Reissue with the latest remastering. Comes with liner notes. Strictly Bud Powell, in the best sense of the word – as the album's a sharp batch of trio tracks recorded for RCA in the 50s, and a great showcase for Bud's firey talents on the piano! The rhythm combo features bold work on drums from Art Taylor, alongside the bass of George Duvivier – but Powell's definitely the leading light here, as the album features some of his tremendously deft work on the keys throughout. There's a nice tension to the material – played with a strength that matches most of Bud's other work from the time – but a bit different than some of his other recordings for Verve and Blue Note. The set features 11 tracks in all – and titles include "Time Was", "Jump City", "Elegy", "Coscrane", and "Topsy Turvy".
In the bebop revolution of the 1940’s, as Charlie Parker was the leading voice of the alto saxophone, so was Bud Powell the leading voice of the piano. Recorded in 1956 (before his Paris sojourn), the long-unavailable Blues in the Closet features Powell’s lightning-fast runs and nimble keyboard navigations on a set of originals and well-chosen standards. He is accompanied by Osie Johnson, a solid mainstream drummer, and the dean of jazz bassists, Ray Brown. A must for Powell fans and bop devotees.
When one thinks of altoist/flutist Bud Shank's recordings of the 1950s, it is normally of his work with Stan Kenton's orchestra or collaborations with Laurindo Almeida or Bob Cooper. However, Shank led a superior quartet from 1956-1958 that also included pianist Claude Williamson, bassist Don Prell, and either Chuck Flores or Jimmy Pratt on drums. This typically magnificent five-CD limited-edition box set from Mosaic has the quartet's four albums (including a set that was recorded in Johannesburg, South Africa), a selection by Shank with a sextet that includes vibraphonist Larry Bunker, and three slightly later sets.
Sonny Stitt (2006 Japanese exclusive limited edition 17-track 'K2 High Definition Coding' CD album, originally released in 1956, also featuring Bud Powell & J.J. Johnson with THREE BONUS TRACKS, presented in mini LP-style cardsleeve reproducing the original album artwork with 'Jazz' obi-strip.) Three classic Sonny Stitt sessions from 1949-50 are heard here in full. Stitt, who had been out of action due to his "personal problems," not only made a full-fledged comeback on these dates but debuted on (and stuck exclusively to) tenor rather than playing alto, where he was being assailed as a Charlie Parker imitator.
Though the mercurial pianist Bud Powell's performances could be erratic, to say the least, he's heard in top form on this live 1962 performance from Copenhagen. Indulging in seemingly effortless glissandos and breathtaking displays of technical mastery, Powell, accompanied by Oscar Peterson's future bassist Niels-Henning Orsted Pedersen, performs a high-spirited set that includes the Thelonious Monk classic "Straight, No Chaser" and a sensitive reading of Benny Golson's poignant standard, "I Remember Clifford."
In 1951, Bud Powell was still at the height of his considerable powers. Included here are two sessions from that year: a trio with Ray Brown and Buddy Rich (three takes of "Tea for Two" and a super-fast "Hallelujah") and eight solo piano tunes from a different date. On "Tea for Two," Rich's drumming brings out the charming show-off in Powell, and on "Hallelujah," Powell plays with a hysterical clarity. "Oblivion" and "Hallucinations" are the most masterful of the eight solo cuts. Here Powell swings effortlessly and seems to be speaking his own, true language. The elegance of another era pervades the Gershwin-esque "Parisian Thoroughfare" and "Dusk in Sandi." And one can imagine a young Bill Evans listening to "A Nightingale Sang in Berkeley Square" and taking note of the rich, logical voicings coupled with a wonderful singing tone.
This CD reissue is one of the most rewarding Bud Powell recordings to come from his period in France. Powell (along with bassist Pierre Michelot and drummer Kenny Clarke) explores four of Thelonious Monk's tunes, Earl Bostic's "No Name Blues" and the standard "There Will Never Be Another You" but it is the final two numbers ("I Ain't Foolin'" and "Squatty") which really find the bop master at his most spirited and swinging. This very rewarding CD releases for the first time the alternate take (a faster rendition without a clear melody) of "Squatty," a song that (based on its original version) deserves to be revived. One oddity: the applause heard throughout this release was added on later because this was actually a studio album.