LP-733

Ahmad Jamal – Naked City Theme

Released 1964

Recording and Session Information

Ahmad Jamal, piano; Jamil Sulieman (Nasser), bass; Chuck Lampkin, drums
Jazz Workshop, San Francisco, 1963-1964

12880 Whisper not
12881 Naked City theme
12882 One for Miles
12883 Haitian market place
12981 Beautiful love
12982 Surrealism
12983 Minor adjustment
12984 Johnny one note
12985 Have you met Miss Jones?
12986 I believe in you
13301 Minor moods
13302 Keep on keepin' on
13303 Stolen moments
13563 Lollipops and roses

Track Listing

Naked City Theme	B. May & M. Raskin	December 10 1963
Minor Moods	A. Jamal	June 26-28 1964
Haitian Market Place	R. Evans	December 10 1963
Beautiful Love	V. Youing & W. King	Early 1964
One For Miles	A. Jamal	December 10 1963
Lollipops And Roses	T. Velona	June 26-28 1964

Liner Notes

THIS IS AHMAD JAMAL'S first new album in two years. It was recorded live, last June, at the Jazz Workshop in San Francisco — that West Coast city which seems to generate so much excellent jazz nowadays. Most musicians will agree that the jazz experience is heightened by playing to real people. Real San Francisco people seem to be even better, as other jazz musicians who have played there will attest.

The Jamal story is heart-warming. Only a handful of modern jazzmen have achieved the genuine commercial success that he has. That kind of success (enormous record sales and sellout personal appearances) must have surprised him, since he had not consciously sought it. Only rarely would he leave his Chicago workshop, where he had numerous local admirers. Jamal was, and is, essentially, a first-rate pianist — a fact known to fellow jazz musicians who heard him in Chicago long ago, before he gained widespread recognition.

Now, of course, everyone knows Ahmad Jamal's celebrated style. On its surface, his playing is gentle, warm and lyrical, and charms even a non-jazz audience. Yet everyone listening must have felt the relentless beat, because it was always there — rolling along like ocean waves.

Although Jamal seems to prefer subtlety and indirection, in reality he is strongly percussive and places accents much like a drummer. On this album, his percussiveness is strongly evidenced. Earlier records, however, had the interplay of rhythmic accents between him and the other musicians more subdued — now it constantly erupts!

Not that there is a "new" Jamal — all that was so attractive before is still here — only the emphasis has shifted. This shift is due, in no small part, to his new sidemen: drummer Chuck Lampkin and bassist Jamil Sulieman. Lampkin, formerly with Dizzy Gillespie, has a crisp sound and a hard-swinging beat. Sulieman's sound, deeply vibrant, is cleanly articulated and he has that "walking" beat. Both men are capable of producing the varying dynamics and shadings that Ahmad's conception demands.

One thing more! Here is a tightly-knit group. Each tune, subjected to any number of possible attacks, is spun out with increasing ingenuity and excitement. Within this diversity. always there is thc unity of a trio performance, rather than simple piano-with-rhythm backing.

The six compositions selected for this album were chosen from numerous inspired performances given the nights of June 26, 27, and 28, 1964.

NAKED CITY THEME: The title song of this album, written by Billy May, is a pretty melody languidly played in the first chorus by Ahmad, over an ever-rolling tom-tom beat. Clanging cymbals and hammered chords from the piano are then added in increasing volume and intensity, and a striking alteration to the interior pulse occurs toward the end of the piece.

MINOR MOODS: Here is Ahmad as composer; this time with an attractive jazz waltz. Following some warm chord progressions by the leader, dig Sulieman's bass solo! After which a crackling solo by Lampkin is heard — but note also his crisp drumming throughout.

HATTIAN MARKET PLACE: From the pen of Richard Evans, (a former bassist with the trio) exotic styling by Jamal is here evidenced. Caribbean rhythms are now the basic pattern, but the feeling is sizzling, hot jazz. Hard to keep still while listening to this one!

BEAUTIFUL LOVE: Victor Young's writing, and here is the romantic mood of Ahmad, beautifully played. You will note though, that beat is always there.

ONE FOR MILES (guess who?): Ahmad, the composer, again. This one is straight-ahead, hard-swinging jazz! Brilliant solos by Ahmad and Sulieman, big-band drum accents by Lampkin, and sly, witty touches from one and all are contained here. Swings for days!

LOLLIPOPS AND ROSES: Penned by Tony Velona; here is a lovely song played tenderly for the most part, with that shimmering piano tone that is Jamal's hallmark. Still, before the climax, the trio examines the piece in some other lights that are more direct, consequently, a few sparks fly!

Norval Perkins
Former jazz columnist for the Washington Afro-American