Label: BBC - CJCD 832,BBC Records - CJCD 832 • Series: The Century Masters • Format: CD Album, Remastered • Country: UK • Genre: Jazz •
Though Thelonious Monk was a close friend and influence, his greatest piano influence was Art Tatum. Along with Charlie ParkerMonk, and Dizzy GillespiePowell was a leading figure in the development of modern jazz, or bebop. His virtuosity led many to call him the Charlie Parker of the piano. Powell was also a composer, and many jazz critics credit his works and his playing as having "greatly extended the range of jazz harmony. Powell's father was a stride pianist.
But by the age of 10, Powell also showed interest in the swing-era jazz that could be heard all over the neighborhood. He first appeared in public at a rent party,  where he mimicked Fats Waller 's playing style.
The first jazz composition that he mastered was James P. Johnson 's "Carolina Shout". Bud's older brother, William, played the trumpet and the violinand by the age of 15 Bud was playing in William's band. Even as an underage youth, Bud often listened to the musically adventurous performances at the Uptown House, an after-hours venue near where he lived.
Here, the first stirrings of modernism bebop were heard nightly, and where Charlie Parker first appeared as a solo act when he briefly The Journey - Stray Dog - While Youre Down There in New York.
Thelonious Monk had also played at the Uptown House. Their mutual affection grew and Monk became Powell's greatest mentor. For his part, Powell eagerly experimented with Monk's latest ideas on the piano. Monk's composition "In Walked Bud" is a tribute to their time together in Harlem.
Powell was engaged in a series of dance bands, his incubation culminating in his being given the piano chair in the big-time swing orchestra of Cootie Williams. In late he was offered the chance to appear at a midtown nightclub with the modernist quintet of Oscar Pettiford and Dizzy Gillespiebut Powell's mother decided he would continue with the more secure job, with the popular Williams.
Powell was the pianist on a handful of Williams's recording dates inthe last of which included the first-ever recording of Monk's "'Round Midnight". Powell was wandering around Broad street station and was apprehended, drunk, by the private railroad police. He was beaten by them, and then briefly incarcerated by the city police. Ten days after his release, his headaches persisting, he was hospitalized—first in Bellevue, an observation ward, and then in a state psychiatric hospital, sixty miles away.
He stayed there for two and a half months. Powell resumed playing in Manhattan immediately upon Bouncing With Bud - Buddy Rich - Class Of 78 release, in demand by various small-group leaders for nightclub engagements in the increasingly integrated midtown scene. His percussive punctuation of certain phrases, as well as his predilection for speed, showed the influence of Parker and other modern horn soloists. Powell's career advanced again, when Parker chose him to be his pianist on a May quintet record date, with Miles DavisTommy Potterand Max Roach ; this was to be the only studio session in which both Parker and Powell Keepin Up De Fences - Caravan - Keepin Up De Fences to play together.
The Parker session aside, Powell performed on only two other records and seldom appeared at nightclubs in In November, he had an altercation with another customer at a Harlem bar. In the ensuing fight, Powell was hit over his eye with a bottle. When Harlem Hospital found him incoherent and rambunctious, it sent him to Bellevue, which had the record of his Bouncing With Bud - Buddy Rich - Class Of 78 confinement there and in another psychiatric hospital. It chose to institutionalize him again, though this time at Creedmoor State Hospital, a facility much closer to Manhattan.
He was kept there for eleven months. Powell eventually adjusted to the conditions in the institution, though in psychiatric interviews he expressed feelings of persecution founded in racism. From February to Aprilhe received electroconvulsive therapy,  first administered after an outburst deemed to be uncontrollable. It might have been prompted by his learning, after a visit by his girlfriend, that she was pregnant with their child.
He was eventually released, in October  — though from these early and subsequent hospitalizations, he was emotionally unstable for the rest of his career. After another though brief hospitalization in early Powell made several recordings, most of which were for Alfred Lion of Blue Note Records  and for Norman Granz of MercuryNorgran and Clef. The second Blue Note session in was a trio with Curley Russell and Max Roach, and includes "Parisian Thoroughfare" and "Un Poco Loco";  the latter was selected by literary critic Harold Bloom for inclusion on his short list of the greatest works of twentieth-century American art.
Powell's continued rivalry with Parker was also the subject of disruptive feuding and bitterness on the bandstand,  as a result of Powell's troubled mental and physical condition. Powell recorded for both Blue Note and Granz throughout the s, interrupted by another long stay in a mental hospital from late to earlyfollowing arrest for possession of marijuana, after which he was Ndandandada - Kling Klong - Lieben Sie Ihren Kühlschrank into the guardianship of Oscar Goodstein, owner of the Birdland nightclub.
A trio session for Blue Note with Duvivier and Taylor included Powell's composition "Glass Enclosure", inspired by his near-imprisonment in Goodstein's apartment.
His playing after his release from hospital began to be seriously affected by Largactil, taken for the treatment of schizophrenia, and by the late s his talent was in eclipse.
After several further spells in hospital, Powell moved to Paris inin the company of Altevia "Buttercup" Edwards, whom he had met after an incarceration in The live recording of the Essen jazz festival performance with Clarke, Oscar Pettiford and, on some numbers, Coleman Hawkins is particularly notable. The first album with overdubbed audience noise was released shortly after Powell's death, and the second was released in the late s.
Eventually, Powell was befriended by Francis Paudras, a commercial artist and amateur pianist, and Powell moved into Paudras's home in Powell was a last-minute substitute for Kenny Drewand the album of standards—Powell could not by then learn new material—showed him to be still capable of playing with some proficiency.
InPowell contracted tuberculosis, and the following year returned to New York with Paudras for a return engagement at Birdland accompanied by drummer Horace Arnold and bassist John Ore.
Arnold called it "the Ultimate Performance experience of my life". The original agreement had been for the two men to go back to Paris, but Paudras returned alone although Powell did record in Paris, with Michel Gaudry and Art Taylor, in July InPowell played only two concerts: one a disastrous performance at Carnegie Hall, the other a tribute to Charlie Parker on May 1 with other performers on the bill, including Albert Ayler.
Little else was seen of him in public. During these two years, Powell's life started to fall apart, and his reliance Bouncing With Bud - Buddy Rich - Class Of 78 alcohol led to performances that were ruined after just one drink, his emotional state becoming significantly imbalanced.
On July 31,he died of tuberculosis, malnutrition, and alcoholism. Several thousand people viewed his Harlem funeral procession. He was really the first guy; before Bud Powell, pianists were playing boom, chuck in the left hand and a lot of melodic figures in the right hand that tended to be arpeggios.
Oriental Jam - Ganimian & His Oriental Music* - Come With Me To The Casbah Bud was the first pianist to take Charlie Parker's language and adapt it successfully to the piano.
That's why he is the most important pianist in music today because everybody plays like that now. His playing of melodic lines owed greatly to Billy Kyle and his accompaniments to horn solos owed most to the style of Earl Hines. At other times, Powell's accompanying recalled stride and, on occasion, the graceful approach of pianist Teddy Wilson. He also used voicings of the root and the tenth, or the root with the minor seventh.
Powell was greatly influenced by Art Tatum early in his career and more so by Thelonious Monk later on. It has been said that Powell is the linchpin between Tatum and the bebop pianists. Where his solos could be heard to emulate Bouncing With Bud - Buddy Rich - Class Of 78 horn players' attack—with the use of frequent arpeggios punctuated by chromaticism  —this was, in part, because of his determination to see that the pianist get the adulation usually reserved for the saxophonist or trumpeter.
But his generally rough-edged execution was the price that his music paid for his virtuosic striving. Many later pianists, nonetheless, copied his daring attack, looking to attain that rarefied status, of the fearless improviser. They also emulated his lush melodicism on ballads. Powell freed the right hand for continuous linear exploration at the expense of developing the left. Legend has it that one night Art Tatum criticized him as he came off the bandstand after playing a set.
Powell responded in his next set by soloing on a piece exclusively with his left hand. These formed the basic small ensembles that have dominated jazz since the bebop era after swing. Before Powell, Art Tatum and Earl Hines had also The Tie That Binds - Various - Various Bluegrass Artists explored independent homophony closely resembling later piano playing.
The pianist's time was especially solid. So much so, that he was not dependent on his accompanists. Powell dictated the time when he played, in particular throughout the strength of the eight-notes in his right hand, essentially participating in the time-keeping with the bassist and drummer.
This is reminiscent of recordings of Charlie Parker. Powell influenced countless younger musicians, especially pianists. Bill Evanswho described Powell as his single greatest influence,  paid the pianist a tribute in "If I Bouncing With Bud - Buddy Rich - Class Of 78 to choose one single musician for his artistic integrity, for the incomparable originality of his creation and the grandeur of his work, it would be Bud Powell.
He was in a class by himself". Herbie Hancock said of Powell, in a Down Beat magazine interview in "He was the foundation out of which stemmed the whole edifice of modern jazz piano". With Sonny Stitt. Start the radio. Music database Band. Bud Powell From Wikipedia, the free encyclopedia. Later life and career Early to mids Even as an underage youth, Bud often listened to the musically adventurous performances at the Uptown House, an after-hours venue near where he lived.
Solo and trio recordings — After another though brief hospitalization in early Powell made several recordings, most of which were for Alfred Lion of Blue Note Records  and for Norman Granz of MercuryNorgran and Clef.
Paris — After several further spells in hospital, Powell moved to Paris inin the company of Altevia "Buttercup" Edwards, whom he had met after an incarceration in Last years — InPowell contracted tuberculosis, and the following year returned to New York with Paudras for Bouncing With Bud - Buddy Rich - Class Of 78 return engagement at Birdland accompanied by drummer Horace Arnold and bassist John Ore.
The Amazing Bud Powell Vol. Blue Note sessions plus Roost sessions from and The Blue Note sessions have also been remastered and reissued as individual CDs though the Roost material is not included. Johnson J. Retrieved A Dictionary for the Modern Pianist. Jazz Musicians, to the Present. Henry Martin and Keith Waters.
Cengage Learning, Wail: The Life of Bud Powell. Peter Pullman LLC.
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