Last week, I wrote in a post that the never-before released music on the new Elvin Jones album, Revival: Live at Pookie's Pub, was the most significant historical jazz album released this year. I now find that I must amend that statement, just days later. Zev Feldman, who co-produced the Elvin Jones material, is now releasing two equally impressive Ahmad Jamal Trio albums. The music on these recordings also is previously unreleased and the sound is sterling, dynamic and mixed brilliantly. [Photo above of Ahmad Jamal by Don Bronstein, courtesy of Jazz Detective Records]
Recorded live at the Penthouse in Seattle, the material has been issued on two albums—Emerald City Nights: Live at the Penthouse 1963-1964 and Emerald City Nights: Live at the Penthouse 1965-1966. These two albums mark the debut of Zev's new label—Jazz Detective Records. All of JazzWax's readers wish the label great success, given Zev's vast contribution to jazz, hunting down tapes of studio recordings and live performances and securing the permissions needed to release what can only be called relic recordings.
What we hear on these albums is Ahmad at his delicate and suspenseful best. In other words, he's playing in the lush, swinging and elegant style he made famous in the 1950s, when he was the envy of many top jazz artists, including Miles Davis. On these new albums, Ahmad's technique is uniformly fluid and bright, and the song choices are smart.
The tapes on which these performances by various Ahmad Jamal Trios appear were hidden away for years. They originally were made by Jim Wilke, who hosted a radio show on Seattle's KING-FM that spotlighted live jazz events at the Penthouse. The tapes were originally made for on-air rebroadcast either at a later time or date or on a recurring basis. The Penthouse's owner, Charlie Puzzo Sr., provided all the gear, and Ahmad was fully aware that his trio was being recorded and was supportive of the mission. [Photo above of Ahmad Jamal by Don Bronstein, courtesy of Jazz Detective Records]
The Puzzo archive today is overseen by Charlie Puzzo Jr., who graciously allowed Zev to release the trio material. Zev has released albums from this archive in the past. Zev also had to win over Ahmad, who is notoriously picky and critical about his playing from this period and would only have given his blessing if he heard something special in the taped music. [Photo above of Charlie Puzzo Sr. and Ahmad Jamal, courtesy of Charlie Puzzo Jr. and Jazz Detective Records]
Many jazz fans think of Zev as a rummager who stumbles upon great recordings and finds a way to get them released. That's not true. Knowing Zev for years, I can tell you firsthand the heavy lifts made by Zev to get these critical recordings to market. A good chunk of Zev's effort has to do with his knowledge of jazz, his awareness of lost and hidden recordings, and his long history in the record business. [Photo above of Ahmad Jamal by Don Bronstein, courtesy of Jazz Detective Records]
But there's way more, and much has to do with Zev's charming personality, his integrity and his kindness. He has built bridges all over the industry among artists, musicians, producers, foreign contacts and family members who manage the estates of jazz legends. In essence, Zev can be trusted to produce a top-notch product, package it thoroughly and ensure that his promises are honored. Zev's jazz treasures are possible only because all of these gifts come together neatly and are fueled by his passion. [Photo above of Ahmad Jamal in 1967, (c)Raymond Ross Archives, courtesy of CTSIMAGES and Jazz Detective Records]
And now to the music. On the first of the two albums (1963-1964), Ahmad was joined in 1963 by Richard Evans (b) and Chuck Lampkin (d) on Johnny One Note, Minor Adjustments, All of You and Squatty Roo. A year later, Ahmad was backed by Jamil Nasser (b) and Lampkin (d)) on Bogota, Lollipops & Roses, Tangerine, Keep On Keeping On, Minor Moods and But Not for Me, in 1964.
On the second album (1965-1966), Ahmad continues in 1965 with Nasser (b) and Lampkin (d) on I Didn't Know What Time It Was, Who Can I Turn To, My First Love Song and Feeling Good. Also in 1965, Ahmad was joined by Nasser (b) and Vernel Fournier (d) on Concern and Like Someone in Love. On the 1966 tracks—Invitation, Poinciana and Whisper Not—Ahmad was accompanied by Nasser (b) and Frank Gant (d).
If I owned a sports car, I'd take this music on a drive along the leafy winding roads of Pound Ridge and Bedford in New York. The music is so beautiful it begs for equally beautiful and mellow scenery, from barns and farms to horse stables and country stores. But listening in front of a fireplace with a great cup of tea would do nicely as well.
By the way, the Penthouse in Seattle wasn't on the top floor of any building. It was on the ground floor of the Kenneth Hotel at 701 First Avenue, near the corner of Cherry Street. It opened in 1962 and closed in 1968, when the hotel was demolished and replaced soon after by a multi-story parking lot. [Photo above of Charlie Puzzo Sr. with the Oscar Peterson Trio outside the Penthouse; from left, Ray Brown, Charlie Puzzo Sr., Oscar Peterson and Ed Thigpen]
Congratulations on the new label, Zev. Off to a big start.
JazzWax notes: The two double albums will be available on 180-gram vinyl this Friday, on Record Store Day. For a list of record stores in your area, go here.
CDs and downloads of the albums will be available starting on December 2.
To read my 2013 interview with Ahmad Jamal for The Wall Street Journal, go here.
JazzWax tracks: You'll find Emerald City Nights: Live at the Penthouse 1963-1964 here.
And Emerald City Nights: Live at the Penthouse 1965-1966 here.
Both are on Jazz Detective Records.
JazzWax clips: Here's But Not for Me...
And here's Who Can I Turn To...
Here's an eight-minute video on Seattle's Penthouse...
Here's a 2016 oral-history interview on audio or video with Joyce Puzzo, the widow of Charlie Puzzo, owner of the Penthouse. At the Seattle Public Library landing page, click on the video format in the right-hand box. Or listen to the audio here. A special thanks to John Kettlewell...
And here's Ahmad in action in 1960 on CBS (move the time bar to 4:22)...
