Customer Reviews

Genius of Bud Powell

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Bud Powell was, in the words of Herbie Hancock, the cornerstone of modern jazz piano. The two sessions on this CD (a trio from 1950 and eight solos from 1951) are, along with the performances on "Jazz Giant", are the very best Powell on Verve, and arguably the best Bud Powell ever recorded. They are masterworks that all jazz listeners must hear. He is at the peak of his creative powers, and he is otherworldly: his speed,articulation, invention are startling. Every piece is a classic. Three takes of "Tea for Two", in which Powell was reportedly racing drummer Buddy Rich (out of spite), is speed incarnate. "Parisian Thoroughfare": the definitive performance of this beautiful composition. "Oblivion": stately, unforgettable, haunting. "Dusky n Sandy": spare, haunting, gorgeous.

Anyone interested in "The Genius of Bud Powell" would be far better off with the less expensive Bud Powell "Complete 1947-1951 Blue Note, Verve & Roost Sessions" compilation instead. And here's why:

1. The Blue Note/Verve/Roost compilation contains exactly the same material as "The Genius of Bud Powell" with same personnel from the same recording sessions (solo sessions in 1951, and trio sessions with Ray Brown & Buddy Rich in 1950).

2. "The Genius of Bud Powell" contains only 12 tracks. The Blue Note/Verve/Roost compilation contains 45 tracks.

3. The sound quality on the BN/V/R compilation is surprisingly bright, clean and present (a 24 bit remastering), especially considering the fact that these recordings were made some sixty year ago.

4. The BN/V/R compilation cost me two dollars less than the amazon price for "The Genius of BP."

On top of all this, the BN/V/R compilation, a 2-CD Spanish import (from the Jazz Factory), includes all of Bud's trio and solo studio sessions--all 34 of his sizzling trio pieces, all eleven of his stunningly beautiful solo pieces--for Blue Note, Verve and Roost from 1947 to 1951, including eleven wonderful Powell originals.

Of the many trio and solo pieces not included on "The Genius of Bud Powell," there are a number I simply wouldn't want to do without, especially the Powell originals "Celia," "Strictly Confidential," "Tempus Fugue-It," "So Sorry Please," "I'll Keep Loving You," "Bud's Bubble," "Un Poco Loco" (three takes), and my personal favorite "Parisian Thoroughfare" (in both solo and trio sessions, though the trio ends abruptly when Bud says, "Hey, cut it, man."), not to mention "Cherokee," "A Night in Tunisia" (two takes), "Ornithology" (two takes), and perhaps the first ever recording of Monk's "Off Minor."

The eleven solo tracks alone (only eight of which are included on "The Genius of Bud Powell") would make the BN/V/R complilation worthwhile, but the additional 34 trio tracks make it an obvious choice.

One last thing (especially for those unable to locate the 2-CD set described above): As of this writing (Sept 2008), the "Complete 1947-1951 Blue Note, Verve & Roost Sessions" is incorrectly listed at amazon as the "Complete Blue Note and Verve [IMPORT]."
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Five Essential Bud Powell Studio Recordings on CD:

1. "Complete 1947-1951 Blue Note, Verve & Roost Sessions," a 2-CD set from the Jazz Factory, which includes all of Powell's stunning trio and solo sessions for Blue Note, Verve and Roost from 1947 to 1951. Nice sound quality, indispensible Bud. And a lot of it, 45 tracks--34 trio pieces, 11 solo--including eleven, lovely Powell originals. One of the supreme achievements in the history of jazz.

2. "Tempus Fugue-It," a 4-CD set from Proper Box, covering 1944 to 1950, which includes Bud's 1949 quintet work with Fats Navarro and Sonny Rollins (also available, with alternate takes, on "The Amazing Bud Powell, Vol.1"), his 1949-1950 quartet work with Sonny Stitt, his 1947 quintet work with Charlie Parker and Miles Davis, his 1944 work with Cootie Williams, his 1946 work with Dexter Gordon, with Sarah Vaughan, with J.J. Johnson, and with the Bebop Boys (with Kenny Dorham, Sonny Stitt and Fats Navarro), his May 1950 quintet work with Charlie Parker and Fats Navarro recorded live at Birdland (one of the greatest concerts in jazz history), as well as his trio work from 1947, 1949 and 1950 (also available on "Complete 1947-1951 Blue Note, Verve & Roost Sessions," as described in item #1 above). Perhaps the best compilation of the wide range of Bud's early work as leader from 1947 to 1950, and his very early work (before becoming a leader) from 1944 to 1947.

3. "The Amazing Bud Powell, Volume Two," from Blue Note, trio work with George Duvivier on bass and Arthur Taylor on drums, recorded at WOR Studios in NYC in August of 1953. Includes the Powell originals "Audrey" and "Glass Enclosure." Good sound quality, Bud at his lyrical best. Just lovely.

4. "A Portrait of Thelonious," from Columbia, with Pierre Michelot on bass and Kenny Clarke on drums, recorded in Paris in December of 1961. Lovely sound quality, definitive interpretations of Monk, Bud at his swinging and lyrical best. Priceless.

5. "The Scene Changes," from Blue Note, trio work with Paul Chambers on bass and Art Taylor on drums, recorded at Van Gelder's NJ studio in December of 1958. The absolute cream of Bud's often and otherwise disappointing middle period (1954-1958). Good sound quality, nine Powell originals, swinging and sizzling Bud.
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The Best of the Rest of Bud Powell Studio Recordings, Available on CD:

6. "Bud!," from Blue Note, trio work with Paul Chambers on bass and Art Taylor on drums, and (on three tracks) quartet work with Curtis Fuller on trombone, recorded at Van Gelder's NJ studio in August of 1957. A second lovely album from Bud's otherwise uninspired middle period (1954-1958). Good sound quality, five Powell originals, inventive and bluesy Bud.

7. "A Tribute to Cannonball," from Columbia, quartet work with Don Byass (ts), Pierre Michelot (b) and Kenny Clarke (d), and (on four tracks) quintet work with Idrees Sulieman (t), recorded at Studio Charlot, Paris, in December of 1961. Lovely sound quality. Byass is on fire, and so is Bud.

8. "Blues for Bouffemont," from Black Lion, trio work with Michel Gaudry (b) and Arthur Taylor (d), recorded at Acousti Studios in Paris, July of 1964, and (on three tracks) with Guy Hayat (b) and Jacques Gervais (d), recorded live at Edenville, France, August of 1964. Nice sound quality in the studio, decent sound at Edenville. Three lovely, late-period Powell originals, swinging Bud.

9. "Bud Powell in Paris" (not to be confused with Xanadu's live "Bud in Paris"), from Wounded Bird Records, trio work with Gilbert Rovere on bass and Kansas Fields on drums, recorded in an unnamed studio in Paris in February 1963. Produced by Duke Ellington, with the only extant recording of Bud playing "Satin Doll," along with the Powell originals "Parisian Thoroughfare" and "B-flat Blues." Very good sound, lovely Bud.

10. "Our Man in Paris," from Blue Note, quartet work with Dexter Gordon (ts), Pierre Michelot (b) and Kenny Clarke (d), recorded at CBS studios, May of 1963. This is Gordon's album, with Bud in a supporting role, but it's a classic, and Powell is just wonderful.
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Tracks 1-4 are with a trio, including Buddy Rich on drums, probably not the best choice to accompany Bud. Tracks 5-12 are solo, and these are terrific. They alone are worth the price.

Oh, ... how do you spell genius? I spell it B - U - D. This album is phenomenal, phenomenal, phenomenal. If you want Bud at his highest peak you have to buy "Jazz giant" and this one. The Verve period is probably the best period for Bud, way better than the Blue Note period. I own all the Blue Note albums Bud but the difference is dramatic. These Verve albums are his legacy. Blue Note albums are a lot less inspired and vital. Here instead, you have the Charlie Parker of piano at his highest peak of creativity and genius. These Verve albums means for Bud what Dial masters means for Bird. The highest achievement for a genius on his instrument and for the history of music. When I saw the tunes list, I noted that there were three "Tea for two" versions in a row. I thought "ok, I'll listen to the master take and I'll listen to the other versions just once...". Wow, was I wrong my friends! I can't get tired of listening to Bud playing the "Tea". He was, he was Bud. Just like Bird. Just like Tatum. A total master on his instrument and an incredible music genius that is unforgettable. And I think I have said it all. The repertoire here is truly wonderful. The tunes I love the most are "Tea" of course which in Bud's hands becomes a scaring rollercoaster ride at full speed! In "Tea" and "Halleluja" Ray Brown and Max Roach played with Bud. The rest of the album is piano solo, but Bud playing style is so rich rhythmically and perfect armonically that you don't fell the need of a rhythmin section, really. Well, he's Bud. "The fruit" is another tune that I really love, a solo piano bop melody that is truly exilarating! But really this album is a cornucopia of gems! "Hallelujah", the wonderful "Parisian Thoroughfare", his trademark "Hallucinations" and the incredible way he reinterprets the standards such as "Nightingale" or "The last time I saw Paris". Well, Jazz piano IS this album. Period. And now it is out of print. While the records industry maintains in print a lot of albums from queens and kings of nothing (I don't even want to write those names in a Bud Powell review). Nice times musically the ones we're living isn't it? My compliments ... this said, I was affirming that Bud IS jazz piano. Sure in the fifties Bill Evans took the Jazz piano somewhere else and he did fabolous fabolous things, but only different, not better. But to me Bud remains the man still considering Bill Evans. Bud.

Bud Powell does not get the mainstream attention won by such giants as Monk, but his talents at the piano playing bop are surpassed by none. This album is an excellent (and cheap!) way to hear his music. I bought this album for one song: "Hallucinations", which is his essential tune. The rest of the songs are good, ("Nightingale", "Oblivion") but I don't need three takes of "Tea for Two." To each his own, though.