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Jamal at the Penthouse. The Piano Scene of Ahmad Jamal. Speakers Corner. Happy Moods. Listen to the Ahmad Jamal Quintet. All of You. Ahmad Jamal's Alhambra. Ahmad Jamal at the Blackhawk. Naked City Theme. The Roar of the Greasepaint. Cry Young. Heat Wave. Standard Eyes. The Bright, the Blue and the Beautiful. Ahmad Jamal at the Top: Poinciana Revisited. The Awakening. Ahmad Jamal ' Jamal Plays Jamal.

Live at Oil Can Harry's. Good Time Records. Steppin' Out with a Dream. Genetic Walk. Night Song. In Concert. Who's Who in Jazz. Live at Bubba's. Digital Works. Live at the Montreal Jazz Festival Rossiter Road. Live at Blues Alley Blues. Alley Records. Telarc Distribution. Live in Paris ' The Essence, Part 1.

Big Byrd: The Essence, Part 2. Ahmad Jamal with the Assai Quartet. Nature: The Essence, Part 3. 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. He moved to Chicago in where he legally changed his name to Ahmad Jamal , and played on and off with local musicians such as saxophonists Von Freeman and Claude McLin, as well as playing solo at the Palm Tavern, where he was occasionally joined by drummer Ike Day.

He made his first sides in for the Okeh label with The Three Strings which would later also be called the Ahmad Jamal Trio, although Jamal himself prefers not to use the term "trio" : the other members were guitarist Ray Crawford and a bassist at different times, Eddie Calhoun —52 , Richard Davis —54 , and Israel Crosby from Jamal subsequently recorded for Parrot —55 and Epic using the piano-guitar-bass lineup.

The trio's sound changed significantly when Crawford was replaced with drummer Vernel Fournier in , and the group worked as the "House Trio" at Chicago's Pershing Hotel. The trio released the live album But Not for Me which stayed on the Ten Best-selling charts for weeks. Jamal's well known song "Poinciana" was first released on this album. Upon returning to the U. The club lasted for a little less than a year, from to In , The Three Strings disbanded and Jamal moved to New York City where, at the age of 32, he took a three-year hiatus from his musical career.

In , Jamal resumed touring and recording, this time with the bassist Jamil Nasser and recorded a new album, Extensions, in Jamal and Nasser continued to play and record together from to He also joined forces with Fournier again, but only for about a year and drummer Frank Gant —76 , among others. He continued to play throughout the s and s, mostly in trios with piano, bass and drums, but he occasionally expanded the group to include guitar.

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. Now in his eighties, Ahmad Jamal has continued to make numerous tours and recordings. His most recently released album is Saturday Morning, Conversion to Islam Born to Baptist parents in Pittsburgh, Pennsylvania, Jamal did not discover the Islam religion until his early 20s. While touring in Detroit where there was a sizable Muslim community in the s and s , Jamal became interested in the Islam religion and Islamic culture.

He converted to Islam and changed his name to Ahmad Jamal in In , he took a tour of North Africa to explore investment options in Africa. Jamal, who was twenty-nine at the time, said he had a curiosity 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. He says them in Arabic in keeping with the Muslim tradition. He plays just what is needed and nothing more 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" — an effort to move jazz in the direction of popular music. He emphasized space and time in his musical compositions and interpretations instead of focusing on the blinding speed of bebop.

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". Stanley Crouch, author of Considering Genius offers 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.

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", writes Crouch, "Jamal invented a group sound that had all the surprise and dynamic variation of an imaginatively ordered big band.

Speaking about Jamal, A. 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.