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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Ahamd Jamal ▐▓▀▀
▓ ▐█████▓█ Album........: Live At The Alhambra (chicago 1961) ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Vogue ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
░ ░ █▓▌▄▄▄ ▄▓ ░▓▓▓░ source......: CDDA ░▓▓▓▓▓▓░ ▀▓█████▓▓▓
░▓▓░ ▐█▓▓ ░ ░▓▓░ playtime....: 61:11 min ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ rip.date....: Sep-29-2003 ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ str.date....: 000-00-1989 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ ripper......: JUST RiP iT ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ grabber.....: EAC V0.95 prebeta 3 ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ encoder.....: LAME v.3.93.1 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ size........: 84,2 MB ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ quality.....: 192kbps/44,1Hz/Full Stereo▒░ ░▓░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. we kiss in a shadow 05:05 ▓▌
▓████▓▌ 02. sweet and lovely 04:00 ▓▌
▓████▓▌ 03. the party s over 03:59 ▓▌
▓████▓▌ 04. love for sale 04:02 ▓▌
▓████▓▌ 05. snow fall 02:32 ▓▌
▓████▓▌ 06. broadway 07:41 ▓▌
▓████▓▌ 07. willow weep for me 03:58 ▓▌
▓████▓▌ 08. autumn leaves 03:52 ▓▌
▓████▓▌ 09. isn t it romantic 04:28 ▓▌
▓████▓▌ 10. the breeze and i 02:21 ▓▌
▓████▓▌ 11. time on my hands 06:20 ▓▌
▓████▓▌ 12. angel eyes 04:13 ▓▌
▓████▓▌ 13. all of you 05:01 ▓▌
▓████▓▌ 14. you re blase 03:39 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Taken from what were probably bassist Israel ▓▌
▓████▓▌ Crosby's final recordings with pianist Ahmad Jamal ▓▌
▓████▓▌ (14 months before the bassist's unexpected death), ▓▌
▓████▓▌ this LP features the classic version of Jamal's ▓▌
▓████▓▌ Trio (with drummer Vernell Fournier) playing live ▓▌
▓████▓▌ at the leader's short-lived Chicago club. The ▓▌
▓████▓▌ interplay between the musicians was often magical, ▓▌
▓████▓▌ as can be heard on such numbers as "We Kiss In a ▓▌
▓████▓▌ Shadow," "Love for Sale," "Broadway" and "Isn't It ▓▌
▓████▓▌ Romantic." ▓▌
▓████▓▌ ▓▌
▓████▓▌ *************************************************** ▓▌
▓████▓▌ ▓▌
▓████▓▌ A sorely underexposed figure and a major influence ▓▌
▓████▓▌ on Miles Davis, pianist Ahmad Jamal isn't generally ▓▌
▓████▓▌ ranked among the all-time giants of jazz, but he ▓▌
▓████▓▌ impressed fellow musicians and record buyers alike ▓▌
▓████▓▌ with his innovative, minimalist approach. Jamal's ▓▌
▓████▓▌ manipulations of space and silence, tension and ▓▌
▓████▓▌ release, and dynamics all broke new ground, and had ▓▌
▓████▓▌ an impact far beyond Jamal's favored piano trio ▓▌
▓████▓▌ format. As an arranger, Jamal made the most of his ▓▌
▓████▓▌ small-group settings by thinking of them in ▓▌
▓████▓▌ orchestral terms: using his trademark devices to ▓▌
▓████▓▌ create contrast and dramatic effect, and allowing ▓▌
▓████▓▌ the rhythm section a great deal of independence in ▓▌
▓████▓▌ its interplay. Nonetheless, his ensembles were ▓▌
▓████▓▌ always tightly focused as well, following their ▓▌
▓████▓▌ leader through sudden changes in tempo or time ▓▌
▓████▓▌ signature, and often carrying the main riff of a ▓▌
▓████▓▌ tune. ▓▌
▓████▓▌ Jamal's own playing was a model of economy; because ▓▌
▓████▓▌ he didn't overwhelm listeners with his technique, ▓▌
▓████▓▌ his flashes of virtuosity had significantly more ▓▌
▓████▓▌ impact. His lines were spare and light, yet ▓▌
▓████▓▌ melodically and harmonically inventive, and driven ▓▌
▓████▓▌ by complex left-hand chord voicings that broke with ▓▌
▓████▓▌ Bud Powell's right-hand emphasis. A chamber-like ▓▌
▓████▓▌ sensibility and a classical formality permeated ▓▌
▓████▓▌ much of his playing, yet he swung like a jazzman ▓▌
▓████▓▌ without fail. Miles Davis greatly admired him, ▓▌
▓████▓▌ borrowing liberally from his repertoire and ▓▌
▓████▓▌ arrangements, and encouraging his pianist Red ▓▌
▓████▓▌ Garland to imitate Jamal's playing as closely as ▓▌
▓████▓▌ possible; additionally, Jamal's concepts of space ▓▌
▓████▓▌ and subtlety greatly affected Davis in his own ▓▌
▓████▓▌ right, both as a soloist and as a bandleader who ▓▌
▓████▓▌ (as it's often put) let the music breathe. Ahmad ▓▌
▓████▓▌ Jamal was born Frederick Russell Jones in ▓▌
▓████▓▌ Pittsburgh, PA, on July 2, 1930. He first started ▓▌
▓████▓▌ playing the piano at age three, began his formal ▓▌
▓████▓▌ training at age seven, and was performing ▓▌
▓████▓▌ professionally by 11 under the name Fritz Jones ▓▌
▓████▓▌ (though he also used "Freddie" during World War II ▓▌
▓████▓▌ because of the German flavor of "Fritz"). By his ▓▌
▓████▓▌ teenage years, he had completed studies equivalent ▓▌
▓████▓▌ to a master's degree, and he had also taken up ▓▌
▓████▓▌ jazz, inspired by the likes of Erroll Garner, Art ▓▌
▓████▓▌ Tatum, Teddy Wilson, Count Basie, and Nat King ▓▌
▓████▓▌ Cole. After graduating from high school, he toured ▓▌
▓████▓▌ in a supporting role, and caught on with George ▓▌
▓████▓▌ Hudson's orchestra in 1949. Later that year, he ▓▌
▓████▓▌ joined swing violinist Joe Kennedy's group the Four ▓▌
▓████▓▌ Strings, where he served as pianist and arranger. ▓▌
▓████▓▌ ▓▌
▓████▓▌ In 1950, Jamal formed his own group, the Three ▓▌
▓████▓▌ Strings, which also included bassist Eddie Calhoun ▓▌
▓████▓▌ and the highly percussive guitarist Ray Crawford. ▓▌
▓████▓▌ They were discovered by Columbia executive and ▓▌
▓████▓▌ talent scout John Hammond in 1951, and signed to ▓▌
▓████▓▌ the label's OKeh subsidiary. Calhoun was later ▓▌
▓████▓▌ replaced briefly by Richard Davis, and then by ▓▌
▓████▓▌ Israel Crosby in 1955; in the meantime, Fritz Jones ▓▌
▓████▓▌ converted to Islam and changed his name to Ahmad ▓▌
▓████▓▌ Jamal around 1952. Over that period, the group ù ▓▌
▓████▓▌ eventually renamed the Ahmad Jamal Trio ù recorded ▓▌
▓████▓▌ two albums, which included the classic original ▓▌
▓████▓▌ "Ahmad's Blues" and a version of "Pavanne" that ▓▌
▓████▓▌ likely provided the basis for Miles Davis' ▓▌
▓████▓▌ legendary "So What," not to mention the ▓▌
▓████▓▌ note-for-note melody of John Coltrane's ▓▌
▓████▓▌ "Impressions" (years before either had composed ▓▌
▓████▓▌ those respective pieces).Later in 1955, Jamal ▓▌
▓████▓▌ switched over to the Chess label's Argo subsidiary, ▓▌
▓████▓▌ where his trio cut the groundbreaking Chamber Music ▓▌
▓████▓▌ of New Jazz. It was here that he first drew Davis' ▓▌
▓████▓▌ enthusiastic approval, and over the next few years, ▓▌
▓████▓▌ arranger Gil Evans would base some of his seminal ▓▌
▓████▓▌ work for Davis on Jamal's interpretations. In 1956, ▓▌
▓████▓▌ Jamal elected to replace guitarist Crawford with a ▓▌
▓████▓▌ drummer, Walter Perkins; he in turn was replaced by ▓▌
▓████▓▌ Vernell Fournier in 1958, which cemented the ▓▌
▓████▓▌ classic Jamal Trio lineup. The group took up ▓▌
▓████▓▌ residency in the lounge of the Pershing Hotel in ▓▌
▓████▓▌ Chicago, where its gigs were greeted with ▓▌
▓████▓▌ excitement and frequented by many local jazz ▓▌
▓████▓▌ musicians. These shows resulted in the classic live ▓▌
▓████▓▌ album Ahmad Jamal at the Pershing: But Not for Me, ▓▌
▓████▓▌ which became a left-field smash in 1958, climbing ▓▌
▓████▓▌ all the way to number three on the pop charts; its ▓▌
▓████▓▌ hit version of "Poinciana" remains Jamal's ▓▌
▓████▓▌ signature tune. Some jazz critics never forgave ▓▌
▓████▓▌ Jamal for this crossover success, though his ▓▌
▓████▓▌ championing by other musicians has largely muted ▓▌
▓████▓▌ their derision over time.In the wake of But Not for ▓▌
▓████▓▌ Me's success, Jamal opened his own club, the ▓▌
▓████▓▌ Alhambra, and recorded prolifically for Argo during ▓▌
▓████▓▌ the '60s. Some of his albums continued to enjoy ▓▌
▓████▓▌ crossover success, including 1958's Ahmad Jamal ▓▌
▓████▓▌ Trio, Vol. 4 and 1960's Ahmad Jamal at the ▓▌
▓████▓▌ Penthouse, the latter of which teamed the trio with ▓▌
▓████▓▌ a 15-piece string section masterminded by Joe ▓▌
▓████▓▌ Kennedy. Two live albums, Alhambra and All of You, ▓▌
▓████▓▌ documented the group's 1961 performances at Jamal's ▓▌
▓████▓▌ club, though unfortunately it would not exist for ▓▌
▓████▓▌ much longer. Neither would Jamal's trio, which ▓▌
▓████▓▌ disbanded in 1962; Crosby joined George Shearing's ▓▌
▓████▓▌ group, but was felled by a heart attack not long ▓▌
▓████▓▌ after. With arranger Richard Evans, Jamal recorded ▓▌
▓████▓▌ another jazz-with-strings session, Macanudo, that ▓▌
▓████▓▌ year, and subsequently formed a new trio with ▓▌
▓████▓▌ bassist Jamil Nasser (aka Jamil Sulieman) and ▓▌
▓████▓▌ drummer Chuck Lampkin. Lampkin departed in 1965 and ▓▌
▓████▓▌ was briefly replaced by Fournier (on the LP ▓▌
▓████▓▌ Extensions) before Frank Gant was brought in on a ▓▌
▓████▓▌ permanent basis the following year.Jamal ▓▌
▓████▓▌ experienced a minor resurgence in popularity during ▓▌
▓████▓▌ the late '60s thanks to albums like 1967's Standard ▓▌
▓████▓▌ Eyes and 1968's Cry Young, the latter of which ▓▌
▓████▓▌ returned him to the pop charts for the first time ▓▌
▓████▓▌ in eight years. Later that year, he moved from ▓▌
▓████▓▌ Cadet (the renamed Argo) to Impulse!, and recorded ▓▌
▓████▓▌ five albums over the next four years, including the ▓▌
▓████▓▌ live Montreux Jazz Festival set Freeflight (1971) ▓▌
▓████▓▌ and Outertimeinnerspace (1972), both of which found ▓▌
▓████▓▌ him experimenting with the Fender Rhodes electric ▓▌
▓████▓▌ piano in addition to his standard sound. ▓▌
▓████▓▌ Additionally, in 1970, he performed an oft-heard ▓▌
▓████▓▌ version of the theme from the film M.A.S.H. that ▓▌
▓████▓▌ was included on the soundtrack. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Jamal moved to 20th Century in 1973 for a series of ▓▌
▓████▓▌ decent-selling albums that kicked off with Ahmad ▓▌
▓████▓▌ Jamal '73, another session with arranger Richard ▓▌
▓████▓▌ Evans. Others included 1974's Jamalca, 1975's Jamal ▓▌
▓████▓▌ Plays Jamal, 1976's Steppin' Out With a Dream, ▓▌
▓████▓▌ 1979's One, and 1980's Intervals and Genetic Walk; ▓▌
▓████▓▌ of those, the former two and Intervals all made the ▓▌
▓████▓▌ R&B charts, while Genetic Walk was Jamal's fifth ▓▌
▓████▓▌ and final album to reach the pop charts. Nasser ▓▌
▓████▓▌ left the trio in the mid-'70s and was replaced by ▓▌
▓████▓▌ John Hurd, and the lineup was also expanded to ▓▌
▓████▓▌ include guitarist Charlie Keys for the 1976 concert ▓▌
▓████▓▌ set Live at Oil Can Harry's (a one-off for the ▓▌
▓████▓▌ short-lived Catalyst label).Night Song, recorded ▓▌
▓████▓▌ for Motown and released in 1980, found Jamal ▓▌
▓████▓▌ working with an atypically large group; elsewhere, ▓▌
▓████▓▌ he assembled a new trio of bassist Sabu Adeyola and ▓▌
▓████▓▌ drummer Payton Crossley. In the early '80s, Jamal ▓▌
▓████▓▌ toured and recorded in tandem with vibraphonist ▓▌
▓████▓▌ Gary Burton, and returned to a major label when he ▓▌
▓████▓▌ signed with Atlantic in 1985. Digital Works, ▓▌
▓████▓▌ Rossiter Road, Crystal, and Pittsburgh all made the ▓▌
▓████▓▌ jazz album charts over the next five years. He ▓▌
▓████▓▌ recorded for Telarc in the early '90s, including ▓▌
▓████▓▌ the well-received Chicago Revisited: Live at Joe ▓▌
▓████▓▌ Segal's Jazz Showcase (1992) and I Remember Duke, ▓▌
▓████▓▌ Hoagy & Strayhorn (1994). Also in 1994, Jamal was ▓▌
▓████▓▌ awarded the American Jazz Master Fellowship by the ▓▌
▓████▓▌ National Endowment for the Arts. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Jamal subsequently signed with the French Birdology ▓▌
▓████▓▌ label, signaling the start of a full creative ▓▌
▓████▓▌ renaissance; his recordings were initially ▓▌
▓████▓▌ distributed in the U.S. by Verve and Atlantic, and ▓▌
▓████▓▌ later by the smaller Dreyfus Jazz label. His first ▓▌
▓████▓▌ effort, The Essence of Ahmad Jamal, Pt. 1, was ▓▌
▓████▓▌ rapturously received in France, and marked the ▓▌
▓████▓▌ first time he'd recorded in a small-group format ▓▌
▓████▓▌ with a saxophonist (tenor man George Coleman). He ▓▌
▓████▓▌ followed it with Big Byrd: The Essence, Pt. 2 ▓▌
▓████▓▌ (1997) and Nature: The Essence, Pt. 3 (1998), as ▓▌
▓████▓▌ well as the acclaimed 70th-birthday concert ▓▌
▓████▓▌ L'Olympia 2000. The 2003 set In Search of Momentum ▓▌
▓████▓▌ was also critically well-received. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▓▌
░ ground scene. If you have, like us, a passion for ▄ ▓▌
░ music, don't hesitate to contact us ! ▄▄█▌ ▓▌
░ ▄████▓▌ ▓▌
░ GREETinGs : Nuhs . Hit2000 . DGN . KSi . RAC . CHR █████▀▀▀▀ ▓▌
░ Om . rH . Fuffens . Remix . CMG . SB . AMOK ░███ ▓▌
░ Kw . aPC . iTS . i . RNS . aAF . diss . ESC ██▌ ▓▌
pyt . SEVcD ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
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▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
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▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
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░ Share your forces with us ! ██▌ ▓▌
▌ IRC : You know ▓██ ▌ ▓▌
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░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀
▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓
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▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓
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▀░ ░ ░▀ ▀░ z!░▀