The Jimmy Amadie Trio
The Philadelphia Story: The Gospel as We Know It



Pianist Jimmy Amadie is one tenacious dude. A veteran of bands run by Woody Herman and Mel Torme, Amadie blew out his fingers from overuse 40 years ago, and has mostly practiced in his head for years.

Now 70, Amadie still has managed to make six recordings by just playing the notes that count. Here he joins a rhythm section of drummer Bill Goodwin and bassist Steve Gilmore with three virtuoso Philadelphians: tenor saxophonists Benny Golson and Lew Tabackin (who doubles on flute) and trumpeter Randy Brecker.

Amadie plays a standard and three originals with each guest, and the result is a sumptuous offering. The rhythm section is superb, and it amounts to a public service to capture these Philly cats.

The session has this rich, supper-club feel. It could be the late 1950s but for the digital recording and the whiffs of modernity that pass by. Amadie impresses with his compositions, including "Marching With Benny G.," a riff on Golson's famed "Blues March."

Brecker waxes lyrical on "Michael's Lament," a minor-key ditty Amadie wrote for Randy's brother Michael, who died in January of a rare leukemialike syndrome.

- K.S.

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Let's Groove!
Jimmy Amadie | TPR Recordings

"Let’s Groove! provides a tribute to Mel Tormé through a comfortable collection of originals and songs associated with the great jazz singer. Four veterans of the jazz world give each selection plenty of personality. Pianist Jimmy Amadie turns out yet another treasure trove of straightahead delights with a closely-knit musical partnership that has existed for many years. The program includes sensual ballads as well as hard-driving romps. Tormé loved to interpret music both ways. Here Phil Woods lends a hand, and the result is marvelous. "

"Over the years, acute tendonitis has hampered Amadie’s actions at the piano. In the 1950s, he accompanied jazz legends such as Mel Tormé, Red Rodney, and Charlie Ventura. From 1960 to 1995, however, he couldn’t even touch a piano. Surgery and physical therapy have helped, but the pianist still cannot play too long without stopping. Few individuals possess the kind of determination that Amadie has harbored for all these years. He thinks the music through in his head and plans his moves--then the recording sessions flow like water. More rest is required, of course, and Amadie continues with fruitful results. Let’s Groove! proves this. "

"The trio alone works out ”Blues for Lady Sadie” and “How Deep is the Ocean.” Amadie, bassist Steve Gilmore, and drummer Bill Goodwin have been doing this together for quite some time, and they swing with a comfortable groove. Phil Woods joins the trio for the other selections, providing a fluid alto saxophone voice that continues to inspire. His concept of swing and rhythm help to pay homage to Mel Tormé, with emotions laid bare. Together, the ensemble rocks solid in its tribute. Let’s Groove! comes recommended for its firm foundation and rhythmic appeal. "

Jim Santella, All About Jazz



The beauty of his tone, the clarity of his thought and the contrapuntal intricacy of some of his work are deeply appealing. Moreover, the restrictions on Amadie have enabled him to express ideas with remarkable brevity and eloquence. There isn't a wasted note here."
Howard Reich, Chicago Tribune



"What you hear are brilliant renderings that are, of course, well thought out, but also full of fresh energy. Amadie deserves the same careful listening one gives to Hank Jones and Tommy Flanagan; he is very nearly their peer."
Birmingham City News



"Amadie has great tone, articulate and intricate ideas and an economical approach that seems lightly buoyant but is obviously deep felt."
Geoff Chapman, Toronto Star



"Kenny Dorham's Blue Bossa, beginning and ending with full harmony and ample space, contains a midsection in the familiar bop vein. Amadie's own Swinging Prez invites a comparison to Lester Young, for both employed a lighter style with the integral swing element, and both had the imagination to create beautiful music."
Jim Santella, L.A. Jazz Scene



"The pieces have a clarity of vision, a sense of forethought, with each well-considered phrase moving to another. Yet the result is not stagy or lacking in spontaneity. The structures are clear, with almost narrative-like quality, often moving, as on the opener, from out-of-tempo meditations to in-time, driving action with a bit of reflection tagged too the end. They have the feel of inventiveness being honed to the essentials."
David Dupont, Cadence



"Amadie is that rare pianist who can't waste a note. He practices in his head and it has to come out in one take...there's great spirit at work here, a will to play that makes every tune an adventure. Amadie has imagined playing these tunes for years - his compositions are especially impressive - and there's high drama in hearing them."
Karl Stark, The Music Report



"Amadie has a special talent for solo playing, having probably spent more time crafting it than many "occasional soloists. His work is beautifully free of the decorative (and decadent) filigree that mars so much of mainstream modern piano music"
Stuart Broomer, Coda Magazine



"...a strong, swinging expression of a serious keyboard talent."
Billboard



"His technique is immaculate, his feeling for the music heartfelt and appealing--and Amadie uses both hands well, complementing his nimble and expressive right with forceful percussive statements from his left."
Jack Bowers, Cadence



"He plays beautifully. He has an astonishingly deft touch, a keen sense of harmony and melody."
Don Freeman, New Music Report



"Jimmy's playing is highly energetic, sensitive and inventive."
Billy Taylor

"Amadie takes on standards with warmth, grace and sophistication - and intensity. By any standard - amazing."
Chuck Berg, JazzTimes



"...his technique is still intact---marvelously felt right hand lines dart against droll bass notes and broken chords, but there's a pulse and sense of reflection that's affecting. Amadie's a purist and a survivor."
Pulse



"It is simply a beautiful treasure chest of outstanding performances. And it's truly untenable to single out any tunes, they sparkle like gems."
Jazz Educators Journal

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