LP-719

Ahmad Jamal - Poinciana

Released 1963

Recording and Session Information

"Pershing Lounge", Chicago, January 16 1958
Ahmad Jamal, piano; Israel Croby, bass; Vernell Fournier, drums

Poinciana
September 5/6 1958 Spotlight Club, Washington D.C.
9026 Autumn Leaves
9033 Tater Pie
9037 Gal In Calico
9041 This Can't Be Love
9047 Ivy
9050 Old Devil Moon
9053 You don't know what love is

Poinciana	Bernier / Simon	January 16 1958
You Don't Know What Love Is	D. Raye, G. DePaul	September 5, 6 1958
Gal In Calico	A. Schwartz, L. Robin	September 5, 6 1958
Ivy	H. Carmichael	September 5, 6 1958
Tater Pie	Irving Ashby	September 5, 6 1958
Autumn Leaves	Prevert, Mercer, Kozma	September 5, 6 1958
This Can't Be Love	Rodgers & Hart	September 5, 6 1958
Ole Devil Moon	Lane, Harburg	September 5, 6 1958

Liner Notes

THERE have been piano trios in great abundance in Jazz ever since Art Tatum showed the way back in the early 30's. Most of them have been "One man" trios, such as Art's, because of the overwhelming talent with which the leader-pianist was usually imbued. The bass and drums usually kept to the unobtrusive role of time keeping. Erroll Garner's men are listed as string and percussion accompaniment, which they very finely but innocuously are. And so the trios go.

With The Ahmad Jamal Trio of this setting the word trio means exactly that; three! Indisputably, it is Ahmad's trio, it is he the general public comes to see and hear. They come now to hear his new group which is rapidly growing to excellence. However. the trio herein is no more. Its great bassist, Israel Crosby has passed on, and its greatly underrated but superbly inventive drummer, Vernell Fournier is now with George Shearing. Those of you who've heard this trio may differ With me and say that Israel or Vernell never did solo, that they merely kept time and were subservient to Ahmad's explorations. In the sense of an out and out extrovert type solo this is essentially true. However, the few breaks they do take plus their overall contributions to, the general meaning of the selection being played are so important and so much a part of the whole conception that without their rapport it is very doubtful that the Ahmad Jamal Trio would have gained the fame it so deserved. No one, I'm sure realizes this fact as keenly as the exceptionally talented pianist-composer, Ahmad Jamal. (This is one reason he has reorganized his present trio along the same lines, with Richard Evans, bass and Chuck Lampkin, drums). Both of these excellent sidemen possess some of the great qualities of their predecessors, plus of course, their own personal talents, which are quite large!

All of the selections included in this album were recorded before a live audience and their appreciative reactions are easily evident after each number. "Poinciana," one Of the first tunes to really boost the group begins side one, and is followed by a great standard, "You Don't Know What Love Is." Sprinkled by many humorous ihterpolations, this selection swings along with Israel giving "singing" lessons to all bassists while propelling Ahmad into some fanciful flights of two fisted chords and deftly turned single note runs. "Gal In Calico" which follows features some of the most finger poppin'est head shakin' swingin' ever recorded. Vernell builds right along with Ahmad and distinguishes himself by crashing the loudest cymbal ever in his long career. Obscure but beautiful is the ballad, "Ivy"; its Rhumba like treatment alternating with a deep sounding 4/4 is perfect interpretation by these masters. The first side ends With guitarist Irving Ashby's composition, "Tater Pie," a light sounding swinger which lends itself admirably to the easy styled improvisations Of Ahmad. Israel's meter, choice Of notes and unfrantic but definitely positive style of bass walking on this tune are remarkable, and without fear of stretching a point I would say this is the way most bass players would like to be able to play!

The longest tune in the the forever standard, "Autumn Leaves" opens the second side, and is given vastly treatment than Miles Davis' famous interpretation. "This Can't Be Love," which I've always loved by Lester Young is played robustly with tongue-in-cheek. Many truly humorous interpolations poke their way through the web of the tunes' melody which Ahmad constantly toys with in much the same did with multi-noted flourishes alternating with open gaps of rhythm. On this and the album's closer, "Ole Devil Moon," Israel Crosby once again rules the world of tasteful bass playing hands down. Notice also the interplay between drums and bass, both listening to Ahmad and each other.

Listening to and appreciating each other musically and personally with the talent already involved was perhaps the secret of the TRIO. I truly feel that Ahmad Jamal's Trio is most certainly among the elite in its field of music. This album, among his many others, helps to justify this position, as does his new trio. I sincerely think POINCIANA will meet with the approval of your discerning ears.

—JOE SEGAL