{"id":5906,"date":"2014-07-28T00:07:28","date_gmt":"2014-07-28T07:07:28","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5906"},"modified":"2014-07-27T22:08:53","modified_gmt":"2014-07-28T05:08:53","slug":"monday-recommendation-ahmed-abdul-malik","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/07\/monday-recommendation-ahmed-abdul-malik\/","title":{"rendered":"Monday Recommendation: Ahmed Abdul-Malik"},"content":{"rendered":"<p><strong>Ahmed Abdul-Malik<\/strong>, <a href=\"http:\/\/www.amazon.com\/Spellbound-Ahmed-Abdul-Malik-Seldon-Powell\/dp\/B00CPDXORQ\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Spellbound<\/em><\/a> (Status)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover.jpg\" alt=\"Spellbound cover\" width=\"210\" height=\"210\" class=\"alignleft size-full wp-image-5907\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/07\/Spellbound-cover-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a>Of Sudanese heritage, the bassist Ahmed Abdul-Malik (1927-1993) was born Jonathan Timms in Brooklyn. After working with Art Blakey and Thelonious Monk, among others, Abdul-Malik studied music of other cultures. He was among the first to incorporate Middle Eastern and Indian influences into jazz. Except for a straight-ahead blues, this 1965 album consists of themes from movies: \u00e2\u20ac\u0153Spellbound,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Never on Sunday,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Body and Soul\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Delilah.\u00e2\u20ac\u009d Sudanese oud player Hamza el Din enhances the melding of musical dialects. As <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2014\/06\/recent-listening-lucky-thompson.html\"target=\"_blank\">mentioned in passing<\/a> here a few weeks ago, Abdul-Malik and saxophonist Lucky Thompson had in common an appreciation for Paul Neves, a pianist whose work on <em>Spellbound<\/em> makes it all the more regrettable that he died little known in the 1980s. Neves, cornetist\/violinist Ray Nance and saxophonist Seldon Powell are quite at home in the exotic mix. It\u00e2\u20ac\u2122s good to have this available again.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ahmed Abdul-Malik, Spellbound (Status) Of Sudanese heritage, the bassist Ahmed Abdul-Malik (1927-1993) was born Jonathan Timms in Brooklyn. After working with Art Blakey and Thelonious Monk, among others, Abdul-Malik studied music of other cultures. He was among the first to incorporate Middle Eastern and Indian influences into jazz. Except for a straight-ahead blues, this 1965 [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-5906","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5906","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=5906"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5906\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5906"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5906"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5906"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}