Bud Powell: When Bebop Took Shape

Bud Powell (piano; b. 1924 - d. 1966)

Bud Powell is arguably one of the top five jazz greatest pianists of all time. His style while influenced by Theonious Monk and Art Tatum in his early years would become very distinctive very quickly. He developed great agility on the piano and his ability to rip of chord changes at a blistering pace was something other musicians had not seen at the time. But Powell wasn't just an amazing improviser he also had subtle rhythmic tones that made his mid period work standout far and above many of his contemporaries.

While his studio recording career was brief (roughly 20 years) he left a legacy that shines bright throughout jazz history. He suffered from mental trauma in the prime of his career due to a police beating that occurred in '45 but that didn't really stop his recording but it did make his life activities erratic until he passed away in 1966.

It's commonly recommended that The Amazing Bud Powell Vol. 1 and 2 (Blue Note) (both sold separately) are the core records for your collection. I would tend to agree with any of my fellow jazz friends who would say this. The Amazing Bud Powell Vol. 1 recorded in 1951, includes songs that would later become standards in jazz songbook. Songs like "Un Poco Loco" "Bouncing With Bud," "Dance Of The Infidels," on Vol. 1 sparkle with dynamism of Bud's interaction with Sonny Rollins (sax), Fats Navarro (trumpet), Roy Haynes and Max Roach (drums on separate numbers) and the rest of the band. "Dance Of The Infidels" is the perfect example of Bud Powell's gift at the piano. It is a very complicated number which he incorporates an series of cord changes that at first listen don't sound like they go together at all but he somehow turns it into real melodic beauty. A few years after this session and before the second Amazing release, Bud would work on another legendary and contensious session with his friends, Charlie Parker, Dizzy Gillespie, Charles Mingus and Max Roach entitled Live At Massey Hall.

The Amazing Bud Powell Vol. 2, recorded in 1955, features a trio lineup on George Duvivier (bass) and the truly under-rated Arthur Taylor (drums). This album is surrounded by covers and only two Powell originals but it is still a beautiful session. Bud and company shift through classics "Autumn In New York," "I've Got You Under My Skin," and Bud's original, "Glass Encounter". This is bebop at its finest and definitely deserves in anyone music fans collection. One of my personal favourites is "Reets And I", a killer number were the trio really let loose and you can feel each musician challenging each other. On "Polka Dots And Moonbeams" the trio (mainly Powell) turns this into a dark, dense introspective piece that really brings you closer to the pianist than ever before.

The Amazing Bud Powell Vol. 1 and 2 are great documents of a legend. But if you want a slightly comfortable overview (at an affordable price) you might want to look at The Definitive Bud Powell (Blue Note/Verve). It is by now means "definitive" but it covers the essential records from both labels and for that generation that might want it simple for the mp3 player, this is the one to get. Don't get me wrong--there's absolutely nothing wrong with this collection. It's brief, concise and to the point. If you don't own any Bud Powell this should suite you just fine. If you want to dig deep I suggest the aforementioned The Amazing Bud Powell Vol. 1 and 2.

You can also check two compilations The Best Of Bud Powell on Verve and The Best Of Bud Powell on Blue Note. These separate disc will give you a full overview of each labels materials with very little overlap. They are both a little hard to find but worth picking up when you do spot them.

One way or another you should put Bud Powell on your shopping list. If you want a true lesson into the origins of bebop, outside of Charlie Parker--Bud Powell is a great place to start.

Eric Dolphy In Transition

Eric Dolphy (sax, clarinet, flute; b. 1928 d. 1964)

Out There (Prestige, 1960)

The L.A. native, Eric Dolphy, made a number of appearances as sideman before recording his debut Outward Bound (Prestige. 1960), brilliant slice of hard bop with exceptional promise. He had become a multi-instrumentalist, particularly through his improvisational work on the bass clarinet. He worked with both Charles Mingus and John Coltrane whom along with Charlie Parker were huge influences on his compositional work.

Many people, myself included, will site that the ultimate Eric Dolphy album to own is Out To Lunch (Blue Note; 1964) but I also believe that there is an album that marks the origins of what Dolphy would continue to explore for the rest of his career. That album is Out There (Prestige; 1960). Eric Dolphy employed a quartet that was minus a piano player. Instead he chose the legendary Ron Carter (cello), which would result in some of the most memorable interchanges you will ever hear. The quartet also included George Duviveier (bass) and Roy Haynes (drums) whom both add tremendous dimension to the proceedings.

The opening "Out There" is wonderful piece of free jazz in which Dolphy expresses the angular emotion that made his recorded output so unique that he former employer Coltrane would later take note and say that mention that many people missed the beauty in Eric Dolphy's music. A large majority of sessions features Dolphy on clarinet but it is an excellent opportunity for the listener to hear why he was considered one the few musicians to turn the clarinet into an unbelievable improvisational instrument.

On the Charles Mingus penned "Eclipse" Dolphy and Carter connect in one of most hauntingly beautiful ways. The ballad "Sketch Of Melba" illustrates the more melodic bluesier side which Dolphy could turn with ease. The session closes with a drifting and scale jumping "Feathers" in which Carter and Dolphy connect again with an uncanny beauty that would be reminiscent of Monk and Rouse.

Out There is a transitional album--bridging the more standard bop of its predecessor, Outward Bound with the future exploration of free jazz that would later result in the masterpiece of Out To Lunch. The Dali-esque album cover is slightly misleading to the accesible nature of the entire recording. But make no mistake, Out There is an album that stands on its own and should be a must in your music collection. A brilliant album by an artist would be gone all to soon.

Kevin Hays: Live At Smoke, NYC 24.4.2010

Kevin Hays (piano; b. 1968)

It was a brisk evening as I entered New York's Smoke Jazz Club. I wanted to check out someone new at my favourite jazz club in the city. I arrived and enjoyed a nice glass wine while waiting for the show to begin.

Sitting next to me were a quartet of individuals that were obviously only here because a friend told them it was a great play to hear some music. They really had no intention of listening to the music as the talked through the first two songs. After some deep thought I asked the hostess to tell them quiet down. They did but just barely.

Okay back to our originally scheduled program. Tonight's performance was from pianist, Kevin Hays. I had only heard Kevin Hays' name around the jazz circles but hadn't really investigated his music until this evening. Kevin Hays has recorded over a dozen albums in addition to recording and performing with an impressive list of artists including Bob Belden (composer, sax), John Scofield (guitar), Roy Haynes (drums) and Benny Golson (sax) among others. His quartet for tonight's performance featured three musicians with whom I was very familiar, either from their own work or other recording dates (Mark Turner (sax), Rodney Green (drums) and Doug Weiss (bass)).

Well, let's just say--Kevin Hays can really swing! His depth, range and improvisation were impressive and his arrangements for songs by Charlie Parker and Benny Golson during the set were fantastic. While displaying some clever improv-chops his subtle playfulness hinted to a bit of a Keith Jarrett influence but more recent comparisons (not influence) might be Brad Meldhau and Benny Green.

Hays' exchanges with Rodney Green and Mark Turner were outstanding. As the night went on, especially during the final two pieces, the three really took the reins off and were smokin' rhythmically. Mark Turner--a big adventurous player in the vein of John Coltrane and Wayne Marsh--was a bit subdued on this night but it fit Hays' style and didn't dominate the proceedings. Hays and Turner showed phenomenal artistry during Hays' reworking of the Benny Golson standard "Stablemates" (Hays remarked he was changing it to "Unstablemates"). Anyone who knows this midtempo classic, take a listen and then imagine it just a little tiny bit more upbeat. A nice crafty melody change by Hays.

Kevin Hays' most recent record is a collection of pop/jazz standards entitled You've Got A Friend (Jazz Eyes), which actually is a really good introduction to his work if you haven't heard him before. Don't be hesitant, these covers are expansive, different and well worth the listen (especially The Beatles "Fool On The Hill" and Thelonious Monk "Think Of One").

Overall, not a stellar "I'm blown away" evening but definitely a welcomed and enjoyable night of music. Also a nice discovery of a musician I should have listened to a long time ago despite the knuckleheads next to me. (Next time: Five Things Not To Do At A Jazz Club)

Dizzy Gillespie: Why He's Important

John Birks "Dizzy" Gillespie (trumpet; b. 1917 - d. 1993)

Diz's legacy and contribution is felt with almost every musician that performs jazz. Diz, along with Charlie Parker, single-handedly created bebop. But Diz is also responsible for his perfect integration of Latin influences upon jazz. He was the quintessential band leader - always ready to teach and pass on his knowledge to younger musicians. So much so that you can hear the influence on many of Miles Davis early recordings.

Born in South Carolina, Diz taught himself trumpet and trombone in his teens. He paid his dues performing early in bands led by Cab Calloway, Earl Hines, Woody Herman and Teddy Hill. Shortly after, he formed the legendary partnership with Charlie Parker in the 40s and recorded a string of classic albums including one of my all-time favourite jazz albums, Jazz At Massey Hall (Debut Records). During this time he would also introduce audiences to latin percussion during his live performances as heard famously on "A Night In Tunisia". Many of Diz's early recordings are now standards that even the non-jazz fans would recognize at first listen including "Salt Peanuts" "Manteca" and the aforementioned "A Night In Tunisia".

A proficient and vibrant player, Diz always had fun on stage in front his audience. Dizzy Gillespie was a technical genius when it came to his music. Unlike many of his contemporaries, he wrote and practiced every note. This, along with his showmanship, are the reasons why he is so important to the growth and explosion of bebop. Live shows were probably the best way to experience the legend.

Some of you may have seen photos of Dizzy with what looks like a upturned trumpet. Most jazz fans known the story, but I'm writing this for those who don't know. One night before a club performance, a dancer triped on it and mangled it. The trumpet still worked and Diz decided to play it anyway. This iconic image is the way most people picture Diz to this day.

There are quite a few individual albums that I could recommend but if you really just want to condense things down you should go head first into Dizzy Diamonds (Verve). Dizzy Diamonds is a three disc set that is broken into "Big Bands", "Small Groups" and "Afro-Cuban". It pretty much covers all you, the new listener, would need.

For those of you who want to seek out more, I would highly suggest digging into some individual albums such as Diz & Bird, The Modern Sextet, Diz & Stan Getz, Sonny Side Up, Birks Works, The Copenhagen Concert and Jazz At Massey Hall for more well rounded experience. Dizzy's legacy lifes on in trumpet players like Roy Hargrove, Wynton Marsalis and Nicholas Payton but none of them will exude the excitement that he did for his craft--one that makes jazz a truly unique art form.