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| Jazz Giant + Bud Powell's Moods |
| Bud Powell |
spanyol
első megjelenés éve: 1950
77 perc |
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| (2008)
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CD |
| 4.290 Ft
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| 1. | TEMPUS FUGIT
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| 2. | CELIA
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| 3. | CHEROKEE
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| 4. | I'LL KEEP LOVING YOU
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| 5. | STRICTLY CONFIDENTIAL
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| 6. | ALL GOD'S CHILLUN GOT RHYTHM
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| 7. | SO SORRY PLEASE
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| 8. | GET HAPPY
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| 9. | SOMETIMES I'M HAPPY
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| 10. | SWEET GEORGIA BROWN
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| 11. | YESTERDAYS
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| 12. | APRIL IN PARIS
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| 13. | BODY AND SOUL
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| 14. | HALLELUJAH
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| 15. | TEA FOR TWO
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| 16. | PARISIAN THOROUGHFARE
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| 17. | OBLIVION
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| 18. | DUSKY 'N' SANDY
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| 19. | HALLUCINATIONS [BUDO]
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| 20. | THE FRUIT
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| 21. | A NIGHTINGALE SANG IN BERKELEY SQUARE
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| 22. | JUST ONE OF THOSE THINGS
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| 23. | THE LAST TIME I SAW PARIS
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| 24. | IT NEVER ENTERED MY MIND *
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| 25. | MY FUNNY VALENTINE *
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Jazz / Bop
Bud Powell (p), Curly Russell, Ray Brown, Percy Heath (b), Max Roach, Buddy Rich, Art Taylor (d)
Tracks #1-13 from "Jazz Giant" (Norgran MGN 1063 / Verve MGV 8153).
Recorded in New York, on February 23, 1949 [tracks 1-6] and February, 1950 [tracks 7-13]
Bud Powell (p), Ray Brown (b on #1-6), Curly Russell (b on #7-13) and Max Roach
Tracks #14-23 from "Bud Powell's Moods" (Mercury MGC 610 / also issued as Verve MGV 8115, entitled "The Genius Of Bud Powell")
Tracks #14-15:
Recorded in New York, on July 1, 1950
Bud Powell (p), Ray Brown (b) and Buddy Rich (d)
Tracks #16-23:
Recorded in New York, on February 1951
Bud Powell (p solo)
Tracks #24-25:
Recorded in New York, on June 8, 1954
Bud Powell (p), Percy Heath (b) and Art Taylor (d)
The complete album "Jazz Giant", widely regarded as one of the best of Bud Powell’s career. Including as a bonus the subsequent Clef LP "Bud Powell's Moods", which contains the complete 1951 piano solo session featuring two of the Powell’s best known compositions: “Hallucinations” and “Parisian Thoroughfare”, plus two more extra numbers from 1954.
"Faced with the choice of any single Bud Powell date to aptly represent his intense musical genius, choosing Jazz Giant would not be a bad bet. Culled from two sessions (Spring 1949 and Winter 1950) this Verve release showcases the master of Bebop piano leading a trio - a setting in which he excelled. With impeccable support from bassist Ray Brown and drummer Max Roach, (substitute Curly Russell for Brown on the later date), an inspired Powell roars through a varied selection of original tunes and standards. In the category of brisk burners, we get one of his best known compositions, the ebullient "Tempus Fugit." Ray Noble's "Cherokee," Harold Arlen's "Get Happy," and the ever-popular "Sweet Georgia Brown" are all taken at almost the same exhilarating clip. Powell's improvised lines at these breakneck tempos are marvelously clear and clever; take note of the Benny Harris' "Reets And I" melody which Powell quotes during his solo statement on "All God's Chillun..." Foreshadowing his less torrential later work is the soulful, buoyant, and supremely swinging "Strictly Confidential," which displays Powell's early and expert use of block chords to state the theme. Bud Powell's romantic and reflective side is in evidence on the medium tempo ballad "Celia" (written for his daughter) as well as on two unaccompanied solo piano tracks. Of these, Powell's haunting composition "I'll Keep Loving You" is outstanding; the subtle tension in his chord voicings, his effective use of contrast, and the consistent lack of cliches would later inform and inspire Bill Evans' solo piano concept. Powell's more florid, stride-inflected reading of Jerome Kern's "Yesterdays" is directly inspired by Art Tatum. Overall Jazz Giant (and the earlier session with Ray Brown, in particular) represents the best of Powell's Verve recordings. Highly recommended."
---Lee Bloom -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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