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.

Groovin' With Benny Golson

Benny Golson (sax; b. 1929)

Benny Golson's (saxophone) new release, The Best Of Benny Golson (Concord Music Group), is a compilation of material spanning his career with the Milestones, Concord, Prestige and OJC labels. Born in Philadelphia in 1929, Golson worked in early R&B outfits in the '50s to before becoming a member in both Dizzy Gillespie's and Art Blakey's band in the late '50s. He would later go on to formed The Jazztet with Art Farmer.

He has worked with almost every major bebop musician of the era. Benny Golson's own work is powerful yet very inviting. He has written a number of now standards for jazz musicians including "Stablemates," "Along Came Betty," and "Killer Joe" to name just a few. Many people may be more familiar with his work from the film The Terminal staring Tom Hanks and directed by Steve Spielberg. Benny Golson and his band performed in lounge bar of the airport. This brought new awareness of Benny's material and he has since toured consistently again.

Whenever he performs live I try to get as many people who are new jazz to experience his shows. Benny Golson is probably the best intro for people who are unfamiliar with jazz and all its beauty. There will be songs that are very recognizable to you on this collection, including "April In Paris," "Whisper Not," and "I Didn't Know What Time It Was". If you enjoy the saxophone and want to hear a true musician at the peak of his power, check out The Best Of Benny Golson. I believe you will enjoy immensely.

The Giants Of Jazz

The Giants Of Jazz

Live In Europe 1971

(Gambit Records)

Dizzy Gillespie (trumpet)

Thelonious Monk (piano)

Sonny Stitt (alto & tenor sax)

Kai Winding (trombone)
Art Blakey (drums)
Al McKibbon (bass)

This is one of those "I wish I was there" type moments. The Giants Of Jazz as it was billed, toured Europe and Asia. This wasn't the first time some of these musicians had worked together (Gillespie and Stitt worked together regularly as did Monk and Blakey). At this point in their lives, each musician hadn't fully entered into the twilight of their careers but their milestone albums had all been recorded.

They may have been considered "elder statesmen" but they were still smokin' hot during this time. The tour was the brain-child of the powerful Jazz producer, George Wein; Each member of the band put aside their current projects for the tour. You would think that a band of this magnitude would have all sorts of personality conflicts--there were none.

The tour was sort of a comeback for Thelonious Monk who had been in a semi-retirement but felt compelled to join the supergroup. Monk actually sounds like he never left the scene. The dates spanned two years and have been bootlegged in various forms but never truly complete. The most recent release of material includes performances from three shows (Warsaw, Milan and Boblingen); These dates are smokin as well as surprising.

There is the expected overshadowing of the band by the buoyant Dizzy Gillespie on trumpet. Monk does an amazing job on the rendition of Gillespie's material in particular "A Night In Tunsia" and "Woody 'N You." Blakey's precision is spot on; especially on the solo during "A Night In Tunsia" on the Milan date. In turn, the band does a beautiful and delicate balancing act with the Monk penned pieces of "'Round Midnight" and "I Mean You." Don't be surprised if you find yourself moving along to the stellar thread Al McKibbon performs on bass throughout (specifically Blue n' Boogie).

The real stars of these dates are actually Sonny Stitt (sax) and Kai Winding (trombone), as their work carries enormous weight throughout each date. As some of the playing from Monk and Gillespie sometimes seems subdued at points, that might have been only to let the two legendary horn men work their magic...and they do with excellent results.

The Giants Of Jazz Live In Europe 1971 is one of those true gems of a find--if you can find it. It's not a very expensive two disc set, so if you're looking for a real document and an unbelievable lineup that I don't think could ever be matched by today's artists, be on the lookout for The Giants Of Jazz. The title sometimes varies but most recently it has been attributed to Dizzy Gillespie & Thelonious Monk.

Below is a video from that tour. I do believe this exists on DVD which would be awesome to own.

Mike LeDonne: Live Review From Smoke, NYC

Mike LeDonne (piano; b. 1956)
Live At Smoke, New York City (2.6.2010)

Mike LeDonne is a highly accomplished and well regarded pianist - His performances both on record and live are pure and entertaining. With a gentle and sophisticated post bop style, Mike LeDonne is definitely a disciple of such greats as Harold Mabern, Jaki Byard and Oscar Peterson.

With over 12 albums as leader, LeDonne has worked with a wide array of musicians including Dizzy Gillespie, Joshua Redman, Ryan Kisor, Christian McBride, Jimmy Cobb, Eric Alexander and the list goes on. LeDonne also spent time in the Milt Jackson Quartet in the late '80s and soon became the group;s primary songwriter in the latter years of Jackson's career. Mike has been a mainstay on the New York jazz scene since the late '90s.

He has had a small but revolving quartet, quintet and sextets for years. His most recent quintet includes; Eric Alexander (sax), Jeremy Pelt (trumpet), John Weber (bass) and Joe Farnsworth (drums). It's no surprise 3/5 of this quintet consists of members from the fiery sextet, One For All(Alexander, Weber and Farnsworth), which makes the current CD, FiveLive (Savant Records), recorded at the legendary Smoke Jazz Club on the Upper West Side of Manhattan even more exciting.

I was one of the lucky 60 plus people jammed comfortably into this iconic little room to hear a wonderful and sometimes smokin first set from LeDonne's quintet. The evening shifted mainly between LeDonne's own material, including his feisty tribute to fellow Smoke visitor and performer, Harold Mabern entitled "Hands," as well as a wonderful rendition of the classic "I Should Care". With the addition of Eric Alexander and Jeremy Pelt driving home the intensity of the night's proceedings, everyone was in for a stellar hour of jazz.

The balance between the members wasn't just between the leader and his horn section but the rhythm section of Weber and Farnsworth were just as vital. They created a pulsating atmosphere which allowed each member there an opportunity to express some crafty solo work, especially Farnsworth who is a fantastic drummer and in my opinion, highly underrated.

Definitely an enjoyable evening for Jazz lovers, but for those who couldn't be there or may not have a chance to see Mike LeDonne, I would suggest picking up his latest which is the perfect prescription for "not being there"--FiveLive (Live At Smoke Jazz Club) (Savant Records). Looking to discover something new and definitely entertaining--get yer ears into Mike LeDonne.

What About Chet!?!

Chet Baker (trumpet; b. 1929 - d. 1988)

So I took a look back at some of my discussions over the past few months and realized I forgot to talk about Chet Baker. What the hell was I thinking!?! Chet Baker played in a style very similar to Miles Davis' early recordings--smooth, melodic and sophisticated. Nowhere near as adventurous as Miles, Chet still possessed the ability to craft a rhythm that was just as haunting and brilliant.

Chet Baker is quite regarded among jazz fans but remains somewhat a cult figure for those new to jazz. His unfortunate struggle with heroin destroyed his chances of really scaling the highest of Miles', Clifford Brown or Dizzy Gillespie. Chet Baker played in Charlie Parker's band early in his career before moving out on his own with the legendary piano-less quartet with Gerry Mulligan. Chet would later go on to form his own group and record a series of wonderful albums during the mid-fifties. His drug habit resulted in erratic recording dates throughout the rest of his career even though he still had ability to perform quite well.

There are so many compilations on Chet Baker it almost matches those of Miles Davis. The one I would recommend is Career: 1952-1988 (Shout Factory). It's hard to sum up a career as expansive as Chet's but this collection manages to touch on all the important points for any beginner. One of the things that really set Chet Baker apart from his contemporaries was not only his effortless ability on the trumpet, but also his warm, lush vocals that added to his mystic. Career: 1952-1988 captures both over the span of two discs. From his beautiful classic version of "My Funny Valentine" to the enchanting cover of Elvis Costello's "Almost Blue" this collection has exactly what you would need to learn about one the greatest and often overlooked genius' in jazz history. In addition, I would suggest you also check out Chet Baker's final studio session entitled Peace (Enja Records), recorded in 1988 which was a lovely return to form and a great testament to his legacy.

Jazz Soundtracks — Part 10

The following are excerpts from the book Film and Television Scores, 1950-1979 (McFarland, 2008) by Kristopher Spencer, founder of Scorebaby.com.

Before blaxploitation came into being, African-American Quincy Jones equaled Schifrin’s effort in introducing funk to movie audiences in the mid to late ’60s. Q — as he’s known to many — made his reputation in the ’50s and early ’60s as a talented arranger and composer for jazz legends such as Lionel Hampton, Count Basie and Dizzy Gillespie, and for such singing stars as Frank Sinatra, Billy Eckstine, Sarah Vaughan and Dinah Washington. Beginning in the early ’60s, Q composed numerous big budget crime movies, including four starring Sidney Poitier, Hollywood’s original, black leading man.

Jones constantly experimented with style, incorporating swinging jazz, cool bossa nova, funk, soul and pop into big band or orchestral settings. His classic crime jazz highlights of the period include “Harlem Drive” and “Rack ’em Up” (from The Pawnbroker), “Blondie Tails” (from The Deadly Affair) and “Shoot to Kill” (from Mirage).

Although it is in no way a blaxploitation film, the Academy Awards®-winning In the Heat of the Night (’67) was influential because it features not only a black actor in the leading role but also a score infused with black music. The most telling example is the Ray Charles-sung theme song, which is soulful, funky and swinging. Tracks like “Peep Freak Patrol Car” and “Cotton Curtain” feature an unexpected blend of orchestral tension, bluesy piano fills, moaning Ellington-esque horns, throaty flute squeals and vocal scats; their funk is as potent as moonshine. On “Where Whitey Ain’t Around” a mean wah guitar solo joins an already volatile vibe. Elsewhere, Jones displays his great versatility with passages of pure orchestral movie music (“Shag Bag, Hounds and Harvey”). Taken in its entirety, Heat is but one of Jones’ proto-blaxploitation outings, and not a pure example of what would be heard in the ’70s.

Two other Jones scores from this period also qualify as proto-blaxploitation: the heist flick The Lost Man (’69) and Heat’s sequel They Call Me Mister Tibbs (’70) — both starring Poitier.

The Lost Man theme blends African percussion, an angular melodic motif and a singsong chorus of chanting children to mysterious, hypnotic effect. The theme’s disconcertingly unresolved scraps of melody resurface in more satisfying form on “Main Squeeze” and “Up Against the Wall,” where complicated experimental arrangements are propelled by funky rhythms and electric instrumentation. On ‘Slum Creeper” a funky clavinet keyboard pushes the rhythm forward with slow deliberation as electric guitar competes for the sonic turf. The most straightforward track on the album may be “Sweet Soul Sister,” a catchy mid-tempo number featuring a smooth vocal performance by Nate Turner with backing vocals by the Mirettes.

While The Lost Man remains Jones’ edgiest score, his work on Tibbs proved much more popular. Although the movie isn’t considered pure blaxploitation, its theme created the template for many title tracks to come, including Hayes’ Shaft and Schifrin’s Enter the Dragon. Its hard-driving rhythm section, screaming organ blasts, punchy brass, chicken scratch guitars and vibrato-colored keyboard line set the standard for cinematic funk in ’70. Elsewhere in the score Jones continued to exploit the electric charge he’d harnessed on the theme song. “Fat Poppadaddy,” with its catchy organ lick, screaming guitar solo and fatback drum break, pushed the funk harder and faster. He busted out the blues on “Side Pocket,” with its saxophone solo and call and response between the organ, guitar and horns. Tibbs, like Heat and Lost, is chuck-full of intense, virtuoso arrangements that call upon funk, blues, soul and jazz. Without Jones’ influence, the blaxploitation sound might never have come together so quickly and so potently.