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| The Best of Bud Powell on Verve |
| Bud Powell |
első megjelenés éve: 1994
58 perc |
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| (1994)
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CD |
| 3.228 Ft
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| 1. | Lady Bird
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| 2. | Dance of the Infidels
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| 3. | So Sorry, Please
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| 4. | Sweet Georgia Brown
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| 5. | Willow Grove
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| 6. | Tempus Fugue-It
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| 7. | It Never Entered My Mind
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| 8. | Bean and the Boys
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| 9. | Celia
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| 10. | Tea for Two
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| 11. | Star Eyes
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| 12. | April in Paris
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| 13. | Tenderly
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| 14. | All God's Chillun Got Rhythm
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| 15. | Stairway to the Stars
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| 16. | Just One of Those Things
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| 17. | Parisian Thoroughfare
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Jazz / Bop
Bud Powell - Piano
When approaching the work of pioneering bebop pianist Bud Powell, the most vexing question is where to start. In 1994, the year that would have been Powell's 70th had he not died tragically at the age of 42, Verve released a five-disc retrospective titled The Complete Bud Powell on Verve. That box set provides a great starting place for anyone with deep pockets, but for everyone else Verve also released this handy one-disc distillation. It won't be anywhere near enough for Powell fans or, really, for anyone who loves jazz piano, but it is a good place to begin. Most of the signature tunes are here -- the sprightly "Dance of the Infidels," the kitschily Oriental "So Sorry Please," the potboiler ballads "April in Paris" and "Tenderly," the astonishingly Bach-like "Tempus Fugue-It." Everywhere Powell's otherworldly grace and confidence are in evidence; while he made ample use of the jagged harmonic gestures and lightning speed that typified bebop playing, his compositions never sounded anything other than logical and his playing never sounded frantic or rushed. Of all the pianists of the period, Powell is the one who came closest to rivaling Charlie Parker in his ability to condense and exemplify the bebop movement. Highly recommended. ~ Rick Anderson, All Music Guide
Bud Powell
Active Decades: '40s, '50s and '60s
Born: Sep 27, 1924 in New York, NY
Died: Jul 31, 1966 in New York, NY
Genre: Jazz
Styles: Bop
One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird").
Tragically, Bud Powell was a seriously ill genius. After being encouraged and tutored to an extent by his friend Thelonious Monk at jam sessions in the early '40s, Powell was with Cootie Williams' orchestra during 1943-1945. In a racial incident, he was beaten on the head by police; Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Despite this, he recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing With Bud," and "Tempus Fugit." Even early on, his erratic behavior resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous.
A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. His warm welcome and lengthy stay in Paris (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital. He returned to New York in 1964, disappeared after a few concerts, and did not live through 1966.
In later years, Bud Powell's recordings and performances could be so intense as to be scary, but other times he sounded quite sad. However, his influence on jazz (particularly up until the rise of McCoy Tyner and Bill Evans in the 1960s) was very strong and he remains one of the greatest jazz pianists of all time.
---Scott Yanow, All Music Guide |
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