words today. Trump is too much with us, he makes our brains febrile. In Iowa he said, “You can’t sit home. If you’re sick as a dog . . . even if you vote and then pass away, it’s worth it.” Music may be the best way to tune this crap out.
Waltz for Debby is one of the great jazz albums. Put this music on and bathe in it.
When great jazz musicians die, those of us who loved their music mourn their loss by remembering their sound. We don’t rehearse and recast their lives; that’s for the obit writers to do. When I wrote about Wayne Shorter’s passing a couple of months ago, I complained that jazz’s “great practitioners often get more notice when they die than when they lived.”
That is certainly true with the recent death of Ahmad Jamal whom the unwashed would accuse of playing cocktail music and tinkle-tinkle piano. Now at least some writers have recognized that he created a wholly new sound for jazz—not only with his rhythmic displacements (which Miles Davis often acknowledged) but with his left-hand vamping approach.
That, as pianist Benny Green noted, “laid the template for the essential approach that’s been universally applied by influential pioneers such as Red Garland, Wynton Kelly, Bill Evans, McCoy Tyner, Herbie Hancock, and Chick Corea.” Add to that roster Keith Jarrett.
Ahmad also made marvelous resurrections of old sentimental yet rich pop and show tunes, a practice Bill Evans and others took up. His 1958 hit, “Poinciana,” made him popular and well-off. About that time I was studying graduate English at the University of Chicago, and friends and I would venture to the Pershing Hotel frequently to meet the man and hear his novel music.
The Pershing was just west of Hyde Park and the University, at 64th and Cottage Grove Avenue, a solid black middle-class neighborhood. The hotel’s lounge hosted many jazz greats. Ahmad was young, approachable, and played piano like no one else. I have a number of his albums from those days when he played with the great Israel Crosby (bass) and Vernel Fournier (drums).
Another 1958 success was his version and subsequent album “But Not for Me.”
After his “Poinciana” triumph Jamal went on to greater acceptance though recently, I think, was somewhat passed over as a member of the jazz pantheon. His music changed but was always strong and involving. Here’s what he did some years ago (1970) with Herbie Hancock’s “Dolphin Dance.”
Ahmad left us at age 92. For me there seems something magical and strange about dying at that age. My two good jazz friends, Sue Mingus and Sy Johnson, both died last year, also at 92. I keep wondering how and if I’ll catch up with them—and now with Ahmad Jamal.