Ahmad Jamal – Jamal At The Penthouse
Released August 1959
Recording and Session Information
Ahmad Jamal, piano; Israel Crosby, bass; Vernel Fournie, drums, Harry Lookofsky, Gene Orloff, Sylvan Shulman, Leo Kruczek, Harry Katzman, Alexander Cores, Alvin Rudnitsky, Seymour Miroff, Bernard Eichebaum, Felix Orlewitz, Bertrand Hirsch, Isadore Zir, George Brown, Lucien Schmit, David Soyer, strings; Joe Kennedy (arranger)
Nola's Penthouse Studios, New York, February 27 & 28, 1959
9377 Comme Ci, comme Ca
9378 Ivy
9379 Never Never Land
9380 Tangerine
9381 Ahmad's Blues
9382 Seleritus
9383 I Like To Recognize The Rune
9384 I'm Alone With You
9385 Sophisticated Gentlemen
Track Listing
| Comme Ci, Comme Ca | Kramer, Whitney | February 27 & 28, 1959 |
| Ivy | Hoagy Carmichael | February 27 & 28, 1959 |
| Never Never Land | Jule Styne | February 27 & 28, 1959 |
| Tangerine | Mercer, Schertzinger | February 27 & 28, 1959 |
| Ahmad's Blues | Ahmad Jamal | February 27 & 28, 1959 |
| Seleritus | Ahmad Jamal | February 27 & 28, 1959 |
| I Like To Recognize The Tune | Rodgers, Hart | February 27 & 28, 1959 |
| I’m Alone With You | Bud Estes | February 27 & 28, 1959 |
| Sophisticated Gentlemen | Kennedy, Bennett | February 27 & 28, 1959 |
Liner Notes
About The Artist
If you have been lost in the Amazonian jungles for several years or have endured a similar disassociation with civilization, it's just possible that you may be hearing of Ahmad Jamal for the first time. It's not likely, of course, what with the rapid strides in communication, the increased efficiency in the distribution of records, and the phenomenal world wide enthusiasm for jazz.
The first time I heard a Jamal recording must have been, roughly, eight years ago. I was having a bite to eat before starting my nightly shift, when suddenly I was intrigued by some exciting sounds emanating from the restaurant's sound system, hooked to a juke box in the manager's office. It was a fervid, Latin treatment of a well-known standard and I lost no time in finding someone who was familiar with the juke box so that I could learn who was playing and thereby acquire a copy of the record for my show.
There began, then, a period of frustration, as Ahmad Jamal was on a comparatively new label with undeveloped distribution, and I experienced considerable difficulty in obtaining any of his records. Since that time, I'm happy to say, Ahmad's records are more readily available and Ahmad is not — which is a back handed way of saying that his rapid growth in popularity has resulted in steady bookings in the better jazz rooms, colleges, concerts, and the like.
Although he was born and educated in Pittsburgh, Pa., Chicago was actually the springboard that launched his career. Such discerning entrepreneurs as Frank Holzfiend and Miller Brown several years ago first presented the Ahmad Jamal trio in their respective rooms — the Blue Note and the Pershing Lounge.
Ahmad Jamal once was a member of a group known as the Four Strings, of which the director was Joseph J. Kennedy, Jr. Ever since the group disbanded in 1949 it has been Ahmad's hope that some day he might utilize the services of Joe Kennedy as arranger and conductor of a session for the trio with strings. This album is the culmination of that idea.
Kennedy comes from a musical family, having had ancestors who performed before the crowned heads of Europe. He and Ahmad literally grew up together, their families being closely associated, and Ahmad's faith in him as one of the foremost arrangers and composers of this era is unwavering.
The prize Joe won in a high school music contest was the privilege of studying violin under the late Theodore Rentz, former professor of violin at Carnegie Institute of Technology in Pittsburgh. It's not surprising, then, that Ahmad speaks of Joe Kennedy's knowledge of the violin as "extraordinary," and possessing "a wealth of musical talent." This is evident in the extraordinary "full" sound he obtains in his use of the strings in this album, as well as his strategic use of them. Never intrusive, never overpowering, the coming restraint in their use serves to point up the trio just as seasoned dressings do your favorite mixed green salad.
About The Music
Comme Ci, Comme Ca - The strings are introduced immediately for four bars, with the trio echoing in the exchange of fours. Vernell Fournier's crisp, punctuating drumming is contrasted by the delicacy of Ahmad's approach to this pop tune of several years ago.
Ivy — After a quiet ad lib opening to this lovely Hoagy Carmichael peren the trio establishes Latin motif up to the release, which it takes in an easy fox-trot tempo...then it's back to the original tempo, accented by tom-toms. There is an interesting use of a suggestion of the bolero in modulating into the second chorus.
Never Never Land — This is taken in what has come to be known as a "funky" tempo among musicians; relaxed, danceable, and paced by bongos.
Tangerine — The Schertzinger-Mercer ballad of the early '40s has joined the ranks of "standards" by virtue of its pretty melody, evoking memories of its original popularity. Ahmad takes it slightly up-tempo, and arranger Kennedy has given the strings a little more sweeping role than in the previous three numbers. We guarantee that the color won't fade; but if it does, "Marie Phillipe's to blame..."
Ahmad's Blues — This is in an "it's getting late out" mood, with mysterioso exclamations by the strings, and Israel Crosby walking like a nimble-footed ghost from cellar to attic—again proving himself to be outstanding bassist in a generation where "beat" is more becoming as a musical contribution than as a Bohemian attitude.
Seleritus — This is the melody, more than any other in the album, that I have found recurring and running through my head hours after listening to the album. It is the name of a little boy whom Ahmad once met, and, he felt, so musical a name that he was inspired to write this lovely melody. Although the trio had previously recorded it, Kennedy's scoring for the strings made it a "must" for this augmented version. Just as a small boy can remain tranquil and seemingly angelic for only brief spells, the sudden acceleration and switch from pp to ff at the close, although momentarily startling, relaxes one with the grinning realization that it is all very logical.
I Like To Recognize The Tune — They swing this one at a brisk pace, with the strings growling in the lower register at times, and then working hard in more audible fashion. New Orleans-born Vernell Fournier trades fours at the drums with the leader, and then with the strings. Ahmad's pianistics are light, crisp, and sure, and Mr. Rodgers may rest assured that his tune is most recognizable.
I'm Alone With You — The strings are again featured in a fashion that should blend with the mood of the romantic-minded — and isn't everyone upon occasion? Whether your ideal rendezvous would be a stroll through Le Bois of Paris on a sunny spring afternoon, or watching the twinkling of lights in the Bay Area from high atop The Mark in San Francisco, here is music to transport you there in an instant.
Sophisticated Gentleman — Quietly-assured, smart, debonair...this melodic portrait embodies all of these qualities, and we cannot but assume that the gentleman composers Kennedy and Bennett had in mind would be the perfect escort for the Duke's "Lady" of like mien.
The above analyses, of course, simply reflect my own reactions to the selections in the album. Your enjoyment of the music herein will undoubtedly be enhanced as new facets become apparent with repeated listening. To me there is a certain analogy between Ahmad Jamal's playing and that of Count Basie; to wit: the effective use by each of understatement and implication, which I find an ingratiating subtlety; and second, the subordinating of one's own role as leader to the ultimately greater impact of the group as whole.
It's no wonder, then, that the music-loving public has become increasingly aware of Ahmad trio to the point that followers are legion, and enthusiastic in their acclaim.
Dick Martin
