Requisites
Over the past fifty years, I’ve found immense joy in listening to Ahmad Jamal’s work across his extensive catalog, including releases on Argo, Cadet, and later Impulse Records. Each time I was fortunate enough to experience his trio live in Atlanta, their performance was absolutely electrifying. Jamal and his group consistently delivered music that was both profoundly moving and impeccably polished. Today’s featured album from my collection is Freeflight (Impulse! – ABC Records AS-9217), which showcases the trio’s live set at the Montreux Jazz Festival. On this recording, Ahmad Jamal plays both the Fender Rhodes electric piano and acoustic piano, joined by Jamil Nasser on bass and Frank Gant on drums. My personal copy is the 1973 U.S. stereo reissue, which retains the original catalog number.
The set opens with a warm welcome to the musicians, setting the stage for the trio’s spirited rendition of Effendi, by McCoy Tyner. The trio dives straight into the brisk tempo, with Ahmad igniting an energetic solo on the electric piano. There’s a brief exchange between Jamil’s bass and Ahmad’s acoustic piano before Jamal returns to the electric keys. Frank contributes a concise, lively reading, and Jamil finishes with an exhilarating finale, driving the tune to a thrilling close, earning an enthusiastic response from the audience. The tempo eases as Jamal introduces Dolphin Dance by Herbie Hancock on the acoustic piano, segueing into the group's melody. Jamal’s deeply expressive playing doesn’t disappoint, leading to a vibrant conclusion and audience applause.
Side Two begins with Ahmad and Jamil engaging in a musical conversation, leading into the pianist’s Manhattan Reflections. Jamal returns to the electric piano for a buoyant mid-tempo melody, then takes off first with a spirited opening statement that captures the energy of both instruments. The piano and bass then share the spotlight briefly to revisit the theme before the trio’s closing chorus ends gently. Ahmad returns to the acoustic piano to conclude the set with his signature tune, Poinciana by Nat Simon and Buddy Bernier. A solo introduction from Jamal leads into the ensemble’s mid-tempo theme. As the only soloist, Jamal tells a captivating story with Nasser and Gang’s support until the trio reunites to conclude the song, greeted by the audience’s enthusiastic applause!
The production of Freeflight was a collaborative effort between Ahmad Jamal and Ed Michel, while Carlos Olms and Stephan Sulke handled the recording of the live performance. Overall, the recording quality is commendable, though there’s one significant flaw: the microphone was positioned too close to Jamal’s electric piano during Effendi, resulting in noticeable harshness and overmodulation. However, please don’t let that minor drawback deter you from seeking out Freeflight by Ahmad Jamal when browsing for records on your next shopping trip. Although not as well- known as his earlier live release, At The Top: Poinciana Revisited, this album still deserves consideration for your library. Even after more than five decades, the album delivers outstanding piano trio music and is highly Recommended!
~ At The Top: Poinciana Revisited (Impulse! – ABC Records AS-9176) – Source: Discogs.com
~ Poinciana – Source: Wikipedia.org
© 2025 by Edward Thomas Carter
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Daily Dose Of Jazz…
Rainer Brüninghaus was born on November 21, 1949 in Bad Pyrmont, Lower Saxony, Germany. From the age of nine he was educated in classical piano and founded his first jazz trio when he was 16. He studied sociology at the University of Cologne and music during the same time. In 1970, he founded the experimental jazz rock group Eiliff, which recorded two albums and one single.
In 1973, he joined the band of German jazz guitarist Volker Kriegel. From 1973 until 1985, he was a frequent guest in the jazz ensemble and the big band of Hessian Broadcasting Corporation. In 1975, with bassist Eberhard Weber and Charlie Mariano, he formed the band, Colours. Rainere played duo concerts with Manfred Schoof and in his quintet and big band.
In 1976, Brüninghaus first played a piano solo concert at the Heidelberg Jazz Days Festival. At the German Jazz Festival Frankfurt of 1978, he performed a suite of pieces lasting 50 minutes, which he composed as commissioned work for the festival.
The Eighties saw Brüninghaus working mainly as a bandleader, putting effort into his own projects, Freigeweht with Kenny Wheeler and Jon Christensen. He alsoe founded his own trio in which Markus Stockhausen and Fredy Studer played until the end of 1984.
John Abercrombie and Trilok Gurtu joined the band in 1985, and for some of the performances, Charlie Mariano, Hugo Read, and Jo Thönes played in the band. In 1988, Rainer began a long association with Jan Garbarek. He has written music for symphony orchestras, big bands, small ensembles, and solo piano, as well as for film and television.
He has also worked with Carla Bley, Bob Brookmeyer, Gary Burton, Bobby McFerrin, Jim Hall, Manu Katché, Albert Mangelsdorff, Paul McCandless, Alphonse Mouzon, Archie Shepp, and Steve Swallow.
He taught piano and music theory at the Akademie Remscheid, at the University of Cologne, and from 1990 to 1993 at the Hochschule (University) for Frankfurt University of Music and Performing Arts. He has published essays on music theory and was a member of the artistic advisory board for the Union of German Jazz Musicians.
>Pianist, composer and university teacher Rainer Brüninghaus, who has performed solo Grand Piano conerts, continues to perform and record.
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Daily Dose Of Jazz…
Joe Alterman was born November 16, 1988 in Atlanta, Georgia and graduated from New York University with both a Bachelor’s and Master’s in Jazz Piano Performance.
He has performed at iconic venues including the Kennedy Center, Lincoln Center, Birdland, and Blue Note, sharing stages with jazz greats like Houston Person, Les McCann, and Ramsey Lewis. He also had the privilege of opening for Dick Gregory at the Kennedy Center.
He leads his trio or performs solo with a deep groove, bluesy touch, and an exuberance that’s hard to resist, his playing is both deeply rooted and refreshingly modern. He has recorded eight critically acclaimed albums to his name, including the 2023 release Joe Alterman Plays Les McCann: Big Mo & Little Joe, Alterman continues to evolve as a recording artist while honoring jazz’s deep traditions.
His creativity extends to his cultural leadership and writing. As the Executive Director of Neranenah, an Atlanta-based Concert & Culture series, he celebrates Jewish contributions to music and the arts. His writing has also garnered acclaim, he has penned liner notes for three Wynton Marsalis and Jazz at Lincoln Center Orchestra albums. Alterman was the subject of Nat Hentoff’s final piece on music and in 2025, he was featured on President Jimmy Carter’s Grammy-winning album, Last Sundays In Plains: A Centennial Celebration.
Pianist, composer, writer, and cultural curator Joe Alterman continues to record and swing with style all over the world.
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Daily Dose Of Jazz…
Lucy Galliher was born in Washington, D.C. on November 11, 1954. He graduated from Maret High School, received her BA in Music from Oberlin College and received a National Endowment for the Arts grant to study jazz piano with Joanne Brackeen. She went on to study at BMI Jazz Composer’s Workshop with Manny Albam, Roger Kellaway, Jim McNeely and also studied piano with Art Lande, Mark Levine, Barry Harris, and Hansi Alt.
She is on the faculty of Brooklyn-Queens Conservatory of Music and the Greenwich House Music School. She has held the position of East Coast Editor of Jazz Now Magazine, has performed on Broadway, cruise ships, recorded albums, and performed live in a variety of settings.
Pianist Lucy Galliher, who currently is an online Jazz Reviewer, continues to perform and record.
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Requisites
The Duke Ellington Song Book ~ Monty Alexander | By Eddie Carter
This morning’s selection from the library is by one of my favorite pianists. The Duke Ellington Song Book (MPS Records 821 151-1) by Monty Alexander is a sincere tribute to one of jazz’s legendary composers in a duet setting. Monty was born on June 6, 1944, in Kingston, Jamaica, and he discovered the piano at age four. He could pick out melodies by ear and became interested in jazz piano at fourteen. He attended DeCarteret College in Mandeville, then continued his education at Jamaica College. He later began playing in clubs and recording with Clue J & His Blue Blasters, subbing for his hero, Aubrey Adams, when he was unable to play. Monty Alexander is heard here on a Steinway Concert Grand Piano, and John Clayton is on bass. It was initially released in Germany, and my copy of this album is the 1984 U.S. Stereo release (Verve – MPS Series 821-151-1).
The album opener, I Let A Song Go Out Of My Heart by Duke Ellington, Irving Mills, Henry Nemo, and John Redmond, is a happy swinger that takes off with the duo’s spirited melody. The pianist continues dazzling on the first interpretation, then John flexes his muscles in a short statement before the theme’s reentry dissolves slowly. Sophisticated Lady by Duke Ellington, Irving Mills, and Mitchell Parish begins with a soft musical conversation with Clayton stating the tender theme, while Alexander’s pensive restraint supports him. Monty’s opening statement is especially moving and perfectly executed, and John responds with a gentle, understated reading, ahead of the melody’s thoughtful reprise and conclusion.
Things Ain’t What They Used To Be by Mercer Ellington and Ted Parsons was one of the Ellington orchestra’s most-played tunes, and the duo begins with a lively prance through the melody. Monty takes the solo and delivers a stimulating performance that builds to a peak before descending into the closing chorus. Up next is Love You Madly by Duke Ellington and Billy Strayhorn. Here, the duo provides another example of how the right notes delivered with impeccable timing can transform a classic into a fresh conversation between piano and bass. Their interplay is equally elegant and unhurried, allowing each verse to breathe and every nuance to shine into the theme’s restatement and soft ending.
Monty Alexander has always had a remarkable knack for selecting fresh material, steering clear of overplayed standards, and he does just that with Phil Moore’s Eastside, Westside. The duo opens with a thoughtful introduction and melody, with Alexander immediately making a memorable impact in his initial interpretation. Clayton responds with a subtle, tasteful bass line, then Monty brings everything together with a final flourish, leading into a gentle fadeout. The duo starts Side Two with In A Mellow Tone by Duke Ellington and Milt Gabler, and their introduction and jaunty melody are sure to get your body moving and your toes tapping. Monty takes the opening solo, showing off his considerable technical fluency, while John follows with a performance as enjoyable as a morning stroll in the sunshine.
Caravan, by Duke Ellington, Juan Tizol, and Irving Mills, offers Monty Alexander an expansive space for a brilliant solo performance. The pianist approaches the well-known tune with energetic enthusiasm, reimagining it through his own perspective, culminating in its reprise and conclusion. Just Squeeze Me, by Duke Ellington and Lee Gaines, expresses a longing for affection while also declaring unwavering love, even across distances. Clayton’s introduction gets things started, then Alexander joins in to complete the melody. Monty delivers the opening solo with lovely, sentimental melodic lines. John follows with a deep, thoughtful presentation until the duo gently revisits the theme, allowing the song to fade out slowly.
In A Sentimental Mood, by Duke Ellington, Manny Kurtz, and Irving Mills, is one of the most beautiful jazz standards ever written. Monty and John set a serene mood with a theme of refined grace. Alexander’s delicate touch during the sole solo showcases his remarkable talent for interpreting ballads filled with romantic feeling. Clayton adds a cozy, velvety layer under the piano, leading to a tender, heartfelt finale. The album’s cheerful closing note comes with Duke Ellington’s C Jam Blues, featuring Alexander and Clayton’s spirited opening. Alexander takes the spotlight with a lively, medium bounce that naturally swings, while Clayton adds some playful steps during a brief walk, and both musicians bring the song to a joyful end.
Hans Georg Brunner-Schwer was at the helm as producer and recording engineer for The Duke Ellington Song Book. The album’s sound quality is exceptional, creating a vivid listening experience that places the performers right in the sweet spot of your listening room with remarkable precision. Whether you're already familiar with Monty Alexander’s rich body of work or just discovering him, I highly recommend seeking out The Duke Ellington Song Book during your next record-shopping trip. This album delivers an outstanding introduction for new listeners and serves as a brilliant highlight for longtime fans!
~ C Jam Blues, Caravan, I Let A Song Go Out of My Heart, In A Mellow Tone, In A Sentimental Mood, Just Squeeze Me, Sophisticated Lady, Things Ain’t What They Used To Be – Source: JazzStandards.com © 2025 by Edward Thomas Carter
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