Ahmad Jamal | |
|---|---|
 Jamal atKeystone Korner in San Francisco, 1980 | |
| Background information | |
| Born | Frederick Russell Jones (1930-07-02)July 2, 1930 Pittsburgh, Pennsylvania, U.S. |
| Died | April 16, 2023(2023-04-16) (aged 92) |
| Genres |
|
| Occupation | Musician |
| Instrument | Piano |
| Years active | 1948–2020 |
| Labels | |
| Website | www |
Ahmad Jamal (bornFrederick Russell Jones; July 2, 1930 – April 16, 2023) was an Americanjazz pianist, composer, bandleader, and educator. For six decades, he was one of the most successful small-group leaders in jazz.[1] He was aNational Endowment for the Arts (NEA) Jazz Master and won aLifetime Achievement Grammy for his contributions to music history.[2][3]
Jamal was born Frederick Russell Jones inPittsburgh, Pennsylvania, on July 2, 1930.[4] He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was playing.[5] Jamal began formal piano training at the age of seven withMary 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 playingLiszt etudes in competition as young as 11 years old.[6] His Pittsburgh roots remained an important part of his identity ("Pittsburgh meant everything to me and it still does," he said in 2001),[7] and it was there that he was immersed in the influence of jazz artists such asEarl Hines,Billy Strayhorn,Mary Lou Williams, andErroll Garner. Jamal studied with pianist James Miller and began playing piano professionally at the age of fourteen,[8] at which point he was recognized as a "coming great" by the pianistArt Tatum.[9] When asked about his practice habits by a critic fromThe 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."[9]
| External media | |
|---|---|
| Audio | |
 Ahmad Jamal On Piano Jazz, August 29, 2008,Piano Jazz[10] | |
| Eric in The Evening; Ahmad Jamal, interview, January 18, 1989,Open Vault at WGBH[12] | |
| Video | |
 Ahmad Jamal – Interview – "American Classical Music", April 27, 2010, underyourskindvd[11] |
Jamal began touring with George Hudson's Orchestra after graduating fromGeorge Westinghouse High School in 1948.[13][14] He then joined touring group The Four Strings, that disbanded when violinistJoe Kennedy Jr. left.[9] In 1950 he moved toChicago,[2] performing intermittently with local musiciansVon Freeman andClaude McLin,[15] and solo at the Palm Tavern, occasionally joined by drummerIke Day.[16]
Born toBaptist parents, Jamal became interested inIslam andIslamic culture in Detroit, where there was a sizeable Muslim community in the 1940s and 1950s.[17] He converted to Islam and changed his name to Ahmad Jamal in 1950.[18][13] In an interview withThe 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."[17] Shortly after his conversion to Islam, he explained toThe 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."[17]
Jamal made his first records in 1951 for theOkeh label with The Three Strings[19] (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 timesEddie Calhoun (1950–52),Richard Davis (1953–54), andIsrael 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 whereJohn 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 likeBenny Goodman,Billie Holiday, andCount Basie, helped Jamal's trio attract critical acclaim.[13] Jamal subsequently recorded forParrot (1953–55) andEpic (1955) using the piano-guitar-bass lineup.[20] 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".[21]
The trio's sound changed significantly when Crawford was replaced with a drummer, andVernel Fournier assumed this position in 1957. The group worked as the "house trio" at Chicago's Pershing Hotel.[22] The trio released the live albumAt the Pershing: But Not for Me, which stayed on the Ten Best-selling charts for 108 weeks. Jamal's well-known live recording of theNat Simon song "Poinciana", which Jamal had first recorded onThe Piano Scene of Ahmad Jamal, was released on this album.[23]
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 variousjazz standards, such as "The Surrey with the Fringe on Top" from theRichard Rodgers musicalOklahoma! andKarl Suessdorf's "Moonlight in Vermont". Jamal's trio, especially through its influence onMiles Davis,[24] would come to be recognized as a seminal force in the history of jazz. Particularly evident were Jamal's unusuallyminimalist and restrained style and his extended use ofvamps, according to reviewer John Morthland.[25]The New York Times contributorBen 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."[26]
He attracted media coverage for his investment decisions pertaining to his "rising fortune".[17] 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."[17] Upon his return to the U.S. after a tour of North Africa, the financial success ofLive 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.[27][28]
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 withGeorge Shearing, the definitive end of the trio came with Crosby's death from a heart attack in August 1962.[28][29] Jamal recordedMacanudo with a full orchestra in late 1962. He then took a brief hiatus from performing and recording.[18]
In 1964, Jamal resumed performing after moving to New York and started a residency at the Village Gate nightclub.[30] That year, he began recording a series of new trio albums with bassistJamil S. Nasser, starting withNaked City Theme. Jamal and Nasser continued to play together until 1972.[31] He also joined forces with Fournier (again, 1965–1966)[32] and drummerFrank Gant (1966–77),[33] 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 wasThe Awakening. In the 1970s, he played electric piano as well, as on the instrumental recording of "Suicide is Painless," theme song from the 1970 filmM*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, theRhodes 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 atBlues Alley inWashington, D.C., from 1979 through the 1990s.[34][incomplete short citation] Jamal also reimagined his hit song "Poinciana" several times, notably onAhmad Jamal at the Top: Poinciana Revisited (1968) andDigital Works (1985).
In 1986, Jamal sued criticLeonard Feather for using his former name in a publication.[35]
In his 80s, Jamal continued to make numerous tours and recordings, including albums such asSaturday Morning (2013),[36] the CD/DVD releaseAhmad Jamal Featuring Yusef Lateef Live at L'Olympia (2014),Marseille (2017), andBallades (2019), featuring mostly solo piano.[37] Jamal was the main mentor of jazz piano virtuososHiromi Uehara, known as Hiromi,[38][37] andShahin Novrasli.[39][40][41][42]
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.[43]
On April 16, 2023, Jamal died from complications ofprostate cancer at home inAshley Falls, Massachusetts. He was 92.[44][45]
"Ahmad Jamal is one of the great Zen masters of jazz piano. He plays just what is needed and nothing more... every phrase is perfect."
Trained in both traditional jazz ("American classical music", as he preferred to call it)[9] and European classical style, Jamal was praised as one of the greatest jazz innovators over the course of his exceptionally long career. Followingbebop greats likeCharlie Parker andDizzy 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 classical music. He emphasized space between notes in his musical compositions and interpretations instead of focusing on the fast-paced bebop style.[47][2]
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".[48]Stanley Crouch, author ofConsidering Genius, offered a very different reaction to Jamal's music, claiming that, like the highly influentialThelonious Monk, Jamal was a true innovator of the jazz tradition and is second in importance in the development of jazz after 1945 only toCharlie Parker.[49] 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 orderedbig band."[49] Jamal explored the texture ofriffs,timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal,A. B. Spellman of theNational Endowment of the Arts said: "Nobody except Thelonious Monk used space better, and nobody ever applied the artistic device of tension and release better."[50] 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 likeBill Evans,Cedar Walton,McCoy Tyner,Herbie Hancock,Monty Alexander,Fred Hersch,Bill Charlap,Vijay Iyer, andEthan Iverson.[51][45][52][53][54]
Though Jamal is often overlooked by jazz critics and historians, he is frequently credited with having a great influence onMiles 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".[1] Miles used to send his crew to concerts of Jamal, so they could learn to play like Miles wanted it.[55] Jamal's contrasts (crafting melodies that included strong and mild tones, and fast and slow rhythms) were what impressed Miles.[55] Jamal characterized what he thought Davis admired about his music as: "my discipline as opposed to my space."[56] 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.[1] 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."[57]
Jamal, speaking about his own work, said, "I like doingballads. They're hard to play. It takes years of living, really, to read them properly."[58] From an early age, Jamal developed an appreciation for the lyrics of the songs he learned: "I once heardBen 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.'"[9] 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.[59] 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 herNPR showPiano 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 theLive at the Pershing album, he was severely criticized afterwards for not playing any of his own compositions.[58]
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 byDown 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."[60]
SaxophonistTed Nash described his experience with Jamal's style in an interview withDown 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."[61]
Jamal recorded with the voices of the Howard A. Roberts Chorale onThe Bright, the Blue and the Beautiful andCry Young;[62] with vibraphonistGary Burton onIn Concert;[63][64] with brass, reeds, and strings celebrating his hometown ofPittsburgh;[65] withThe Assai Quartet;[66] and with tenor saxophonistGeorge Coleman on the albumThe Essence Part One.[67]
| Year recorded | Title | Label | Notes | Ref. |
|---|---|---|---|---|
| 1951–55 | The Piano Scene of Ahmad Jamal | Epic | Trio, withRay Crawford (guitar),Eddie Calhoun andIsrael Crosby (bass; separately). Released in 1959. | [80] |
| 1955 | Ahmad Jamal Plays | Parrot | Trio, with Ray Crawford (guitar), Israel Crosby (bass); also released asChamber Music of the New Jazz byArgo | [4] |
| 1955 | The Ahmad Jamal Trio | Epic | Trio, with Ray Crawford (guitar), Israel Crosby (bass) | [81] |
| 1956 | Count 'Em 88 | Argo /MCA | Trio, with Israel Crosby (bass),Walter Perkins (drums) | [81][82] |
| 1958 | Ahmad's Blues | Chess | Trio, with Israel Crosby (bass),Vernel Fournier (drums); in concert | [83] |
| 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 | [65] |
| 1958 | At the Pershing, Vol. 2 | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [84] |
| 1958 | Ahmad Jamal Trio Volume IV | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [85] |
| 1958 | Portfolio of Ahmad Jamal | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [23] |
| 1958 | Poinciana | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums) | [86] |
| 1959 | Jamal at the Penthouse | Argo | With Israel Crosby (bass), Vernel Fournier (drums), orchestra; in concert | [65] |
| 1960 | Happy Moods | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums) | [87] |
| 1960 | Listen to the Ahmad Jamal Quintet | Argo | Quintet, with Ray Crawford (guitar),Joe Kennedy (violin), Israel Crosby (bass), Vernel Fournier (drums) | [88] |
| 1961 | All of You | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [65] |
| 1961 | Ahmad Jamal's Alhambra | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [65] |
| 1962 | Ahmad Jamal at the Blackhawk | Argo | Trio, with Israel Crosby (bass), Vernel Fournier (drums); in concert | [89] |
| 1962 | Macanudo | Argo | With orchestra arranged and conducted by Richard Evans | [90] |
| 1964 | Naked City Theme | Argo | Trio, withJamil Nasser (bass),Chuck Lampkin (drums); in concert at the San FranciscoJazz Workshop | [91] |
| 1965 | The Roar of the Greasepaint | Argo | Trio, with Jamil Nasser (bass), Chuck Lampkin (drums) | [92] |
| 1965 | Extensions | Argo | Trio, with Jamil Nasser (bass), Vernel Fournier (drums) | [93] |
| 1965 | Rhapsody | Cadet | With Jamil Nasser (bass), Vernel Fournier (drums), orchestra | [94] |
| 1966 | Heat Wave | Cadet | Trio, with Jamil Nasser (bass),Frank Gant (drums) | [95] |
| 1967 | Cry Young | Cadet | With Jamil Nasser (bass), Frank Gant (drums), choir | [96] |
| 1968 | The Bright, the Blue and the Beautiful | Cadet | With Jamil Nasser (bass), Frank Gant (drums), choir | [62] |
| 1968 | Tranquility | ABC | With Jamil Nasser (bass), Frank Gant (drums) | [97] |
| 1968 | Ahmad Jamal at the Top: Poinciana Revisited | Impulse! | Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert | [4][31] |
| 1970 | The Awakening | Impulse! | Trio, with Jamil Nasser (bass), Frank Gant (drums) | [65] |
| 1971 | Freeflight | Impulse! | Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert atMontreux Jazz Festival | [2][65] |
| 1971 | Outertimeinnerspace | Impulse! | Trio, with Jamil Nasser (bass), Frank Gant (drums); in concert at theMontreux Jazz Festival | [98] |
| 1973 | Ahmad Jamal '73 | 20th Century | With orchestra, vocals | [99] |
| 1974 | Jamalca | 20th Century | With orchestra, six vocalists and Jamil Nassar and Richard Evans (bass), and Brian Grice and Frank Gant (drums) | [99] |
| 1974 | Jamal Plays Jamal | 20th Century | Quartet, with Jamil Nasser (bass), Frank Gant (drums), Azzedin Weston (congas) | [99][100] |
| 1975 | Genetic Walk | 20th Century | WithCalvin 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 andHarvey Mason (drums; separately) | [100] |
| 1976 | Steppin' Out with a Dream | 20th Century | Quartet, with Calvin Keys (guitar), John Heard (bass), Frank Gant (drums) | [101] |
| 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 | [65] |
| 1978 | One | 20th Century | With members ofThe Wrecking Crew | [102] |
| 1980 | Intervals | 20th Century | Quintet, with Calvin Keys (guitar), John Heard (bass), Harvey Mason (drums), Seldon Newton (percussion) | [65] |
| 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 inFort Lauderdale | [65] |
| 1980 | Night Song | Motown | WithOscar Brashear and Robert O'Bryant (trumpet), Maurice Spears andGarnett Brown (trombone),Pete Christlieb (alto sax),Ernie Fields (baritone sax), Dean Paul Gant andGil Askey (keyboards), Calvin Keys and Greg Purce (guitar), John Heard and Kenneth Burke (bass),Chester Thompson (drums) | [103] |
| 1981 | In Concert | Personal Choice | Some tracks trio, with Sabu Adeyola (bass), Payton Crossley (drums); some tracks quartet, withGary Burton (vibraphone) added; in concert at thePalais des Festivals et des Congrès inCannes | [63] |
| 1982 | American Classical Music | Shubra | Quartet, with David Adeyola (bass), Payton Crossley (drums), Selden Newton (percussion); in concert at San Francisco'sGreat American Music Hall; also released by Black Lion asGoodbye Mr. Evans | [104] |
| 1985 | Digital Works | Atlantic | Quartet, with Larry Ball (bass), Herlin Riley (drums), Iraj Lashkary (percussion) | [65] |
| 1985 | Live at the Montreal Jazz Festival 1985 | Atlantic | Quartet, with James Cammack (bass), Herlin Riley (drums), Selden Newton (percussion) | [65][105] |
| 1986 | Rossiter Road | Atlantic | Quartet, with James Cammack (bass), Herlin Riley (drums), Manolo Badrena (percussion) | [65] |
| 1987 | Crystal | Atlantic | Quartet, with James Cammack (bass), David Bowler (drums), Willie White (percussion) | [65][105] |
| 1989 | Pittsburgh | Atlantic | With James Cammack (bass), David Bowler (drums), orchestra | [65] |
| 1992 | Live! At Blues Alley | Blues Alley Musical Society | Quartet, with James Cammack (bass), David Bowler (drums) and Seldon Newton (percussion) | [23] |
| 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 | [65] |
| 1992 | Chicago Revisited: Live at Joe Segal's Jazz Showcase | Telarc | Trio, with John Heard (bass),Yoron Israel (drums); in concert | [2][105] |
| 1994 | I Remember Duke, Hoagy & Strayhorn | Telarc | Trio, with Ephraim Woolfolk (bass), Arti Dixson (drums) | [65][105] |
| 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) | [65] |
| 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 withDonald Byrd (trumpet) replacing Kennedy Jr. | [65] |
| 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 theSalle Pleyel, Paris. Released in 2003 | [106] |
| 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, withStanley Turrentine (tenor sax) added | [107][108] |
| 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 atYale University | [106] |
| 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 | [106] |
| 2000 | À L'Olympia | Dreyfus | Quartet, with George Coleman (tenor sax), James Cammack (bass), Idris Muhammad (drums); in concert; also known asOlympia 2000 andAhmad Jamal 70th Birthday. Released 2001 | [106] |
| 2002 | In Search of... Momentum | Birdology | Trio, with James Cammack (bass), Idris Muhammad (drums). Released 2003 | [106] |
| 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 ofEnghien-les-Bains, France | [106] |
| 2007 | It's Magic | Birdology | Quartet, with James Cammack (bass), Idris Muhammad (drums), Manolo Badrena (percussion) | [109] |
| 2008 | Poinciana: One Night Only | Stardust | [110] | |
| 2009 | A Quiet Time | Dreyfus | With James Cammack (bass),Kenny Washington (drums), Manolo Badrena (percussion) | [111] |
| 2011 | Blue Moon | Jazzbook Records / Jazz Village | WithReginald Veal (bass), Herlin Riley (drums), Manolo Badrena (percussion); nominated as Best Jazz Instrumental Album at the55th Annual Grammy Awards | [112] |
| 2012 | Ahmad Jamal & Yusef Lateef/Live At The Olympia | Jazzbook Records / Jazz Village | Ahmad Jamal piano,Yusuf Lateef saxophone, flute, vocals, Reginald Veal bass, Manolo Badrena percussion, Herlin Riley drums | [113][114] |
| 2013 | Saturday Morning: La Buissonne Studio Sessions | Jazzbook Records / Jazz Village | With Reginald Veal (bass), Herlin Riley (drums), Manolo Badrena (percussion) | [36] |
| 2016 | Marseille | Jazzbook Records / Jazz Village | Most tracks quartet, with James Cammack (bass), Herlin Riley (drums), Manolo Badrena (percussion); one track quintet withAbd Al Malik (spoken word) added; one track quintet withMina Agossi (vocals) added | [115][116] |
| 2019 | Ballades | Jazzbook Records / Jazz Village | Most tracks solo piano; three tracks with James Cammack (bass) | [2] |
WithRay Brown
WithPat Metheny/Gary Burton/The Heath Brothers
WithShirley Horn
Recorded and mixed in 2016
Bibliography
