Ahmad Jamal

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Template:Short description Template:For-multi Template:Use American English Template:Use shortened footnotes Template:Use mdy dates Template:Infobox musical artist

Ahmad Jamal (born Frederick Russell Jones; July 2, 1930 – April 16, 2023) was an American jazz pianist, composer, bandleader, and educator. For six decades, he was one of the most successful small-group leaders in jazz.Template:Sfn He was a National Endowment for the Arts (NEA) Jazz Master and won a Lifetime Achievement Grammy for his contributions to music history.<ref name=":0">Template:Cite news</ref><ref name=":2">Template:Cite web</ref>

Biography

Early life

Jamal was born Frederick Russell Jones in Pittsburgh, Pennsylvania, on July 2, 1930.<ref name="Grove">Template:Cite journal</ref> He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was playing.<ref>Template:Cite web</ref> Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, who he said greatly influenced him. Although Jamal is famous for his restrained playing style, he possessed an enormous piano technique from an early age and was playing Liszt etudes in competition as young as 11 years old.<ref>Lyons, Len. The Great Jazz Pianists, Da Capo Press, 1983, p. 115.</ref> His Pittsburgh roots remained an important part of his identity ("Pittsburgh meant everything to me and it still does," he said in 2001),Template:Sfn and it was there that he was immersed in the influence of jazz artists such as Earl Hines, Billy Strayhorn, Mary Lou Williams, and Erroll Garner. Jamal studied with pianist James Miller and began playing piano professionally at the age of fourteen,<ref>Wang, Richard and Barry Kernfeld. "Jamal, Ahmad". The New Grove Dictionary of Jazz, 2nd ed. Ed. Barry Kernfeld. Grove Music Online. Oxford Music Online. Web. April 17, 2012.</ref> at which point he was recognized as a "coming great" by the pianist Art Tatum.<ref name="Waltzer">Waltzer, Ben. "Always Making Jazz Seem New: The Pianist Ahmad Jamal Is an Innovator Who Finds Originality by Taking a Long at the Tradition of Small-Group Jazz." The New York Times, November 11, 2001: A27. Print.</ref> When asked about his practice habits by a critic from The New York Times, Jamal commented that, "I used to practice and practice with the door open, hoping someone would come by and discover me. I was never the practitioner in the sense of twelve hours a day, but I always thought about music. I think about music all the time."<ref name="Waltzer" />

Beginnings

Template:External media Jamal began touring with George Hudson's Orchestra after graduating from George Westinghouse High School in 1948.<ref name=":16">Template:Cite web</ref><ref>Template:Cite magazine</ref> He then joined touring group The Four Strings, that disbanded when violinist Joe Kennedy Jr. left.<ref name="Waltzer" /> In 1950 he moved to Chicago,<ref name=":0" /> performing intermittently with local musicians Von Freeman and Claude McLin,<ref>Template:Cite web</ref> and solo at the Palm Tavern, occasionally joined by drummer Ike Day.<ref>Panken, Ted "It's Ahmad Jamal's 81st Birthday". Tedpanken.wordpress.com, Retrieved July 3, 2013.</ref>

Born to Baptist parents, Jamal became interested in Islam and Islamic culture in Detroit, where there was a sizeable Muslim community in the 1940s and 1950s.<ref name="Walz" /> He converted to Islam and changed his name to Ahmad Jamal in 1950.<ref name=":18" /><ref name=":16" /> In an interview with The New York Times a few years later, he said his decision to change his name stemmed from a desire to "re-establish my original name."<ref name="Walz">Walz, Jay (November 20, 1959). "Pianist-Investor Is a Hit in Cairo: Jazz Musician Ahmad Jamal Finds Muslim Faith Aids Him on African Visit." The New York Times. p. 14.</ref> Shortly after his conversion to Islam, he explained to The New York Times that he "says Muslim prayers five times a day and arises in time to say his first prayers at 5 am. He says them in Arabic in keeping with the Muslim tradition."<ref name="Walz" />

Jamal made his first records in 1951 for the Okeh label with The Three Strings<ref>Template:Cite web</ref> (which would later also be called the Ahmad Jamal Trio, although Jamal himself avoided using the term "trio"): the other members were guitarist Ray Crawford and a bassist, at different times Eddie Calhoun (1950–52), Richard Davis (1953–54), and Israel Crosby (1954–62). The Three Strings arranged an extended engagement at Chicago's Blue Note, but leapt to fame after performing at the Embers in New York City where John Hammond saw the band play and signed them to Okeh Records. Hammond, a record producer who discovered the talents and enhanced the fame of musicians like Benny Goodman, Billie Holiday, and Count Basie, helped Jamal's trio attract critical acclaim.<ref name=":16" /> Jamal subsequently recorded for Parrot (1953–55) and Epic (1955) using the piano-guitar-bass lineup.<ref>Template:Cite web</ref> He recorded his first album with a drummer, Walter Perkins, in 1956: Count 'Em 88, which includes the influential revival of the song "On Green Dolphin Street".<ref>Gioia, Ted. The Jazz Standards: A Guide to the Repertoire, Oxford University Press, 2012, p. 314.</ref>

At the Pershing: But Not for Me

File:Ahmad Jamal in Nashville, October 18, 2019.jpg
Jamal in Nashville, October 18, 2019

The trio's sound changed significantly when Crawford was replaced with a drummer, and Vernel Fournier assumed this position in 1957. The group worked as the "house trio" at Chicago's Pershing Hotel.<ref>Template:Cite book</ref> The trio released the live album At the Pershing: But Not for Me, which stayed on the Ten Best-selling charts for 108 weeks. Jamal's well-known live recording of the Nat Simon song "Poinciana", which Jamal had first recorded on The Piano Scene of Ahmad Jamal, was released on this album.<ref name=":13">Template:Cite news</ref>

Perhaps Jamal's most famous recording, At the Pershing: But Not for Me, was recorded at the Pershing Hotel in Chicago in 1958; it brought him an unusual level of popularity for a jazz pianist in the late 1950s and the early 1960s. The set list included various jazz standards, such as "The Surrey with the Fringe on Top" from the Richard Rodgers musical Oklahoma! and Karl Suessdorf's "Moonlight in Vermont". Jamal's trio, especially through its influence on Miles Davis,<ref>Gioia, p. 314.</ref> would come to be recognized as a seminal force in the history of jazz. Particularly evident were Jamal's unusually minimalist and restrained style and his extended use of vamps, according to reviewer John Morthland.<ref>Review by John Morthland, November 16, 2010.</ref> The New York Times contributor Ben Ratliff said, in a review of the album, "If you're looking for an argument that pleasurable mainstream art can assume radical status at the same time, Jamal is your guide."Template:Sfn

He attracted media coverage for his investment decisions pertaining to his "rising fortune".<ref name="Walz" /> In 1959, he took a tour of North Africa to explore investment options in Africa. Jamal, who was 29 at the time, said he was curious about the homeland of his ancestors, highly influenced by his conversion to the Muslim faith. He also said his religion had brought him peace of mind about his race, which accounted for his "growth in the field of music that has proved very lucrative for me."<ref name="Walz" /> Upon his return to the U.S. after a tour of North Africa, the financial success of Live at the Pershing: But Not For Me allowed Jamal to open a restaurant and club called The Alhambra in Chicago, which lasted barely one year.<ref>Template:Cite web</ref><ref name=":7">Template:Cite news</ref>

In 1962, the classic Jamal/Crosby/Fournier trio made its final recording, Ahmad Jamal at the Blackhawk. Although Crosby and Fournier had started to play with George Shearing, the definitive end of the trio came with Crosby's death from a heart attack in August 1962.<ref name=":7" /><ref>Sheldon, Michael. Liner notes, The Complete 1962 Ahmad Jamal at the Blackhawk, American Jazz Classics 99155, 2022, p. 1.</ref> Jamal recorded Macanudo with a full orchestra in late 1962. He then took a brief hiatus from performing and recording.<ref name=":18">Template:Cite news</ref>

Return to music and The Awakening

In 1964, Jamal resumed performing after moving to New York and started a residency at the Village Gate nightclub.<ref name=":17">Template:Cite news</ref> That year, he began recording a series of new trio albums with bassist Jamil S. Nasser, starting with Naked City Theme. Jamal and Nasser continued to play together until 1972.<ref name=":10">Template:Cite web</ref> He also joined forces with Fournier (again, 1965–1966)<ref>Template:Cite web</ref> and drummer Frank Gant (1966–77),<ref>Template:Cite web</ref> among others. Until 1970, he played only acoustic piano. The final album on which, for a time, he played exclusively acoustic piano in the regular sequence was The Awakening. In the 1970s, he played electric piano as well, as on the instrumental recording of "Suicide is Painless," theme song from the 1970 film M*A*S*H, which was released on a 1973 reissue of the film's soundtrack album, replacing the original vocal version of the song by The Mash. Apparently, the Rhodes piano he used was a gift from someone in Switzerland. He continued to play and record throughout the 1970s and 1980s, mostly in trios with piano, bass and drums, and occasionally expanded the group to include a guitarist or a percussionist. One of his most long-standing gigs was as the band for the New Year's Eve celebrations at Blues Alley in Washington, D.C., from 1979 through the 1990s.<ref name="autogenerated2">Wang and Kernfeld, p. 1.</ref>Template:Incomplete short citation Jamal also reimagined his hit song "Poinciana" several times, notably on Ahmad Jamal at the Top: Poinciana Revisited (1968) and Digital Works (1985).

In 1986, Jamal sued critic Leonard Feather for using his former name in a publication.<ref>"Pittsburgh Jazz Festival Swings into Town" (September 6, 1986), Pittsburgh Courier, p. 5.</ref>

Later career

In his 80s, Jamal continued to make numerous tours and recordings, including albums such as Saturday Morning (2013),<ref name="ford13"/> the CD/DVD release Ahmad Jamal Featuring Yusef Lateef Live at L'Olympia (2014), Marseille (2017), and Ballades (2019), featuring mostly solo piano.<ref name=":8">Template:Cite news</ref> Jamal was the main mentor of jazz piano virtuosos Hiromi Uehara, known as Hiromi,<ref>Template:Cite news</ref><ref name=":8" /> and Shahin Novrasli.<ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref><ref>Template:Cite news</ref>

File:-"Shahin Novrasli & Ahmad Jamal celebrate the releases of their respective albums". -Qobuz-.jpg
Jamal and Shahin Novrasli

Personal life and death

Jamal was married and divorced three times. As a teenager, he married Virginia 'Maryam' Wilkins; they had one daughter, who pre-deceased him. In the early 1960s, he married Sharifah Frazier, with whom he had one daughter; they divorced in 1982. That year, he married his manager, Laura Hess-Hay. They divorced two years later but she represented him for the rest of his life.<ref>Template:Cite web</ref>

On April 16, 2023, Jamal died from complications of prostate cancer at home in Ashley Falls, Massachusetts. He was 92.<ref>Template:Cite web</ref><ref name=":1">Template:Cite news</ref>

Style and influence

File:Ahmad jamal.jpg
Jamal performing with bassist James Cammack in 2007

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Trained in both traditional jazz ("American classical music", as he preferred to call it)<ref name="Waltzer" /> and European classical style, Jamal was praised as one of the greatest jazz innovators over the course of his exceptionally long career. Following bebop greats like Charlie Parker and Dizzy Gillespie, Jamal entered the world of jazz at a time when speed and virtuosic improvisation were central to the success of jazz musicians as artists. Jamal, however, took steps in the direction of a new movement, later coined "cool jazz"Template:Mdashan effort to move jazz in the direction of classical music. He emphasized space between notes in his musical compositions and interpretations instead of focusing on the fast-paced bebop style.<ref>Template:Cite web</ref><ref name=":0" />

Because of this style, Jamal was "often dismissed by jazz writers as no more than a cocktail pianist, a player so given to fluff that his work shouldn't be considered seriously in any artistic sense".Template:Sfn Stanley Crouch, author of Considering Genius, offered a very different reaction to Jamal's music, claiming that, like the highly influential Thelonious Monk, Jamal was a true innovator of the jazz tradition and is second in importance in the development of jazz after 1945 only to Charlie Parker.Template:Sfn His unique musical style stemmed from many individual characteristics, including his use of orchestral effects and his ability to control the beat of songs. These stylistic choices resulted in a unique and new sound for the piano trio: "Through the use of space and changes of rhythm and tempo", wrote Crouch, "Jamal invented a group sound that had all the surprise and dynamic variation of an imaginatively ordered big band."Template:Sfn Jamal explored the texture of riffs, timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal, A. B. Spellman of the National Endowment of the Arts said: "Nobody except Thelonious Monk used space better, and nobody ever applied the artistic device of tension and release better."<ref>"Ahmad Jamal: 'Ahmad Jamal at the Pershing: But Not For Me.Template:'"| Basic Jazz Record Library, NPR. August 1, 2001. Radio.</ref> These (at the time) unconventional techniques that Jamal gleaned from both traditional classical and contemporary jazz musicians helped pave the way for later jazz greats like Bill Evans, Cedar Walton, McCoy Tyner, Herbie Hancock, Monty Alexander, Fred Hersch, Bill Charlap, Vijay Iyer, and Ethan Iverson.Template:Sfn<ref name=":1" /><ref name="Johnson, Martin">Template:Cite web</ref><ref name="Hersch, Fred">Template:Cite web</ref><ref>"The Vijay Iyer Trio". Vijay-Iyer.com, Accessed June 22, 2025.</ref>

Though Jamal is often overlooked by jazz critics and historians, he is frequently credited with having a great influence on Miles Davis. Davis is quoted as saying that he was impressed by Jamal's rhythmic sense and his "concept of space, his lightness of touch, his understatement".Template:Sfn Miles used to send his crew to concerts of Jamal, so they could learn to play like Miles wanted it.<ref name=":6">Template:Cite web</ref> Jamal's contrasts (crafting melodies that included strong and mild tones, and fast and slow rhythms) were what impressed Miles.<ref name=":6" /> Jamal characterized what he thought Davis admired about his music as: "my discipline as opposed to my space."Template:Sfn Jamal and Davis became friends in the 1950s, and Davis continued to support Jamal as a fellow musician, often playing versions of Jamal's own songs ("Ahmad's Blues", "New Rhumba") until he died in 1991.Template:Sfn In addition, in a 1960 interview, Bill Evans said of Jamal, "I enjoy listening to him very much." Evans emphatically rejected the "cocktail pianist" criticism of Jamal, stating, "It's a real thing he's doing."<ref>Evans, Bill (1960). "The Ralph J. Gleason Interview". In Cerra, Steven A. (ed.) A Bill Evans Reader. Steven Cerra 2024. p. 99. ISBN 97988783486338.</ref>

Jamal, speaking about his own work, said, "I like doing ballads. They're hard to play. It takes years of living, really, to read them properly."<ref name=autogenerated6 /> From an early age, Jamal developed an appreciation for the lyrics of the songs he learned: "I once heard Ben Webster playing his heart out on a ballad. All of a sudden he stopped. I asked him, 'Why did you stop, Ben?' He said, 'I forgot the lyrics.'"<ref name="Waltzer" /> Jamal attributed the variety in his musical taste to the fact that he grew up in several eras: the big band era, the bebop years, and the electronic age.Template:Sfn He said his style evolved from drawing on the techniques and music produced in these three eras. In 1985, Jamal agreed to do an interview and recording session with his fellow jazz pianist, Marian McPartland on her NPR show Piano Jazz. Jamal, who said he rarely would play "But Not For Me" due to its popularity after his 1958 recording, played an improvised version of the tune – though only after noting that he moved on to making ninety percent of his repertoire his own compositions. He said that when he grew in popularity from the Live at the Pershing album, he was severely criticized afterwards for not playing any of his own compositions.<ref name=autogenerated6>"Ahmad Jamal On Piano Jazz 1985". Piano Jazz. NPR. August 29, 2008. Radio.</ref>

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Jamal at Bozar in Brussels, Belgium (January 2014)

In his later years, Jamal embraced the electronic influences affecting the genre of jazz. He also occasionally expanded his usual small ensemble of three to include a tenor saxophone (George Coleman) and a violin. A jazz fan interviewed by Down Beat magazine about Jamal in 2010 described his development as "more aggressive and improvisational these days. The word I used to use is avant garde; that might not be right. Whatever you call it, the way he plays is the essence of what jazz is."Template:Sfn

Saxophonist Ted Nash described his experience with Jamal's style in an interview with Down Beat magazine: "The way he comped wasn't the generic way that lots of pianists play with chords in the middle of the keyboard, just filling things up. He gave lots of single line responses. He'd come back and throw things out at you, directly from what you played. It was really interesting because it made you stop, and allowed him to respond, and then you felt like playing something else – that's something I don't feel with a lot of piano players. It's really quite engaging. I guess that's another reason people focus in on him. He makes them hone in."Template:Sfn

Jamal recorded with the voices of the Howard A. Roberts Chorale on The Bright, the Blue and the Beautiful and Cry Young;<ref name=":14" /> with vibraphonist Gary Burton on In Concert;<ref name=":15">Template:Cite web</ref><ref>Template:Cite web</ref> with brass, reeds, and strings celebrating his hometown of Pittsburgh;<ref name=":9" /> with The Assai Quartet;<ref>Template:Cite news</ref> and with tenor saxophonist George Coleman on the album The Essence Part One.<ref>Template:Cite book</ref>

Awards and honors

Discography

Year recorded Title Label Notes Ref.
1951–55 The Piano Scene of Ahmad Jamal Epic Trio, with Ray Crawford (guitar), Eddie Calhoun and Israel Crosby (bass; separately). Released in 1959. <ref>Template:Cite magazine</ref>
1955 Ahmad Jamal Plays Parrot Trio, with Ray Crawford (guitar), Israel Crosby (bass); also released as Chamber Music of the New Jazz by Argo <ref name="Grove" />
1955 The Ahmad Jamal Trio Epic Trio, with Ray Crawford (guitar), Israel Crosby (bass) <ref name="Ahmad Jamal discography" />
1956 Count 'Em 88 Argo / MCA Trio, with Israel Crosby (bass), Walter Perkins (drums) <ref name="Ahmad Jamal discography">Ahmad Jamal discography Template:Webarchive accessed May 24, 2012</ref><ref>Template:Cite news</ref>
1958 Ahmad's Blues Chess Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref>Template:Cite web</ref>
1958 At the Pershing: But Not for Me (Ahmad Jamal at the Pershing, Vol. 1) Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref name=":9" />
1958 At the Pershing, Vol. 2 Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref>Template:Cite web</ref>
1958 Ahmad Jamal Trio Volume IV Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref>Template:Cite web</ref>
1958 Portfolio of Ahmad Jamal Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref name=":13" />
1958 Poinciana Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums) <ref>Template:Cite magazine</ref>
1959 Jamal at the Penthouse Argo With Israel Crosby (bass), Vernel Fournier (drums), orchestra; in concert <ref name=":9">Template:Cite book</ref>
1960 Happy Moods Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums) <ref>Template:Cite news</ref>
1960 Listen to the Ahmad Jamal Quintet Argo Quintet, with Ray Crawford (guitar), Joe Kennedy (violin), Israel Crosby (bass), Vernel Fournier (drums) <ref>Template:Cite news</ref>
1961 All of You Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref name=":9" />
1961 Ahmad Jamal's Alhambra Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref name=":9" />
1962 Ahmad Jamal at the Blackhawk Argo Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert <ref>Template:Cite news</ref>
1962 Macanudo Argo With orchestra arranged and conducted by Richard Evans <ref>Template:Cite news</ref>
1964 Naked City Theme Argo Trio, with Jamil Nasser (bass), Chuck Lampkin (drums); in concert at the San Francisco Jazz Workshop <ref>Template:Cite news</ref>
1965 The Roar of the Greasepaint Argo Trio, with Jamil Nasser (bass), Chuck Lampkin (drums) <ref>Template:Cite news</ref>
1965 Extensions Argo Trio, with Jamil Nasser (bass), Vernel Fournier (drums) <ref name=":11">Template:Cite news</ref>
1965 Rhapsody Cadet With Jamil Nasser (bass), Vernel Fournier (drums), orchestra <ref>Template:Cite news</ref>
1966 Heat Wave Cadet Trio, with Jamil Nasser (bass), Frank Gant (drums) <ref>Template:Cite news</ref>
1967 Cry Young Cadet With Jamil Nasser (bass), Frank Gant (drums), choir <ref>Template:Cite news</ref>
1968 The Bright, the Blue and the Beautiful Cadet With Jamil Nasser (bass), Frank Gant (drums), choir <ref name=":14">Template:Cite news</ref>
1968 Tranquility ABC With Jamil Nasser (bass), Frank Gant (drums) <ref>Template:Cite news</ref>
1968 Ahmad Jamal at the Top: Poinciana Revisited Impulse! Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert <ref name="Grove" /><ref name=":10" />
1970 The Awakening Impulse! Trio, with Jamil Nasser (bass), Frank Gant (drums) <ref name=":9" />
1971 Freeflight Impulse! Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert at Montreux Jazz Festival <ref name=":0" /><ref name=":9" />
1971 Outertimeinnerspace Impulse! Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert at the Montreux Jazz Festival <ref>Template:Cite news</ref>
1973 Ahmad Jamal '73 20th Century With orchestra, vocals <ref name=":12">Template:Cite news</ref>
1974 Jamalca 20th Century With orchestra, six vocalists and Jamil Nassar and Richard Evans (bass), and Brian Grice and Frank Gant (drums) <ref name=":12" />
1974 Jamal Plays Jamal 20th Century Quartet, with Jamil Nasser (bass), Frank Gant (drums), Azzedin Weston (congas) <ref name=":12" /><ref name=":4">Template:Cite book</ref>
1975 Genetic Walk 20th Century With Calvin Keys and Danny Leake (guitar; separately), Richard Evans, Roger Harris, John Heard and Jamil Nasser (bass; separately), Steve Cobb, Frank Gant, Morris Jenkins, Eddie Marshall and Harvey Mason (drums; separately) <ref name=":4" />
1976 Steppin' Out with a Dream 20th Century Quartet, with Calvin Keys (guitar), John Heard (bass), Frank Gant (drums) <ref>Template:Cite news</ref>
1976 Recorded Live at Oil Can Harry's Catalyst Quintet, with Calvin Keys (guitar), John Heard (bass), Frank Gant (drums), Seldon Newton (percussion); in concert at Oil Can Harry's, Vancouver <ref name=":9" />
1978 One 20th Century With members of The Wrecking Crew <ref>Template:Cite news</ref>
1980 Intervals 20th Century Quintet, with Calvin Keys (guitar), John Heard (bass), Harvey Mason (drums), Seldon Newton (percussion) <ref name=":9" />
1980 Live at Bubba's Who's Who in Jazz Trio, with Sabu Adeyola (bass), Payton Crossley (drums); in concert at Bubba's Jazz Restaurant in Fort Lauderdale <ref name=":9" />
1980 Night Song Motown With Oscar Brashear and Robert O'Bryant (trumpet), Maurice Spears and Garnett Brown (trombone), Pete Christlieb (alto sax), Ernie Fields (baritone sax), Dean Paul Gant and Gil Askey (keyboards), Calvin Keys and Greg Purce (guitar), John Heard and Kenneth Burke (bass), Chester Thompson (drums) <ref>Template:Cite news</ref>
1980 In Concert Personal Choice Some tracks trio, with Sabu Adeyola (bass), Payton Crossley (drums); some tracks quartet, with Gary Burton (vibraphone) added; in concert at the Palais des Festivals et des Congrès in Cannes <ref name=":15" />
1982 American Classical Music Shubra Quartet, with David Adeyola (bass), Payton Crossley (drums), Selden Newton (percussion); in concert at San Francisco's Great American Music Hall; also released by Black Lion as Goodbye Mr. Evans <ref>Template:Cite web</ref>
1985 Digital Works Atlantic Quartet, with Larry Ball (bass), Herlin Riley (drums), Iraj Lashkary (percussion) <ref name=":9" />
1985 Live at the Montreal Jazz Festival 1985 Atlantic Quartet, with James Cammack (bass), Herlin Riley (drums), Selden Newton (percussion) <ref name=":9" /><ref name=":5">Template:Cite book</ref>
1986 Rossiter Road Atlantic Quartet, with James Cammack (bass), Herlin Riley (drums), Manolo Badrena (percussion) <ref name=":9" />
1987 Crystal Atlantic Quartet, with James Cammack (bass), David Bowler (drums), Willie White (percussion) <ref name=":9" /><ref name=":5" />
1989 Pittsburgh Atlantic With James Cammack (bass), David Bowler (drums), orchestra <ref name=":9" />
1992 Live! At Blues Alley Blues Alley Musical Society Quartet, with James Cammack (bass), David Bowler (drums) and Seldon Newton (percussion) <ref name=":13" />
1992 Live in Paris 1992 Verve Some tracks trio with James Cammack (bass), David Bowler (drums); some tracks trio with Todd Coolman (bass), Gordon Lane (drums); in concert <ref name=":9" />
1992 Chicago Revisited: Live at Joe Segal's Jazz Showcase Telarc Trio, with John Heard (bass), Yoron Israel (drums); in concert <ref name=":0" /><ref name=":5" />
1994 I Remember Duke, Hoagy & Strayhorn Telarc Trio, with Ephraim Woolfolk (bass), Arti Dixson (drums) <ref name=":9" /><ref name=":5" />
1994–95 The Essence Part One Birdology Most tracks quartet, with James Cammack (bass), Idris Muhammad (drums), Manolo Badrena (percussion); some tracks quintet, with George Coleman (tenor sax), Jamil Nasser (bass), Muhammad (drums), Badrena (percussion) <ref name=":9" />
1994–95 Big Byrd: The Essence Part 2 Birdology Most tracks quartet, with James Cammack (bass), Idris Muhammad (drums), Manolo Badrena (percussion); one track quintet with Joe Kennedy Jr. (violin), Jamil Nasser (bass), Muhammad (drums), Badrena (percussion); one track quintet with Donald Byrd (trumpet) replacing Kennedy Jr. <ref name=":9" />
1996 Live in Paris 1996 Dreyfus With George Coleman (tenor sax), Calvin Keys (guitar), Joe Kennedy (violin), Jeff Chambers (bass), Yoron Israel (drums), Manolo Badrena (percussion); in concert at the Salle Pleyel, Paris. Released in 2003 <ref name="Penguin9">Template:Cite book</ref>
1997 Nature: The Essence Part Three Birdology Most tracks quintet, with James Cammack (bass), Othello Molineaux (steel drum), Idris Muhammad (drums), Manolo Badrena (percussion); one track sextet, with Stanley Turrentine (tenor sax) added <ref>Template:Cite news</ref><ref>Template:Cite news</ref>
1998 Ahmad Jamal with The Assai Quartet Roesch With Ephraim Wolfolk (bass), Arti Dixson (drums), Claude Giron (cello), Suzanne Lefevre (viola), Peter Biely (violin) and Jaroslaw Lis (violin); in concert at Yale University <ref name="Penguin9" />
2001 Picture Perfect Birdology Some tracks trio, with James Cammack and Jamil Nasser (bass; separately), Idris Muhammad (drums); some tracks quartet, with Mark Cargill (violin) added <ref name="Penguin9" />
2000 À L'Olympia Dreyfus Quartet, with George Coleman (tenor sax), James Cammack (bass), Idris Muhammad (drums); in concert; also known as Olympia 2000 and Ahmad Jamal 70th Birthday. Released 2001 <ref name="Penguin9" />
2002 In Search of... Momentum Birdology Trio, with James Cammack (bass), Idris Muhammad (drums). Released 2003 <ref name="Penguin9" />
2004 After Fajr Birdology Most tracks trio, with James Cammack (bass), Idris Muhammad (drums); one tracks quintet, with Donna McElroy and Vox One (vocals) added; in concert at the Arts Center of Enghien-les-Bains, France <ref name="Penguin9" />
2007 It's Magic Birdology Quartet, with James Cammack (bass), Idris Muhammad (drums), Manolo Badrena (percussion) <ref>Template:Cite web</ref>
2008 Poinciana: One Night Only Stardust <ref>Template:Cite news</ref>
2009 A Quiet Time Dreyfus With James Cammack (bass), Kenny Washington (drums), Manolo Badrena (percussion) <ref>Template:Cite web</ref>
2011 Blue Moon Jazz Village With Reginald Veal (bass), Herlin Riley (drums), Manolo Badrena (percussion); nominated as Best Jazz Instrumental Album at the 55th Annual Grammy Awards <ref>Template:Cite web</ref>
2012 Ahmad Jamal & Yusef Lateef/Live At The Olympia Jazz Village Ahmad Jamal piano, Yusuf Lateef saxophone, flute, vocals, Reginald Veal bass, Manolo Badrena percussion, Herlin Riley drums <ref>Template:Cite news</ref><ref>Template:Cite news</ref>
2013 Saturday Morning: La Buissonne Studio Sessions Jazz Village With Reginald Veal (bass), Herlin Riley (drums), Manolo Badrena (percussion) <ref name="ford13">Template:Cite news</ref>
2016 Marseille Jazz Village Most tracks quartet, with James Cammack (bass), Herlin Riley (drums), Manolo Badrena (percussion); one track quintet with Abd Al Malik (spoken word) added; one track quintet with Mina Agossi (vocals) added <ref>Template:Cite magazine</ref><ref>Template:Cite AV media notes</ref>
2019 Ballades Jazz Village Most tracks solo piano; three tracks with James Cammack (bass) <ref name=":0" />

Compilations

As sideman

With Ray Brown

With Pat Metheny/Gary Burton/The Heath Brothers

With Shirley Horn

See also

References

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