Bud! The Amazing Bud Powell (Vol. 3)
Occupation
- Piano: Bud Powell
- Bass: Paul Chambers (1-5, 7-9 )
- Drums: Art Taylor
Bud! The Amazing Bud Powell ( Vol. 3), also known as The Amazing Bud Powell, Vol 3: Bud! referred to, is an album of jazz pianist Bud Powell, which was taken on August 3, 1957 in the studio of Rudy Van Gelder, Englewood Cliffs, NJ, and released on Blue Note in 1957. In addition to his companions, bassist Paul Chambers and drummer Art Taylor has participated in three pieces and the trombonist Curtis Fuller as a guest.
The album
Earlier this year, Powell was already with Art Taylor ( and bassist George Duvivier ) occurred at New York's Birdland; with Paul Chambers, he had worked in 1953 for the Blue Note album The Amazing Bud Powell Vol 2. Chambers and Art Taylor, in turn, knew each other through their joint work with George Wallington and Miles Davis Powell, Chambers and Taylor continued their collaboration the end of 1958 with The Amazing Bud Powell: The Scene Changes continued.
The album starts with the oriented on Blues Some Soul; the following Blue Pearl felt Leonard Feather to the standard 'd Be So Nice to Come Home to recalls. Frantic Franties Powell plays at a fast pace. Add Bud on Bach pianist improvised on the Solfeggietto by Carl Philipp Emanuel Bach, which he practiced in his childhood. In the first 58 seconds Powell plays unaccompanied. With Keepin ' in the Groove ended the A- side of the original album; turn a blues -based piece with echoes of Art Tatum. On the B - side of the young trombonist Curtis Fuller was added; Jesse Stone in Idaho is unmistakably Feathers view of the JJ Johnson - influence. Bud again recurs in his solo on the left- hand technique, the swing era, which mimics the stride piano style of Fats Waller. After Jimmy McHugh ballad Do not Blame Me includes the original album with the Charlie Parker composition Moose the Mooche, whose theme is carried forward from Bud and Fuller unison. Paul Chambers plays in his solo double bass pizzicato.
Reception
Scott Yanow pointed out in his review of the album in Allmusic, which gave him the second highest rating of 4 ½ stars, down to the very changeable constitution of the pianist in the second half of the 1950s; other hand, was Bud Powell at the third edition of The Amazing in " ' surprisingly inspired form. " Among his trio performances with bassist Paul Chambers and drummer Art Taylor were Bud on Bach and Some Soul highlights. The album was a " strong bop set that is worth it. "
In the liner notes of the reissue of 2002 Bob Blumenthal picked up the high level of this " really good session " out. With regard to the oft-repeated physical and psychological problems of the pianist at this stage, the author points to the new qualities in his sound. Nevertheless, it is a loss of power in the higher tempos had to be noted; also there is a " simplification of his otherwise wonderful compositions, as in keepin 'on the groove, far away from the complex jewels of his Blue Note early time. "
Richard Cook and Brian Morton gave the album in the Penguin Guide To Jazz only three stars and picked out the " interesting lead vocal " Curtis Fuller. " The drama is in the other [ Trio ] pieces ", " that was not from the painful intensity of Glass Enclosure ", but the use that he bring in Bud on Bach, Frantic Francies and keepin in the Groove, was amazing.
Edition history
The original album ( Blue Note LP 1571) was first released in 1989 in CD form, the sequence of the pieces of the session sequence was adjusted. With the release of the album in early 2002 in the RVG Edition, the original sequence of the LP was restored and an Alternate Take ( " Blue Pearl " ) is added. At the same time, this album is part of the 4- CD set The Complete Blue Note and Roost Recordings.
The tracks on the album
- Blue Note BLP 1571, BST 81571, CDP 7 81571-2
- All other compositions are by Bud Powell.
- The cover design of the album comes from Reid Miles; photographs by Francis Wolff.