Introspection of a Collection: Chapter 2 freeflight

“Recorded in performance at the Montreux Jazz Festival – admad jamal – freeflight,” my eyes read from top to bottom of the album cover. To the left of these words Admad Jamal smiles as his afro crowns his head. Out the speakers, the Master of Ceremony proudly introduces Jamal and members of the band. I flip the album cover and glance at the picture of Jamal sitting behind a black grand piano. Under the picture reads, “Admad Jamal, piano and Fender/Rhodes electric piano – Jamil Sulieman, bass – Frank Gant, drums.”

As the introduction ends, a roar of applause begins and is interrupted by the sound of keys played on a grand piano followed by frantic bass strums. Thirty seconds in, Jamal smoothly transitions to playing keys on a Rhodes with Sulieman still strumming away on the bass. Gant’s drumming perfectly complements the electrified melodic pace of Jamal’s chords. The composition’s styling brings an aura of insistent confidence that coincides with the composition’s title Effendi, which in English means a man of property, authority, or education in an eastern Mediterranean country. While appreciating the music, I open the album cover to black and white pictures of Jamal, Sulieman, and Gant performing at the Montreux Jazz Festival. A few seconds pass – I visualize the live audience being mesmerized by the energy reverberating through the musical notes flying rapidly through the air. At that moment, it hits me…is this why the album is called freeflight? 

The audience applauds as Effendi ends. On the opening of Dolphin Dance, Jamal repeatedly plays a chord that brings childhood memories of watching Mister Rogers Neighborhood when Trolley starts its journey to The Land of Make Believe. Immediately, my soul feels at ease…like my childhood days of traveling with Trolley to The Land of Make Believe where I related to characters that learn to overcome their fears…their anger…and feel free to share their emotions. And, during my stay in The Land of Make Believe, I felt free to share with them my bottled-up emotions. The opening chords transition to a joyous ambiance. Jamal’s impressive piano skills take full flight, but my ears do not sleep on the notes Sulieman uses to anchor the melody. At ease my soul continues…is this why the album is called freeflight?

A familiar melody strummed by Sulieman interrupts my wandering mind – hmmm…this sounds like Eric B. and Rakim’s Don’t Sweat the Technique. Instantly, my curious ears perk up awaiting the direction this composition may head. When Jamal’s speaks, “Thank you very much. Here’s a composition we call…Manhattan Reflections.” My head bops to the rhythm of the bass as Jamal follows along with Sulieman…note for note. A nice vibe develops when to my surprise Jamal effortlessly switches from playing the grand piano to playing the Rhodes. The audience begins to clap, but as if they were pleasantly surprised by the piano switch up. As the music meanders in and out with the syncopation of Gant’s complementary drum play, I envision how the notes represent the meandering action of Manhattan – a place I have visited a few times. A place full of personality, energy, and so many known unknowns…perfectly captured in Manhattan Reflections tone.

Jamal starts Poinciana with a tender chord progression that rounds out his piano proficiency displayed throughout his Montreux performance. At the 1:28 mark, the chord progression concludes as Gant now leads a solo of gentle rimshots and strokes on the hi-hats and toms. In seamless unison, Sulieman and Jamal join Gant to slowly flush out the harmony in the composition. With the structure set, Jamal confidently strolls through the piano with dense but lush chords. As the composition progresses, Gant’s amps up the rhythm with effectively timed strokes on the ride cymbal. My spirit rides along with the waves of intimate confidence that flows freely from the music…is this why the album is called freeflight?

After further review…

freeflight was released by Impulse! in 1971. The album consists of four songs performed live on June 17, 1971, at the Montreux Jazz Festival in Montreux, Switzerland.♦