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

LP-732

Ramsey Lewis - Back To The Blues

Released 1964

Recording and Session Information

Ramsey Lewis, piano; Eldee Young, bass, cello; Richard Evans, bass; Redd Holt, drums
Ter Mar, Chicago, January 31 1964

12971 Travel on
12972 Peace and tranquility
12973 For the love of a princess
12974 Misty days, lonely nights
12975 Why don't you do right?
12976 Sadness done come
12977 You'll love me yet
12978 All my love belongs to you
12979 Dance mystique
12980 Bach to the blues

Track Listing

For The Love Of A Princess	R. Lewis	January 31 1964
Why Don't You Do Right	L. Green	January 31 1964
Misty Days, Lonely Nights	R. Lewis	January 31 1964
Bach To The Blues	E. Edwards	January 31 1964
Travel On	E. Young	January 31 1964
Dance Mystique	R. Lewis	January 31 1964
Sadness Done Come	R. Lewis	January 31 1964
You'll Love Me Yet	R. Lewis	January 31 1964
Peace And Tranquility	E. Young	January 31 1964

Liner Notes

AFTER almost fourteen years of playing together, our trio is very close to achieving something that every group of musicians strives for. That is, to be able to think and play as one.

Fortunately Red, Eldee and myself have similar ideas concerning music and life in general. An individual's music is an extension of his life and the fact that we have similar tastes and goals makes it much easier for us to blend musically.

From the beginning we have striven for a true group sound, a true group image in which each participant's role is of equal importance instead of two of the members serving primarily as accompanists. Among the jazz groups that I feel have most nearly accomplished this sound are. The Modern Jan Quartet, The Bill Evans Trio and the original Miles Davis Quintet (with Coltrane, Garland and Philly Joe).

Where two or more people are involved in a performance, it is impossible for an individual to attain complete freedom of expression — some concessions must be made to the ideas of the other musicians. However. the joy and satisfaction of being an integral part of a well functioning whole is just as rewarding, if not more so.

During my course of study with Dorothy Mendelsohn in Chicago, I developed a great love for the classics. Not only did classical study develop my technique at the piano but it also served to broaden my tastes in music and the arts in general. I also arrived at the conclusion that although classical music is included in the list of creative arts; it offers the least amount of freedom for self expression for the performer. The composer has äll the freedom he desires to project what is in his heart but the performer only recreates what is on the paper. This in itself is no easy task. It takes hours and hours of training and practice to master the great composers and regardless of your instrument or musical goal, the best route to competence is a solid classical background.

To return to my original point though; satisfaction is gained in performing the classics more through technical accomplishment rather — the infant of the creative than creative, self-expression as in jazz arts. The jazz soloist must be an interpreter and composer.

Eldee, Red and myself have always tried to incorporate knowledge gained through our classical training into our work in jazz and on previous albums we have used melodies from the great composers as the basis for inprovisation. We believe, as does Esmond Edwards, that most music regardless of its origins, can be expressed in jazz terms. Errol Garner has recorded "I Want To Be A Rug Cutter" and the works of "serious" composers like, Delibes, Villalobos and Rodrigo have been used as the basis for jan expression, How about Curtis Fuller's exciting arrangement of "Three Blind Mice" as recorded by Art Blakley's Jazz Messengers!

Five of the tunes in this album are based on classical themes. "For The Love Of A Princess" is based on a theme of Rimsky-Korsakov, Days, Lonely Nights" is from Rachmaninoff, "Bach To The Blues" owes a debt to J. S. Bach, "Dance Mystique" is a Tchaikovsky derivative and "You'll Love Me Yet" is from Brahms. The other four tunes have their roots in the blues.

This is not an offering of third-stream, main-stream, progressive, commercial or "funky" jazz. This is music that Red, Eldee and I love to play and also make a living at. (To borrow a phrase of Chicago DJ "Daddy-O Daylie".) We sincerely hope you will enjoy a few moments of pleasurable listening to Bach...and the blues.

RAMSEY LEWIS

LP-731

Al Grey - Boss Bone

Released 1964

Recording and Session Information

Al Grey, trombone; John Young, piano; Leo Blevins, guitar; Ike Isaacs, bass; Philip Thomas, drums
Ter Mar, Chicago, December 17 1963

12858 Terrible cap
12859 Grey being blue
12860 The give off
12861 Smile
12862 Salty mama
12863 Can't you feel it
12864 Mona Liza
12865 Tacos and grits
12866 Day in, day out

Track Listing

Smile	Turner-Parson-Chaplin	December 17 1963
Terrible Cap	Al Grey	December 17 1963
Mona Lisa	Jay Livingston & Ray Evans	December 17 1963
Tacos And Grits	Al Grey	December 17 1963
Can't You Feel It	Al Grey	December 17 1963
Salty Mama	Al Grey	December 17 1963
The Give Off	Al Grey	December 17 1963
Day In Day Out	Rube Bloom & johnny Mercer	December 17 1963
Grey Being Blue	Al Grey	December 17 1963

Liner Notes

THIS ALBUM is called BOSS BONE with justification, because Al Grey is unquestionably the boss of the swinging trombonists. His big, sensuous tone is always a joy to hear and his technical facility is envied by many a less gifted trombonist.

Al first gained wide acclaim during his stay with the Count Basie band in the late fifties but he joined the band bringing a long string of noteworthy past affliations. Al's first job after leaving the Navy at the end of World War II was with the Benny Carter band and he later worked and recorded with Jimmy Lunceford, Lionel Hampton, Arnett Cobb, Lucky Millinder and Dizzy Gillespie before joining the Basie brass section.

There is nothing like the experience of working with big bands to develop a jazz musician. In addition to developing the individual's reading and technical skills, it teaches musical discipline and a sense of form. Although most of Al's work since being on his own has been with small groups, the solid foundation of his band experience is always evident in his performances. One of the sad realities of today's jazz scene is the fact that most of the big bands have gone and with them the most important training ground for young musicians has passed.

Another thing that Al Grey learned from his band affiliations was respect for the listener. Since the bulk of the engagements were for dances, the bands tried to "reach the people" with the arrangements and selection of tunes. Al still tries to do this, both on stage and on record. He carefully selects his material, (both original tunes and standards), with the audience in mind and performs the tunes in a straightforward, clown-to-earth manner. No music for The Man In The Moon here!

Thinking of tunes brings Al's interpretation of "Mona Lisa" in this album to mind. Listening to this track is almost an erotic experience because of the way Al musically caresses the melody. To me, one of the marks of a superior jazz musician is the ability to handle a ballad. A lot of "shucking an' jivin'" can be done on a fast number but on the slow, pretty pieces the soloist has got to deliver. If "Mona Lisa" could have heard Al play the tune, that hint of a smile would have been a satisfied grin.

Al recorded this album while in Chicago doing an engagement at one of the local clubs. For his sidemen on the session he chose several Chicagoans that he respects highly. John Young and Phil Thomas are two-thirds of the JOHN YOUNG TRIO and Leo Blevins is one of our Windy City's most sought after guitarists for gigs and recording sessions. Charles "Ike" Isaacs was the regular bassist with Al when this session was cut. His career has included stints with Earl Bostic, Carmen McRae and Lambert, Hendricks and Ross.

Though Al makes Philadelphia his home, Chicago has always been one of his favorite cities and he has many fans here. In fact, he sponsors a bowling team in our "Fun Leagues" and whenever he's in town he makes it a point to roll a few games with his team. His team members, comprised of Barbara Lumpkin, Captain; Roy Dailey, Robert Lyles, Charles Taylor and Betty Doty are not only proud Of Grey as a sponsor but hold him in very high esteem as a person.

As the saying goes..."I don't know a lot about music but I know what I like." Well, I like Al Grey — I think he plays BOSS BONE.

Daddy-O Daylie

NOTE: Chicago's, Holmes (Daddy-O) Daylie is regarded as one of the nation's leading authorities on jazz. Daddy-O is currently heard four hours daily over WAAF and Saturday night over WMAQ, an N.B.C. owned and operated station. Daddy-O has never wavered from his format of broadcasting jazz exclusively daring the fifteen years he has been in radio.