The effects of the bebop revolution in jazz music are still being felt and explored. Of the half dozen true pioneers of the movement, pianist Bud Powell has remained somewhat in the shadows, although his work has become a major touchstone for true devotees of the music and a principal influence for most of jazz’s most explorative pianists.
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")…
Given that he was one of the primary architects of bebop—revered by Miles Davis, Sonny Rollins, Don Cherry, and so many others—it’s surprising to note that the piano giant Bud Powell only led one session with horns. On August 9, 1949, he, trumpeter Fats Navarro, tenor saxophonist Rollins, bassist Tommy Potter, and drummer Roy Haynes cut four tunes at WOR Studios in New York: Thelonious Monk’s “52nd Street Theme,” and Powell’s originals “Bouncing with Bud,” “Dance of the Infidels,” and “Wail.” Decades later, this session caught the ears of pianist, scholar, and JazzTimes columnist Ethan Iverson.
This release contains the complete original albums Strictly Powell and Swingin' with Bud, two of his last American releases prior to his departure to Europe in 1959. Both LPs showcase Powell in a trio format with bassist George Duvivier and drummer Art Taylor, who formed his regular trio at Birdland.