René Urtreger was only 20 years old and brand new to the jazz scene at the time of his debut recording, yet he was already making an impression. His tribute to Bud Powell finds him playing bop with some authority, covering some of the troubled genius' best compositions. Accompanied by bassist Benoit Quersin and drummer Jean-Louis Viale, Urtreger shows a tendency to tackle nearly everything at a moderate tempo, though it might have been that his rhythm section wasn't up to handling a faster pace. "So Sorry Please" is full of campy humor as Powell intended, though "Parisian Thoroughfare" would have benefited from a bit more risk-taking. Urtreger's two original works include the roller coaster "À la Bud" (which seems to be based on the chord changes of "Tea for Two") and the stunning ballad "Mercedes"…
This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.
Though the mercurial pianist Bud Powell's performances could be erratic, to say the least, he's heard in top form on this live 1962 performance from Copenhagen. Indulging in seemingly effortless glissandos and breathtaking displays of technical mastery, Powell, accompanied by Oscar Peterson's future bassist Niels-Henning Orsted Pedersen, performs a high-spirited set that includes the Thelonious Monk classic "Straight, No Chaser" and a sensitive reading of Benny Golson's poignant standard, "I Remember Clifford."
Earl Rudolph "Bud" Powell (September 27, 1924 - July 31, 1966) was an American Jazz pianist. Powell has been described as one of "the two most significant pianists of the style of modern jazz that came to be known as bop", the other being his friend and contemporary Thelonious Monk. Along with Monk, Charlie Parker and Dizzy Gillespie, Powell was a key player in the history of bebop, and his virtuosity as a pianist led many to call him "the Charlie Parker of the piano". ~ Amazon
An excellent companion to Classics' 1949-1950 Bud Powell title, this roundup of the bop pianist's early post-war sides gets top overview honors for its better balanced share of combo and trio sides. The first half is mostly taken up by an incredible 1946 session featuring Fats Navarro, Sonny Stitt, Kenny Dorham, and Kenny Clarke, with highlights including the Navarro originals "Webb City," "Fat Boy," and "Everything's Cool." For Powell fanatics, though, the eight trio sides will be the real attraction. Backed by first-tier boppers Max Roach and Curly Russell, Powell is at his fleet and innovative best on a mix of his own work ("Bud's Bubble"), some Monk ("Off Minor"), and a handful of choice covers ("I'll Remember April," "I Should Care"). A taste of possibly the most irrepressible and sophisticated bop on wax.
This CD reissue is one of the most rewarding Bud Powell recordings to come from his period in France. Powell (along with bassist Pierre Michelot and drummer Kenny Clarke) explores four of Thelonious Monk's tunes, Earl Bostic's "No Name Blues" and the standard "There Will Never Be Another You" but it is the final two numbers ("I Ain't Foolin'" and "Squatty") which really find the bop master at his most spirited and swinging. This very rewarding CD releases for the first time the alternate take (a faster rendition without a clear melody) of "Squatty," a song that (based on its original version) deserves to be revived. One oddity: the applause heard throughout this release was added on later because this was actually a studio album.
In the bebop revolution of the 1940’s, as Charlie Parker was the leading voice of the alto saxophone, so was Bud Powell the leading voice of the piano. Recorded in 1956 (before his Paris sojourn), the long-unavailable Blues in the Closet features Powell’s lightning-fast runs and nimble keyboard navigations on a set of originals and well-chosen standards. He is accompanied by Osie Johnson, a solid mainstream drummer, and the dean of jazz bassists, Ray Brown. A must for Powell fans and bop devotees.