Ahmad Jamal (born Frederick Russell Jones, July 2, 1930) is an American jazz pianist, composer, bandleader, and educator. For five decades, he has been one of the most successful small-group leaders in jazz.

Jamal was born in Pittsburgh, Pennsylvania. He began playing piano at the age of three, when his uncle Lawrence challenged him to duplicate what he was doing on the piano. Jamal began formal piano training at the age of seven with Mary Cardwell Dawson, whom he describes as greatly influencing him.

Trained in both traditional jazz (“American classical music”, as he prefers to call it) and European classical style, Ahmad Jamal has been praised as one of the greatest jazz innovators over his exceptionally long career. 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 and is second in importance in the development of jazz after 1945 only to Parker. 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.” Jamal explored the texture of riffs, timbres, and phrases rather than the quantity or speed of notes in any given improvisation. Speaking about Jamal, A. B. 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.” 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 like Bill Evans, Herbie Hancock, and McCoy Tyner.

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