Customer Reviews

Scene Changes

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This 1958 recording, Powell's final Blue Note date as a leader, is fine example of "middle period" Powell, who (for a variety of musical as well as physical reasons) was transitioning from the flowing, quicksilver, jaw-droppingly inventive style (1947-1953) to a simpler but no less vital attack that emphasized fewer notes, more block chords and hints of Monk that would mark his final years. It is interesting that many compositions here are minor key and "blue"---the magnificent "Duid Deed", "Danceland" and "Cleopatra's Dream", an underrated composition. Clearly, it was Powell who influenced an entire generation of pianists such as Horace Silver, Sonny Clark, Bobby Timmons and others from the 1950s-1960s who were famous for that sound. Although other cuts don't quite match up ("Comin Up" is a strange attempt at mambo funk, "Borderick", a childlike tribute to his son, is neither here nor there), this is a solid date.

Borderick is the tune that should have been the intro to this great album, but it is worth the wait to get to it. A two-minute romp through what seem like simple piano exercises for Bud, but what simple beauty it is. I put it along with Coltrane's Countdown which was essentially an exercise for Trane, but a Rollercoaster for the listener.

This album also includes great Bud Classics like John's Abbey, Cleopatra's Dream and The Scene Changes. With Paul Chambers and Art Taylor more than ably backing Bud on these tunes, the trio are tight and the music is absolutely sonorous.