AHMED أحمد

Avant-Garde Jazz / Eclectic Fusion • Multi-National
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أحمد [Ahmed] make music about the music of Ahmed Abdul-Malik, a NYC bassist, oudist, composer, educator and philosopher. A potent(ial) influence on Coltrane and Monk (we imagine), he was also a significant composer in his own right. (Ignored into creative obscurity, he spent his final decades teaching, and performing seldom). His albums Jazz Sahara (1958) and East Meets West (1960) fuse aspects of Arabic and East African musics and thought, his committed long-term relationship with Sufi Islam, and then-modern jazz and thinking – in revolutionary and vital ways. The product is exciting, radical, raw, and beautiful. But, as well as honouring these traditions, Abdul-Malik invented and imagined a lot*. Abdul- Malik’s straddling, synthetic and inclusive vision is one of the great projects of the imagination in jazz. He mixed sounds and ethics, meanings and beliefs in open, experimental ways without dogma.

And, so do أحمد [Ahmed]. They visit and (re)think his
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AHMED أحمد New Jazz Imagination album cover 0.00 | 0 ratings
New Jazz Imagination
Avant-Garde Jazz 2017
AHMED أحمد Super Majnoon (East Meets West) album cover 4.50 | 1 ratings
Super Majnoon (East Meets West)
Avant-Garde Jazz 2019
AHMED أحمد Nights on Saturn (Communication) album cover 0.00 | 0 ratings
Nights on Saturn (Communication)
Avant-Garde Jazz 2021
AHMED أحمد Wood Blues album cover 3.50 | 1 ratings
Wood Blues
Eclectic Fusion 2024
AHMED أحمد Giant Beauty album cover 0.00 | 0 ratings
Giant Beauty
Avant-Garde Jazz 2024

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AHMED أحمد Wood Blues

Live album · 2024 · Eclectic Fusion
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snobb
أحمد [Ahmed] is a multinational band that plays the music of Ahmed Abdul-Malik, a NYC bassist, oudist, composer, educator and philosopher. The quartet comprises two Londoners - pianist Pat Thomas and sax player Seymour Wright, plus the Berliner double bassist Joel Grip, and the Parisian drummer Antonin Gerba. Playing together a decade or so, they never recorded a studio album, but have some documented live gigs history.

The quartet's newest live album, "Wood Blues", was recorded in Scotland at The Glue Factory in Glasgow two years ago. It contains just one song, "Wood Blues", which is almost one hour long. The original 1961 Abdul-Malik composition (titled "Oud Blues") lasts about four minutes.

The album begins with a double bass line and Thomas' piano blues from Abdul Malick's original, which very soon switches to explosive bursts of sax and piano passages. The crown all song long is shouting and screaming. This deeply bluesy-rooted music is based on repetitive constructions in which the musicians eventually return to where they started and begin the same song again in a different way.

There are a lot of melodies, jumping piano, and free sax soloing all around on this album. Very percussive by its nature, this album, even being quite free, offers quite accessible and even danceable listening. The atmosphere recalls the early 60s free jazz concerts without being imitative at all. Not a piece of music for everyday listening, it contains that genuine real jazz spirit, not so often available on today's jazz scene.

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