The first thing to say, perhaps, is that, as well as becoming unintentionally topical, this reissue is (like Avid’s collection of four Dexter Gordons from Blue Note) one of the better-programmed iterations of the ‘Four Classic Albums ‘idea. It combines the two famous sets from the Jamal trio’s breakthrough engagement at Chicago’s Pershing Lounge, initially entitled But Not For Me and At The Pershing Vol.2 (the first of which was a huge bestseller), with their two follow-up albums done at the pianist’s own 1961-opened venue, the Alhambra club.

Although pleasant in small doses, these accurately summarise the rather gimmicky approach he’d spent years developing and demonstrate why his earlier work had such an influence on Miles Davis, and on other pianists. But, whereas Davis’ penchant for understatement kept you hooked on his own continuing thought-processes, Jamal all too often leaves gaps just for the sake of it. And, while Miles obviously rode on the energy of his rhythm sections, the pianist unintentionally underlines that the contribution of Chicago’s Israel Crosby and New Orleanian Vernell Fournier is more compelling than his own playing. The occasional upper-register tinkling, like the exaggerated dynamic contrasts, can easily draw in the unsuspecting listener or, once you’re familiar with the techniques, act as a turn-off. And the musical quotations (unlike those of Dexter, say) are often carefully programmed into the arrangements.

Naturally, all this material was included in the long out-of-print reissue box on Mosaic (along with four Alhambra tracks unreleased at the time and therefore not found here), about which I said my piece in Jazzwise 148. And I recall that my similarly negative reaction to hearing him live at the Jazz Café in 1990 was aired in an earlier periodical. However, if you’re insufficiently aware of Jamal’s influence and need to explore his significance, there’s more than enough material here.