  |
|
|
 |
| Mad Bebop |
| Bud Powell |
| első megjelenés éve: 2004 |
|
| (2004)
|
|
CD |
| 3.960 Ft
|
|
| 1. | Long Tall Dexter [Take 2]
|
| 2. | Dexter Rides Again
|
| 3. | I Can't Escape from You [Take 7]
|
| 4. | Dexter Digs In [Take 4][Alternate Take]
|
| 5. | Jay Bird [Take 6][Alternate Take]
|
| 6. | Coppin' the Bop
|
| 7. | Jay Jay [Take 4][Alternate Take][
|
| 8. | Mad Bebop
|
| 9. | Bebop in Pastel [Take 3]
|
| 10. | Fool's Fancy
|
| 11. | Serenade to a Square
|
| 12. | Chasin' the Bird [Take 4]
|
| 13. | Cheryl [Take 2]
|
| 14. | Buzzy [Take 5]
|
Jazz / Bop
Bud Powell - Piano
Al Hall - Bass
Bebop Boys
Cecil Payne - Sax (Alto)
Charlie Parker - Sax (Alto)
Curly Russell - Bass
Dan Marx Production Coordination
Dexter Gordon Sax (Tenor)
Dick Katz Annotation, Liner Notes
J.J. Johnson Trombone
J.J. Stelmach Art Direction
Kenny Clarke Drums
Kenny Dorham Trumpet
Leonard Gaskin Bass
Max Roach Drums
Miles Davis Trumpet
Orrin Keepnews Reissue Compilation, Reissue Producer
Paul Reid III Reissue Engineer, Mastering
Scott Johnson Graphic Design
Sonny Stitt Sax (Alto)
Steve Backer Executive Producer
Teddy Reig Producer
Tommy Potter Bass
Wallace Bishop Drums
Mad Bebop explores four historical sessions marking the development of pianist Bud Powell. Originally recorded for the Savoy label in 1946 and 1947, these 14 tracks were issued under the leaders' names -- Kenny Dorham, Dexter Gordon, J.J. Johnson, and Charlie Parker -- with Powell listed as a sideman. During this period Bird and Powell's development ran parallel to each other, as both were combining incredible speed with limitless improvising dexterity, as heard on "Chasin' the Bird," "Cheryl," and "Buzzy." Those three tracks also mark the amazingly lucid interplay of Powell and Parker before their improvising virtuosity began to deteriorate due to mental illness. jazz collectors no doubt already own this material but may want to investigate this reissue, as it features state-of-the-art transfers from acetates and tape masters. ~ Al Campbell, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
