Bud Powell Bebop CD

Personnel includes: Bud Powell (piano); Benny Harris (trumpet); JJ Johnson (trombone); Lee Konitz (alto saxophone); Budd Johnson (tenor saxophone); Cecil Payne (baritone saxophone); Buddy DeFranco (clarinet); Chuck Wayne (guitar); Nelson Boyd (bass); Max Roach (drums).
Recorded at The Royal Roost, New York, New York, December 19, 1948; Club Saint-Germain, Paris, France, November 7, 1959; in Paris, France, March 12, 1960; Hotel-Restaurant "La Belle Escale", Edenville, France, between August 8 and 14, 1964.
Personnel: Bud Powell (piano); Johnny Griffin, Budd Johnson, Buddy Johnson (tenor saxophone); J. Alan Johnson (trombone); Nelson Boyd (bass instrument); Guy Hayat (drums); Chuck Wayne (guitar); Buddy DeFranco (clarinet); Lee Konitz (alto saxophone); Cecil Payne (baritone saxophone); Benny Harris (trumpet); Kenny Clarke, Max Roach (drums).
Liner Note Author: Ted Panken.
Recording information: Club Saint-Germain, Paris, France (12/19/1948-08/14/1964); Hotel-Restaurant "La Belle Escale" Edenville, France (12/19/1948-08/14/1964); Paris, France (12/19/1948-08/14/1964); Royal Roos, New York, NY (12/19/1948-08/14/1964).
Photographer: Chuck Stewart.
There have been multiple releases from Bud Powell's later years, and some have shown that the pianist -- on occasion -- could still deliver phenomenal work (his work became increasingly erratic after 1951). Bebop, gathering live recordings from New York and France between 1948 and 1964, likewise attempts to highlight Powell's later work. The presence of poor fidelity plus the fact that Powell isn't always the featured musician, however, slates this release for collectors rather than the general fan. Following an introduction by jazz writer Leonard Feather, a wonderful cast of musicians -- trombonist J.J. Johnson, altoist Lee Konitz, clarinetist Buddy DeFranco, and many others -- take turns in the spotlight before a free-for-all jam on "Ornithology." Powell's spotlight, Thelonious Monk's "52nd Street Theme," is frantically fantastic, though once again marred by the sound quality. The latter material, recorded in 1959, 1960, and 1964, is much cleaner (though not perfect), and there are good versions of Charlie Parker's "Now's the Time" and an extended, 18-minute take on Tadd Dameron's "Hot House." The overall value, however, isn't helped by Powell's habit of accompanying the music with vocalese (though it sounds more like grunting). While there is undoubtedly worthy material on Bebop for the hardcore Powell fan, the album seems more a historical document than a new jewel in a great pianist's crown. ~ Ronnie D. Lankford Jr.
Many jazz fans feel that Bud Powell was to the piano what Charlie Parker was to the saxophone. Powell's style--rapid-fire notes, intense tempos, amazing technique, intricate but never far from the blues--had some similarities to Parker's, and the two often played together. The music they played was bestowed the name BEBOP, also the title of this album, a collection of previously unreleased early- and late-period live and studio sessions by Powell from 1948-'64.
The early recordings are something of a rare find, with Powell in the company of some of jazz's greatest musicians (including J.J. Johnson, Lee Konitz, and Buddy DeFranco), in a large (for bebop) group. While the recording quality is not up to contemporary standards, the rowdy joie de vivre and gutsy, enthusiastic soloing more than compensate. The later recordings feature improved sound quality and Powell's more subdued but still potent piano, the highlights being an extended exploration of Tadd Dameron's "Hot House" and a poignant "I Remember Clifford." BEBOP might not be the best place to discover Bud Powell (for that: THE BEST OF BUD POWELL ON VERVE), but it presents a priceless survey of a troubled genius at the beginning and near the end.JazzTimes (p.112) - "The CD reveals that Powell, even near the end, on his good nights, could still invent in long, melodic right-hand lines, propelled by dissonant left-hand clanging chords."