Ahmad Jamal

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At a Glance

Nationality: American
Born: Jul 02 1930


Biography

Critic Stanley Crouch cites AHMAD JAMAL's impact on the fresh form in jazz as an outstanding conceptionalist. Crouch considers Mr. Jamal's distinctive style as having had an influence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Theolonius Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions."

Considering his trio "an orchestra", Mr. Jamal not only achieves a unified sound, but subtly inserts ... Read more

Critic Stanley Crouch cites AHMAD JAMAL's impact on the fresh form in jazz as an outstanding conceptionalist. Crouch considers Mr. Jamal's distinctive style as having had an influence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Theolonius Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions."

Considering his trio "an orchestra", Mr. Jamal not only achieves a unified sound, but subtly inserts independent roles for the bass and drums. The hallmarks of Mr. Jamal's style are rhythmic innovations, colorful harmonic perceptions, especially left hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal substitutions and alterations and pedalpoint ostinato interludes in tasteful dynamics. He also incorporates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Mr. Jamal impressed and influenced, among others, trumpeter Miles Davis. Like Louis Armstrong, Mr. Jamal is an exemplary ensemble player -- listening while playing and responding, thus inspiring his musicians to surpass themselves. Audiences delight in Mr. Jamal's total command of the keyboard, his charismatic swing and daringly inventive solos that always tell a story.

In 1951, Mr. Jamal first recorded Ahmad's Blues on Okeh Records. His arrangement of the folk tune “Billy Boy,” and “Poinciana” (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included “New Rhumba,” “Excerpts From The Blues,” “Medley” (actually “I Don't Want To Be Kissed”), and “It Ain't Necessarily So” -- all later utilized by Miles Davis and Gil Evans on the albums Miles Ahead and Porgy and Bess. In his autobiography, Mr. Davis praises Mr. Jamal's special artistic qualities and cites his influence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previously recorded by Mr. Jamal: “Squeeze Me,” “It Could Happen To You,” “But Not For Me,” “Surrey With The Fringe On Top,” “Ahmad's Blues,” “On Green Dolphin Street” and “Billy Boy”.

In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Working as the "house trio" at Chicago's Pershing Hotel drummer Vernell Fournier joined this trio in 1958 and Mr. Jamal made a live album for Argo Records entitled But Not For Me. The resulting hit single and album also included “Poinciana” -- his rendition could be considered his "signature". This album remained on the Ten Best-selling charts for 108 weeks -- unprecedented then for a jazz album. This financial success enabled Mr. Jamal to realize a dream, and he opened a restaurant/club, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule and Mr. Jamal was able to do record production and community work.

Mr. Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania. A child prodigy who began to play the piano at the age of 3, he began formal studies at age 7. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Caldwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1950, he formed his first trio, The Three Strings. Performing at New York's The Embers club, record producer John Hammond "discovered" The Three Strings and signed them to Okeh Records (a division of Columbia Records, now Sony).

Mr. Jamal has continued to record his outstanding original arrangements of such standards as “I Love You,” “A Time For Love,” “On Green Dolphin Street” (well before Miles Davis!), “End of a Love Affair,” to cite a few. Mr. Jamal's own classic compositions begin with “Ahmad's Blues” (first recorded on October 25, 1951), “New Rhumba,” “Manhattan Reflections,” “Tranquility,” “Extensions,” “The Awakening,” “Night Mist Blues” and most recently “If I Find You Again,” among many others.

In 1994, Mr. Jamal received the American Jazz Masters award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. A CD is available of these works.

In 1970, Mr. Jamal performed the title tune by Johnny Mandel for the soundtrack of the film Mash!; and in 1995, two tracks from his hit album But Not For Me – “Music, Music, Music,” and “Poinciana” -- were featured in the Clint Eastwood film The Bridges of Madison County.

Mr. Jamal's CD entitled The Essence features tenor saxophonist George Coleman -- Mr. Jamal's first recording made with a horn! Critical acclaim and outstanding sales resulted in two prestigious awards: D'jango D'or (critics) and Choc (pronounced "shock" -- for sales) in France. Its success generated a concert at Salle Pleyel (equivalent to Carnegie Hall), and a CD has been released Ahmad Jamal Live in Paris, as well as Ahmad Jamal's 70th Birthday "live" concert recording Olympia 2000. The Essence, Part II, featured Donald Byrd on the title track, and on his CD entitled Nature, Stanley Turrentine is featured on “The Devil's In My Den,” and steel drummer Othello Molineaux augments the trio format.

On April 8, 2003, Dreyfus Jazz released In Search Of. . .Momentum [1-10], an arresting amalgam of new compositions and treasured standards played by a trio of choice, long-time collaborators James Cammack on bass and Idris Muhammed on drums.

Mr. Jamal followed it up with the DVD Live In Baalbeck. Filmed on July 18-19, 2003, this set again matches the pianist with his longtime bassist James Cammack and drummer Idris Muhammad. They perform six standards (including Jamal’s trademark song “Poinciana,” Monty Alexander’s “You Can See and Spring Is Here”) and six of Jamal’s inventive originals. Among the highlights are the joyful calypso “Island Fever,” the complex “Topsy Turvy” and “In Search Of.” It is particularly fascinating watching how Jamal gives his sidemen cues, the musicians’ facial expressions and everyone’s happiness at how good the music sounds.

In addition to the 82-minute concert, there is some background footage taken right before the performance, a short interview with James Cammack and a lengthy discussion by Ahmad Jamal about his career, influences and philosophy. Live In Baalbeck gives viewers a definitive look at Ahmad Jamal and his current music.

On After Fajr, Mr. Jamal’s ninth U.S. release on Birdology/Dreyfus Records (2005), Mr. Jamal explores the impressive bond between his religious beliefs (in the Islamic faith, ‘Fajr' is the obligatory salah before sunrise—the first of five prayers a day for a Muslim), his musical essences – jazz and classical music – and the understated approach to the piano. This was the first, and the last, time Mr. Jamal voluntarily and publicly referenced his faith.

Ahmad Jamal’s last CD, It’s Magic was chosen today as one of the Best Jazz of the Year on NPR’s Best CDs of 2008 series. It’s Magic also won ‘Record of the Year’ in the renowned annual Jazzman Magazine (France)’s CHOC de L’Année.

Mr. Jamal recently won Les Victoires du Jazz, France’s equivalent of the American Grammy® Awards, for Best International Album (Album International de Production Française).

It’s Magic, which was released on June 10, 2008, has been hailed by critics as a career highlight, gracing the Billboard Top Jazz Albums chart, the iTunes Jazz Top 10, and peaked at #2 on the Jazz Week Radio Chart. One of the most influential pianists in jazz, Ahmad Jamal is also the music’s first cross-over artist – his recording of “Poinciana” was a chart topping hit single in 1958.

Last year, the French government has inducted Ahmad Jamal into Order of the Arts and Letters, naming him Officier de L’Ordre Des Arts et Des Lettres (Officer, Order of Arts and Letters). Mr. Jamal is also a recipient of National Endowment for the Arts American Jazz Masters Fellowship.

Ahmad Jamal's newest recording, A Quiet Time, released by Dreyfus Jazz on January 26 2010, reached #1 on the Jazz Week radio chart, and was welcomed with widespread critical praise. Ahmad was on the cover of DownBeat magazine in March 2010. In support of A Quiet Time, Jamal will perform this year at many of the world's most prestigious venues and festivals, including the Newport, Monterey and Saratoga jazz festivals, and an extended engagement at the Blue Note in New York. He will also be a prominent feature of the 2011 series at Jazz at Lincoln Center.

Mr. Jamal is an exclusive Steinway piano artist.

This biography was provided by the artist or their representative.

Critic Stanley Crouch cites AHMAD JAMAL's impact on the fresh form in jazz as an outstanding conceptionalist. Crouch considers Mr. Jamal's distinctive style as having had an influence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Theolonius Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions."

Considering his trio "an orchestra", Mr. Jamal not only achieves a unified sound, but subtly inserts independent roles for the bass and drums. The hallmarks of Mr. Jamal's style are rhythmic innovations, colorful harmonic perceptions, especially left hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal substitutions and alterations and pedalpoint ostinato interludes in tasteful dynamics. He also incorporates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Mr. Jamal impressed and influenced, among others, trumpeter Miles Davis. Like Louis Armstrong, Mr. Jamal is an exemplary ensemble player -- listening while playing and responding, thus inspiring his musicians to surpass themselves. Audiences delight in Mr. Jamal's total command of the keyboard, his charismatic swing and daringly inventive solos that always tell a story.

In 1951, Mr. Jamal first recorded Ahmad's Blues on Okeh Records. His arrangement of the folk tune “Billy Boy,” and “Poinciana” (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included “New Rhumba,” “Excerpts From The Blues,” “Medley” (actually “I Don't Want To Be Kissed”), and “It Ain't Necessarily So” -- all later utilized by Miles Davis and Gil Evans on the albums Miles Ahead and Porgy and Bess. In his autobiography, Mr. Davis praises Mr. Jamal's special artistic qualities and cites his influence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previously recorded by Mr. Jamal: “Squeeze Me,” “It Could Happen To You,” “But Not For Me,” “Surrey With The Fringe On Top,” “Ahmad's Blues,” “On Green Dolphin Street” and “Billy Boy”.

In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Working as the "house trio" at Chicago's Pershing Hotel drummer Vernell Fournier joined this trio in 1958 and Mr. Jamal made a live album for Argo Records entitled But Not For Me. The resulting hit single and album also included “Poinciana” -- his rendition could be considered his "signature". This album remained on the Ten Best-selling charts for 108 weeks -- unprecedented then for a jazz album. This financial success enabled Mr. Jamal to realize a dream, and he opened a restaurant/club, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule and Mr. Jamal was able to do record production and community work.

Mr. Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania. A child prodigy who began to play the piano at the age of 3, he began formal studies at age 7. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Caldwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1950, he formed his first trio, The Three Strings. Performing at New York's The Embers club, record producer John Hammond "discovered" The Three Strings and signed them to Okeh Records (a division of Columbia Records, now Sony).

Mr. Jamal has continued to record his outstanding original arrangements of such standards as “I Love You,” “A Time For Love,” “On Green Dolphin Street” (well before Miles Davis!), “End of a Love Affair,” to cite a few. Mr. Jamal's own classic compositions begin with “Ahmad's Blues” (first recorded on October 25, 1951), “New Rhumba,” “Manhattan Reflections,” “Tranquility,” “Extensions,” “The Awakening,” “Night Mist Blues” and most recently “If I Find You Again,” among many others.

In 1994, Mr. Jamal received the American Jazz Masters award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. A CD is available of these works.

In 1970, Mr. Jamal performed the title tune by Johnny Mandel for the soundtrack of the film Mash!; and in 1995, two tracks from his hit album But Not For Me – “Music, Music, Music,” and “Poinciana” -- were featured in the Clint Eastwood film The Bridges of Madison County.

Mr. Jamal's CD entitled The Essence features tenor saxophonist George Coleman -- Mr. Jamal's first recording made with a horn! Critical acclaim and outstanding sales resulted in two prestigious awards: D'jango D'or (critics) and Choc (pronounced "shock" -- for sales) in France. Its success generated a concert at Salle Pleyel (equivalent to Carnegie Hall), and a CD has been released Ahmad Jamal Live in Paris, as well as Ahmad Jamal's 70th Birthday "live" concert recording Olympia 2000. The Essence, Part II, featured Donald Byrd on the title track, and on his CD entitled Nature, Stanley Turrentine is featured on “The Devil's In My Den,” and steel drummer Othello Molineaux augments the trio format.

On April 8, 2003, Dreyfus Jazz released In Search Of. . .Momentum [1-10], an arresting amalgam of new compositions and treasured standards played by a trio of choice, long-time collaborators James Cammack on bass and Idris Muhammed on drums.

Mr. Jamal followed it up with the DVD Live In Baalbeck. Filmed on July 18-19, 2003, this set again matches the pianist with his longtime bassist James Cammack and drummer Idris Muhammad. They perform six standards (including Jamal’s trademark song “Poinciana,” Monty Alexander’s “You Can See and Spring Is Here”) and six of Jamal’s inventive originals. Among the highlights are the joyful calypso “Island Fever,” the complex “Topsy Turvy” and “In Search Of.” It is particularly fascinating watching how Jamal gives his sidemen cues, the musicians’ facial expressions and everyone’s happiness at how good the music sounds.

In addition to the 82-minute concert, there is some background footage taken right before the performance, a short interview with James Cammack and a lengthy discussion by Ahmad Jamal about his career, influences and philosophy. Live In Baalbeck gives viewers a definitive look at Ahmad Jamal and his current music.

On After Fajr, Mr. Jamal’s ninth U.S. release on Birdology/Dreyfus Records (2005), Mr. Jamal explores the impressive bond between his religious beliefs (in the Islamic faith, ‘Fajr' is the obligatory salah before sunrise—the first of five prayers a day for a Muslim), his musical essences – jazz and classical music – and the understated approach to the piano. This was the first, and the last, time Mr. Jamal voluntarily and publicly referenced his faith.

Ahmad Jamal’s last CD, It’s Magic was chosen today as one of the Best Jazz of the Year on NPR’s Best CDs of 2008 series. It’s Magic also won ‘Record of the Year’ in the renowned annual Jazzman Magazine (France)’s CHOC de L’Année.

Mr. Jamal recently won Les Victoires du Jazz, France’s equivalent of the American Grammy® Awards, for Best International Album (Album International de Production Française).

It’s Magic, which was released on June 10, 2008, has been hailed by critics as a career highlight, gracing the Billboard Top Jazz Albums chart, the iTunes Jazz Top 10, and peaked at #2 on the Jazz Week Radio Chart. One of the most influential pianists in jazz, Ahmad Jamal is also the music’s first cross-over artist – his recording of “Poinciana” was a chart topping hit single in 1958.

Last year, the French government has inducted Ahmad Jamal into Order of the Arts and Letters, naming him Officier de L’Ordre Des Arts et Des Lettres (Officer, Order of Arts and Letters). Mr. Jamal is also a recipient of National Endowment for the Arts American Jazz Masters Fellowship.

Ahmad Jamal's newest recording, A Quiet Time, released by Dreyfus Jazz on January 26 2010, reached #1 on the Jazz Week radio chart, and was welcomed with widespread critical praise. Ahmad was on the cover of DownBeat magazine in March 2010. In support of A Quiet Time, Jamal will perform this year at many of the world's most prestigious venues and festivals, including the Newport, Monterey and Saratoga jazz festivals, and an extended engagement at the Blue Note in New York. He will also be a prominent feature of the 2011 series at Jazz at Lincoln Center.

Mr. Jamal is an exclusive Steinway piano artist.

This biography was provided by the artist or their representative.

Critic Stanley Crouch cites AHMAD JAMAL's impact on the fresh form in jazz as an outstanding conceptionalist. Crouch considers Mr. Jamal's distinctive style as having had an influence on the same level as "Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Theolonius Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions."

Considering his trio "an orchestra", Mr. Jamal not only achieves a unified sound, but subtly inserts independent roles for the bass and drums. The hallmarks of Mr. Jamal's style are rhythmic innovations, colorful harmonic perceptions, especially left hand harmonic and melodic figures, plus parallel and contrary motion lines in and out of chordal substitutions and alterations and pedalpoint ostinato interludes in tasteful dynamics. He also incorporates a unique sense of space in his music, and his musical concepts are exciting without being loud in volume. Augmented by a selection of unusual standards and his own compositions, Mr. Jamal impressed and influenced, among others, trumpeter Miles Davis. Like Louis Armstrong, Mr. Jamal is an exemplary ensemble player -- listening while playing and responding, thus inspiring his musicians to surpass themselves. Audiences delight in Mr. Jamal's total command of the keyboard, his charismatic swing and daringly inventive solos that always tell a story.

In 1951, Mr. Jamal first recorded Ahmad's Blues on Okeh Records. His arrangement of the folk tune “Billy Boy,” and “Poinciana” (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included “New Rhumba,” “Excerpts From The Blues,” “Medley” (actually “I Don't Want To Be Kissed”), and “It Ain't Necessarily So” -- all later utilized by Miles Davis and Gil Evans on the albums Miles Ahead and Porgy and Bess. In his autobiography, Mr. Davis praises Mr. Jamal's special artistic qualities and cites his influence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previously recorded by Mr. Jamal: “Squeeze Me,” “It Could Happen To You,” “But Not For Me,” “Surrey With The Fringe On Top,” “Ahmad's Blues,” “On Green Dolphin Street” and “Billy Boy”.

In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Working as the "house trio" at Chicago's Pershing Hotel drummer Vernell Fournier joined this trio in 1958 and Mr. Jamal made a live album for Argo Records entitled But Not For Me. The resulting hit single and album also included “Poinciana” -- his rendition could be considered his "signature". This album remained on the Ten Best-selling charts for 108 weeks -- unprecedented then for a jazz album. This financial success enabled Mr. Jamal to realize a dream, and he opened a restaurant/club, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule and Mr. Jamal was able to do record production and community work.

Mr. Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania. A child prodigy who began to play the piano at the age of 3, he began formal studies at age 7. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Caldwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1950, he formed his first trio, The Three Strings. Performing at New York's The Embers club, record producer John Hammond "discovered" The Three Strings and signed them to Okeh Records (a division of Columbia Records, now Sony).

Mr. Jamal has continued to record his outstanding original arrangements of such standards as “I Love You,” “A Time For Love,” “On Green Dolphin Street” (well before Miles Davis!), “End of a Love Affair,” to cite a few. Mr. Jamal's own classic compositions begin with “Ahmad's Blues” (first recorded on October 25, 1951), “New Rhumba,” “Manhattan Reflections,” “Tranquility,” “Extensions,” “The Awakening,” “Night Mist Blues” and most recently “If I Find You Again,” among many others.

In 1994, Mr. Jamal received the American Jazz Masters award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. A CD is available of these works.

In 1970, Mr. Jamal performed the title tune by Johnny Mandel for the soundtrack of the film Mash!; and in 1995, two tracks from his hit album But Not For Me – “Music, Music, Music,” and “Poinciana” -- were featured in the Clint Eastwood film The Bridges of Madison County.

Mr. Jamal's CD entitled The Essence features tenor saxophonist George Coleman -- Mr. Jamal's first recording made with a horn! Critical acclaim and outstanding sales resulted in two prestigious awards: D'jango D'or (critics) and Choc (pronounced "shock" -- for sales) in France. Its success generated a concert at Salle Pleyel (equivalent to Carnegie Hall), and a CD has been released Ahmad Jamal Live in Paris, as well as Ahmad Jamal's 70th Birthday "live" concert recording Olympia 2000. The Essence, Part II, featured Donald Byrd on the title track, and on his CD entitled Nature, Stanley Turrentine is featured on “The Devil's In My Den,” and steel drummer Othello Molineaux augments the trio format.

On April 8, 2003, Dreyfus Jazz released In Search Of. . .Momentum [1-10], an arresting amalgam of new compositions and treasured standards played by a trio of choice, long-time collaborators James Cammack on bass and Idris Muhammed on drums.

Mr. Jamal followed it up with the DVD Live In Baalbeck. Filmed on July 18-19, 2003, this set again matches the pianist with his longtime bassist James Cammack and drummer Idris Muhammad. They perform six standards (including Jamal’s trademark song “Poinciana,” Monty Alexander’s “You Can See and Spring Is Here”) and six of Jamal’s inventive originals. Among the highlights are the joyful calypso “Island Fever,” the complex “Topsy Turvy” and “In Search Of.” It is particularly fascinating watching how Jamal gives his sidemen cues, the musicians’ facial expressions and everyone’s happiness at how good the music sounds.

In addition to the 82-minute concert, there is some background footage taken right before the performance, a short interview with James Cammack and a lengthy discussion by Ahmad Jamal about his career, influences and philosophy. Live In Baalbeck gives viewers a definitive look at Ahmad Jamal and his current music.

On After Fajr, Mr. Jamal’s ninth U.S. release on Birdology/Dreyfus Records (2005), Mr. Jamal explores the impressive bond between his religious beliefs (in the Islamic faith, ‘Fajr' is the obligatory salah before sunrise—the first of five prayers a day for a Muslim), his musical essences – jazz and classical music – and the understated approach to the piano. This was the first, and the last, time Mr. Jamal voluntarily and publicly referenced his faith.

Ahmad Jamal’s last CD, It’s Magic was chosen today as one of the Best Jazz of the Year on NPR’s Best CDs of 2008 series. It’s Magic also won ‘Record of the Year’ in the renowned annual Jazzman Magazine (France)’s CHOC de L’Année.

Mr. Jamal recently won Les Victoires du Jazz, France’s equivalent of the American Grammy® Awards, for Best International Album (Album International de Production Française).

It’s Magic, which was released on June 10, 2008, has been hailed by critics as a career highlight, gracing the Billboard Top Jazz Albums chart, the iTunes Jazz Top 10, and peaked at #2 on the Jazz Week Radio Chart. One of the most influential pianists in jazz, Ahmad Jamal is also the music’s first cross-over artist – his recording of “Poinciana” was a chart topping hit single in 1958.

Last year, the French government has inducted Ahmad Jamal into Order of the Arts and Letters, naming him Officier de L’Ordre Des Arts et Des Lettres (Officer, Order of Arts and Letters). Mr. Jamal is also a recipient of National Endowment for the Arts American Jazz Masters Fellowship.

Ahmad Jamal's newest recording, A Quiet Time, released by Dreyfus Jazz on January 26 2010, reached #1 on the Jazz Week radio chart, and was welcomed with widespread critical praise. Ahmad was on the cover of DownBeat magazine in March 2010. In support of A Quiet Time, Jamal will perform this year at many of the world's most prestigious venues and festivals, including the Newport, Monterey and Saratoga jazz festivals, and an extended engagement at the Blue Note in New York. He will also be a prominent feature of the 2011 series at Jazz at Lincoln Center.

Mr. Jamal is an exclusive Steinway piano artist.

This biography was provided by the artist or their representative.

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