Ahmad Jamal's 'Ahmad Jamal '73'

This critical release by the late jazz legend needs a reissue.

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Late bandleader, composer, and pianist Ahmad Jamal was such a prolific and legendary jazz musician that it’s difficult to fully capture the significance, size, and quality of his catalog in anything less than a book-length piece of writing. Discogs credits Jamal with 84 records. His first record, Ahmad Jamal Plays (later reissued as Chamber Music Of The New Jazz by Argo), came out 70 years ago on the short-lived record label Parrot.

18 years later, Jamal released a critical moment in his lengthy discography: Ahmad Jamal '73. At seven tracks and just under 40 minutes in total running time, the record is a mesmerizing blend of cover songs of hits of the day and original compositions. Jamal and Micro-Chop favorite Richard Evans’ co-production ensures that this is a beautiful, sophisticated-sounding record from front to back. It also represents a significant stylistic shift for Jamal, who exclusively played the electric Fender Rhodes on the album. Though he had dipped his toe into cutting-edge instruments before this release, Jamal had never used an electric piano as his lone form of creative expression while recording an album.

The perfect sequencing of the record helps elevate it to another level, as both the opening A-side cut “The World Is A Ghetto” and the B-side closer “Peace At Last” make perfect introduction and end points. On “The World Is A Ghetto,” Jamal provides a breathtakingly lush, hypnotic interpretation of the oft-covered War classic. (Check the Micro-Chop playlist of “The World Is A Ghetto” here.)

If you came of age in the ‘90s or are a fan of that era of rap music, you likely recognize the opening.

Arguably the strongest moment on a record full of standouts, the final song “Peace At Last” highlights the notable creative chemistry between Evans and Jamal. The arrangement and production here provide the right level of complementary elements to Jamal’s work on the Rhodes without overpowering him. The song straddles the line between carefully planned composition and improvisation, as the locked-in backing beat and song structure work well with Jamal’s creative flourishes and inspired moments of drifting off into his own world. This track is a beautiful work of art.

Music fans get burned out on the use of the word classic, but this album is most definitely a classic. Couple that with the gorgeous, frame-worthy cover art by esteemed visual artist, designer, and photographer Norman Seeff, and Ahmad Jamal '73' demands a high-quality physical reissue and availability on all streaming services. A record of this caliber by an artist of Ahmad Jamal’s stature deserves the opportunity for rediscovery and new listeners.

Listen to the YouTube playlist of Ahmad Jamal '73' here. Listen to my 27-track Ahmad Jamal YouTube playlist here.

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