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| Strictly Powell [Japan version] |
| Bud Powell |
japán
első megjelenés éve: 1956 |
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| (1994)
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CD |
| 7.401 Ft
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| 1. | There Will Never Be Another You
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| 2. | Coscrane
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| 3. | Over the Rainbow
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| 4. | Blues for Bessie
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| 5. | Time Was
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| 6. | Topsy Turvy
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| 7. | Lush Life
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| 8. | Elegy
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| 9. | They Didn't Believe Me
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| 10. | I Cover the Waterfront
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| 11. | Jump City
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Bud Powell's two dates for RCA in 1956-1957 are better than expected. Although troubled, Powell actually plays better on Strictly Powell than on his Verve dates of the period. Backed by bassist George Duvivier and drummer Art Taylor, the pianist is heard in fine form during a program of mostly mid-tempo and slower performances, particularly on "There'll Never Be Another You," "Time Was," "They Didn't Believe Me" and five of his originals. Bud Powell collectors already owning his classic Blue Note dates should give this music a listen. [There are no extra cuts on the LP-length CD reissued in 2004.] ~ Scott Yanow, All Music Guide
Credits
Name Credits
Art Taylor Drums
Bud Powell Piano, Main Performer
George Duvivier Bass
Ikuyoshi Hirakawa Producer
Tohru Kotetsu Remastering
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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