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.
Young Armenian born pianist Tigran Hamasyan is the next rising star in progressive and modern jazz piano, following paths of the bop innovator Bud Powell, post-Powell contemporary icon Chick Corea, and peer Eldar Djangirov. Brimming with talent so extreme it boils from his fingers, Hamasyan's second release as a leader displays all the power, chops, and verve one could want if you are into visceral, steam-powered jazz. Inspired by his bandmates, the twin Moutin brothers, Hamasyan paints an ethnic palate of music from his homeland mixed with witty fervor and no small sampling of sensitivity within measured parameters.
With this subtly provocative solo recital, Ted Rosenthal merges three very different streams of piano history, putting his personal stamp on all of them. He pays homage to Bill Evans with "I Loves You Porgy," "Turn out the Stars," and "Waltz for Debby," playing the last in 5/4 but reverting to 4/4 only on his second solo chorus. The Bud Powell portion is more extensive, consisting of "Tempus Fugit," "Wail," "I'll Keep Loving You," "Celia," "Parisian Thoroughfare," and, in another 5/4 interpretation, the closing "Tea for Two." Last but not least, Rosenthal unveils his improvisational approach to Beethoven with the latter two movements of the "Pathetique" sonata, as well as the third movement of "Opus 109," which inspires a full nine minutes of spirited invention. In Rosenthal's hands all this music sounds as though it sprang from the same muse, and that's the sign of a skilled, imaginative artist.
This album features trio performances by pianist Bud Powell, bassist Charles Mingus and drummer Roy Haynes that were recorded live at a Washington D.C. club; they were released for the first time in 1982. Powell is in consistently exciting form (this was one of his good nights) and the musicians sound inspired and creative during the set of bop-oriented standards. This recording concludes with a couple of excerpts from Bud Powell interviews held in 1963, giving listeners a rare chance to hear his voice.
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".