Bud Spencerterence Hill

Ethan Iverson - Bud Powell In The 21st Century (2021) {Sunnyside SSC 1619}
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© 2021 Sunnyside Communications, Inc. | SSC 1619
Jazz / Contemporary Jazz / Modern Big Band / Piano

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.

Bud Shank is typical of the jazz musicians that roamed the West Coast in the fifties in that he was able to work comfortably in a variety of settings: big bands, the studio, and clubs. Like many of the other players, Shank also played more than one instrument, which made him a valuable member of the bandstand and afforded his solo recordings a bit more variety than what was coming out of the cool school at the time. Four Classic Albums collects a handful of records from this period that display not only the range of Shank's capabilities but also serve as a good cross section of what was happening in California mid-century…

Bud Powell - The Genius of Bud Powell (1951) {Verve 827 901-2 rel 1988}
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© 1950-51, 1988 Verve / PolyGram | 827 901-2
Jazz / Bop / Piano

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.

Unique, improvisational jazz saxophonist of many big bands, considered by many an equal of Coleman Hawkins on the tenor.
When Bud Freeman first matured, his was the only strong alternative approach on the tenor to the harder-toned style of Coleman Hawkins and he was an inspiration for Lester Young. Freeman, one of the top tenors of the 1930s, was also one of the few saxophonists (along with the slightly later Eddie Miller) to be accepted in the Dixieland world, and his oddly angular but consistently swinging solos were an asset to a countless number of hot sessions…

Originally known as a cool-toned altoist and occasional flutist, Bud Shank's playing from this recording forward surprised many listeners. There was a forcefulness and a passion to his alto solos (he had given up the flute) that had not been heard that much from him previously. Assisted by pianist Kenny Barron, bassist Ron Carter, and drummer Al Foster, Shank rips into five bop standards, his own "Cotton Blossom," and Walter Norris' "Space Maker" with plenty of intensity, stretching himself and inspiring his sidemen.

A surprising Bud Powell album for Reprise Records - and one of the label's hippest jazz titles ever! When Frank Sinatra first started up the Reprise imprint, he let Duke Ellington do a bit of A&R for the jazz division - and one of the first things Ellington did was capture the great Bud Powell in his then-local setting of Paris - in this rough edgey session that turned out to be one of Powell's last albums, and one of his best from the 60s. The record is nothing fancy on the outside - just simple piano trio versions of jazz standards like "Parisian Thoroughfare", "I Can't Get Started", "Jordu", and "Dear Old Stockholm" - but Powell's dark genius turns the tracks into jagged little razors, cutting with an emotional depth that's quite surprising. Duke Ellington produced - and trio members include Gilbert Rovere on bass and Carl Fields on drums.

Chick Corea & Friends - Remembering Bud Powell (1997) {Stretch Records}
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© 1997 Stretch Records / Concord | SCD-9012-2
Jazz / Post Bop / Piano Jazz

Pianist Chick Corea in 1996 gathered together some notable young all-stars (tenor-saxophonist Joshua Redman, trumpeter Wallace Roney, altoist Kenny Garrett, bassist Christian McBride, plus veteran drummer Roy Haynes) for explorations of tunes by the innovative pianist Bud Powell. Although "Bouncin' With Bud," "Tempus Fugit" and "Celia" have been occasionally recorded by others, most of the complex songs (including "Mediocre," "Dusk In Sandi," "Oblivion" and "Glass Enclosure") have rarely been played in recent decades. Rather than play revivalist bebop, Corea and his associates (after authentically stating the melody) perform modern post bop improvisations in their own styles, so much of the music is way beyond bop. In addition to nine Powell songs, Corea contributed a song rightfully titled "Bud Powell." All of the talented musicians have a fair amount of solo space and sound consistently inspired, making this a very successful and easily recommended project.