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FROM PITTSBURGH to the PERSHING: ORCHESTRATION, INTERACTION, and INFLUENCE in the EARLY WORK of AHMAD JAMAL by Michael Paul Mack

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FROM PITTSBURGH to the PERSHING: ORCHESTRATION, INTERACTION, and INFLUENCE in the EARLY WORK of AHMAD JAMAL by Michael Paul Mack FROM PITTSBURGH TO THE PERSHING: ORCHESTRATION, INTERACTION, AND INFLUENCE IN THE EARLY WORK OF AHMAD JAMAL by Michael Paul Mackey Bachelor of Science, Duquesne University, 2003 Master of Music, Duquesne University, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Michael Paul Mackey It was defended on March 31, 2017 and approved by Amy Williams, Associate Professor, Music Deane L. Root, Professor, Music Geri Allen, Associate Professor, Music Laurence Glasco, Associate Professor, History Dissertation Advisor: Michael Heller, Assistant Professor, Music ii Copyright © by Michael Paul Mackey 2017 iii FROM PITTSBURGH TO THE PERSHING: ORCHESTRATION, INTERACTION, AND INFLUENCE IN THE EARLY WORK OF AHMAD JAMAL Michael Paul Mackey, PhD University of Pittsburgh, 2017 Despite over sixty years of international recognition and the enduring respect of his fellow musicians, pianist Ahmad Jamal’s omission from jazz discourse is most curious. Stanley Crouch hailed Jamal as second only to Charlie Parker as the most influential individual on the development of jazz after 1945. While Jamal was still a teenager in Pittsburgh, the eminent Art Tatum deemed him a “coming great.” After establishing himself as one of Chicago’s leading pianists during the 1950s, his album But Not for Me: Live at the Pershing (1958) remained on Billboard’s album chart for 107 weeks and has become one of the best-selling jazz albums of all-time. However, detractors of Jamal continually questioned his commercial success and claimed that his use of space, light touch, and emphasis on ensemble balance point to a lack of virtuosity. Yet these were the very qualities that first attracted the attention of Miles Davis, who once claimed “all my inspiration today comes from the Chicago pianist Ahmad Jamal.” This dissertation engages Jamal’s life and musical output from several perspectives. Jamal’s biographic narrative is constructed by tracing his youth and musical development in Pittsburgh through the reception of his highly-influential album, At the Pershing, with particular attention to socio-cultural movements accompanying the historical context. Transcribed recordings and interviews are used to examine the extent of Jamal’s conceptual influence on Davis and his sidemen, particularly in how Jamal’s trios of the early 1950s affected the repertoire, phrasing, groove, and overall aesthetic of Davis’s own output. Drawing from Ingrid Monson’s theory of intermusicality, analysis of Jamal’s trio recordings reveals practices of orchestration and iv interaction that challenge conventional notions of collaborative improvisation. Ultimately, this dissertation initiates dialogue on Pittsburgh’s distinguished legacy of jazz pianists and on the applicability of Jamal’s orchestrational concepts in jazz performance pedagogy. v TABLE OF CONTENTS ABSTRACT ................................................................................................................................. iv LIST OF FIGURES ..................................................................................................................... ix ACKNOWLEDGEMENTS ...................................................................................................... xiii 1.0 INTRODUCTION ............................................................................................................ 1 1.1 AHMAD JAMAL AND THE CANON ............................................................... 4 1.2 METHODOLOGY ............................................................................................. 10 1.3 CHAPTER OVERVIEW ................................................................................... 14 2.0 PITTSBURGH ................................................................................................................ 18 2.1 PITTSBURGH’S JAZZ HISTORY .................................................................. 20 2.2 AHMAD JAMAL’S YOUTH AND MUSIC EDUCATION ........................... 33 2.3 ON THE ROAD WITH THE GEORGE HUDSON ORCHESTRA ............. 46 3.0 THE FOUR STRINGS ................................................................................................... 50 3.1 CHICAGO ........................................................................................................... 58 3.2 THE THREE STRINGS .................................................................................... 64 3.3 A NEW NAME AND A NEW TRIO ................................................................ 69 3.3.1 Islamic conversion ................................................................................ 69 3.3.2 Islam in 1940s-1950s Black America ................................................... 71 3.3.3 The Ahmad Jamal Trio ......................................................................... 76 vi 4.0 MILES DAVIS: AN UNLIKELY CHAMPION .......................................................... 87 4.1 YOU CALL IT SPACE, I CALL IT DISCIPLINE ......................................... 89 4.2 CONTEXTUALIZING THE JAMAL-DAVIS CONNECTION ................... 91 4.3 APPROPRIATION, EMULATION, AND SIGNIFYIN(G) ........................... 92 4.4 MAPPING JAMAL’S INFLUENCE ................................................................ 95 4.5 “A GAL IN CALICO:” STYLISTIC APPROPRIATION – PHRASING, GROOVE, AND AESTHETIC .......................................................................... 99 4.6 “BILLY BOY:” LITERAL EMULATION – ARRANGEMENT, ORCHESTRATION, AND PIANISTICS ...................................................... 103 4.7 “NEW RHUMBA:” TRANSCRIPTION AND RE-ORCHESTRATION ... 111 4.8 KINDRED SPIRITS ......................................................................................... 120 4.9 CRITICAL RESPONSE TO THE JAMAL-DAVIS CONNECTION ......... 122 5.0 DRUMMERLESS NO MORE .................................................................................... 126 5.1 AT THE PERSHING: THE MAKING OF THE SURPRISE HIT RECORD .. ............................................................................................................................. 133 5.2 CRITICAL RESPONSE .................................................................................. 141 6.0 THE ART OF THE TRIO ........................................................................................... 154 6.1 WRITINGS ON JAZZ INTERACTION ........................................................ 156 6.2 THEORIZING IMPROVISED INTERACTION .......................................... 160 6.2.1 The Groove ......................................................................................... 160 6.2.2 Improvisation as Conversation ........................................................... 161 6.2.3 Intermusicality .................................................................................... 162 6.3 INTERMUSICAL ANALYSIS ........................................................................ 165 vii 6.3.1 Groove ................................................................................................ 167 6.3.2 Arrangement ....................................................................................... 171 6.3.3 Orchestration and Improvisation ........................................................ 183 6.3.4 Interaction ........................................................................................... 192 6.3.4.1 “Poinciana” ......................................................................... 193 6.4 ENSEMBLE COMMUNICATION ................................................................ 202 7.0 CONCLUSION ............................................................................................................. 206 BIBLIOGRAPHY ..................................................................................................................... 211 viii LIST OF FIGURES Figure 1. Intersection of Wylie Avenue and Fullerton Street with Blue Note Cafe and Goode Pharmacy, on foggy night, Hill District, c. 1945-1965 (Charles “Teenie” Harris, Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.3181) ................................................................ 30 Figure 2. Exterior of William "Woogie" Harris's house, and Mary Cardwell Dawson's National Negro Opera Company, 7101 Apple Street, Homewood (Charles “Teenie” Harris, Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.4864) ................................................. 36 Figure 3. Young Ahmad Jamal (Fritz Jones) playing piano, c. 1942 (Charles “Teenie” Harris, Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.3174) ................................. 38 Figure 4. Westinghouse High School swing band "The K-dets,” c. 1943-1944. (Charles “Teenie” Harris, Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.3174) ..................... 40 Figure 5. Furnished Rooms, 1213 Wylie Avenue, looking east, April 29, 1930. (Pittsburgh City Photographer, Pittsburgh City Photographer Collection, 1901-2002, 715.3011481.CP) ............. 42 Figure 6. Band performing with Ahmad Jamal (Fritz Jones) on piano, Jon Morris on trombone on left, Harold "Brushes" Lee on drums, Horace Turner on trumpet, John Foster on saxophone, and Sam Hurt on trombone on right, c. 1940-1950. (Charles “Teenie” Harris, Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.10346).........................................................................
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