The CD reissues of the two albums titled The Amazing Bud Powell put the important recordings in chronological order (which they weren't in the LP versions) and add some alternate takes; all of the music has also been included in a definitive four-CD box set. Although the latter is the best way to acquire the important performances, this CD gives one a strong sampling of pianist Bud Powell at his best. Powell is heard in a classic session with trumpeter Fats Navarro and tenor saxophonist Sonny Rollins (which is highlighted by exciting versions of "Dance of the Infidels," "52nd Street Theme," and "Bouncing With Bud") and in a trio performing "Over the Rainbow" and three versions of his intense "Un Poco Loco."
Bud Powell was unquestionably a major talent. Sadly, he was also unquestionably mad. The legend of the tortured, tragic jazz genius exists because of people like Charlie Parker and Bud Powell. Both are bebop legends, among the greatest of the greats, founding fathers of the genre. Both were brought down by drugs and mental illness—Parker at 34, Powell at 41.
These informal performances find the great but ill-fated pianist Bud Powell playing a series of relaxed solos in Francis Paudras' apartment in Paris. The recording quality is just okay, and there are some missteps in Powell's solos, but there are also moments of interest, particularly his striding on a few of the numbers. This CD is particularly recommended to Bud Powell collectors.
In 1951, Bud Powell was still at the height of his considerable powers. Included here are two sessions from that year: a trio with Ray Brown and Buddy Rich (three takes of "Tea for Two" and a super-fast "Hallelujah") and eight solo piano tunes from a different date. On "Tea for Two," Rich's drumming brings out the charming show-off in Powell, and on "Hallelujah," Powell plays with a hysterical clarity. "Oblivion" and "Hallucinations" are the most masterful of the eight solo cuts. Here Powell swings effortlessly and seems to be speaking his own, true language. The elegance of another era pervades the Gershwin-esque "Parisian Thoroughfare" and "Dusk in Sandi." And one can imagine a young Bill Evans listening to "A Nightingale Sang in Berkeley Square" and taking note of the rich, logical voicings coupled with a wonderful singing tone.
Bud Powell's music has often been described as adapting Charlie Parker's bebop style to the piano. Other jazz authorities maintain that Bud was an originator, along with Parker and Gillespie, of the jazz style known as bebop. All agree that Bud is the father of modern jazz piano. Bud was trained in classical music as a child and his classical background plays a role in the harmonic sophistication of his music. He was also intimately familiar with the early jazz piano style known as stride and one can recognize this element, sometimes quite explicitly, in Bud's playing. But the main characteristic of Bud's original piano style is a lightning fast right hand that expresses on the piano what up to Bud's time had only been possible on a horn.