keith jarrett leaving again transcription

Now it is easy for me to appreciate Bud’s authenticity, but in the end still conclude that the non-Powell tunes on this mind-melting album are better. It’s not Hawkins’s best gig of this era.ġ960, sitting in with Mingus and one of the greatest Mingus bands at Antibes on “I’ll Remember April.” This was one of my first exposures to Powell, so I know it isn’t a very good introduction for a newbie. Bud is playing well, though he may be too aggressive for the saxophonist: Hawkins interrupts Bud’s solos on all three swingers. Sadly it is one of Pettiford’s last sessions. Wonderful succinct versions of “Now’s the Time” and “Confirmation.” Bird lives, Bud lives.ġ960, Essen Jazz Festival trio and quartet with Coleman Hawkins, Oscar Pettiford, and Kenny Clarke. Pettiford is the nominal leader on the trio selections and plays great throughout. March 12, 1960, two trio tracks with Pierre Michelot and Kenny Clarke. Morgan and Merritt brought some serious Philly to Paris that night.ġ960, two tracks duo with Johnny Griffin. Bud swings hard with no rhythm section, Griffin is on fire. Jymie Merritt is part of that delicious, unrepentant Philadelphia bass committee along with players like Jimmy Garrison. It certainly takes guts to play alongside burning Lee Morgan and Wayne Shorter. Here he seems more comfortable on “Bouncing with Bud” than the blues. It’s too bad he picks up brushes for both piano solos, for Bud could have withstood the heat.īarney Wilen doesn’t have much of an American reputation but he had a secure command of the language and Bud worked with him quite a bit.

He’s quite noticeable on the Verve box when he shows up for a few tunes. (In our interview, Shorter explains that “Albert” was a mishearing of something Blakey said.)īlakey and Powell didn’t record enough together, really. The classic Shorter song “This is For Albert” is dedicated to Powell.

There’s quite a lot about this night in the Shorter biography Footprints. Fascinating to hear Shorter and Powell together. Bud sounds good although he might play a few too many choruses. The affect is something like an endless fountain of perfect bebop.ġ959, sitting in on “Bouncing with Bud” and “Dance of the Infidels” with Art Blakey, Lee Morgan, Wayne Shorter, Barney Wilen and Jymie Merritt. Bud always is listening to the start and stops of his line.

In conversation it is important to listen to the end of the previous sentence before beginning the next. Like most healthy classical virtuosos, Powell plays the piano with his whole body.īetween phrases Bud hovers, almost relaxed, ready for the next melody to burst forth. Sometimes he was called “hammer fingers,” but actually the fingers are just the final refinement. His hands produce a maximum of sound and dynamic fluctuation with a minimum of effort. Powell’s deep connection to his music is even more obvious on video. It’s also sensational to get a look at Kenny Clarke playing the drums for a few tracks. “Anthropology” and a very deep “Blues in the Closet” are at the highest mark, while “Crossing the Channel” and “John’s Abbey” are nearly as great. Jorn Elniff is swinging, and the amazing Niels-Henning Orsted Pedersen is only 15 or 16 at the time.)Īll the Powell performances on Bud Powell in Europe are important. (Not to say that these two on “Anthropology” aren’t very good. He powers through with ease and excellence no matter who’s playing bass and drums. Hearing him with European musicians can highlight that aspect of his artistry. Not everything Powell recorded during this era is at this level, but the feel is always authentic. Bud plays mid-tempo rhythm changes as well as it can be done. Thanks to Collin van Ryn for starting this transcription and inspiring me to finish it up. Try the outstanding version of “Anthropology” on the Bud Powell in Europe DVD, also on YouTube. At the end of the day, no one could play more bebop than Bud Powell. All that is required to enjoy Powell’s European discography from 1959 on is committed listening.

Keith jarrett leaving again transcription