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".
Jazz superstar Chick Corea and some of jazz's finest musicians team up to salute legendary jazzman Bud Powell in these two 1996 sets. Corea, Roy Haynes, Kenny Garrett, Christian McBride, Wallace Roney and young master saxophonist Joshua Redman play live in Japan and Germany, highlighted by some of Powell's finest music.
Previously unissued until 1996, this trio session by pianist Bud Powell with bassist George Duvivier and drummer Art Taylor is better than his Verve recordings of the period if not quite up to the level of his earlier classic Blue Note dates. Actually it is a mystery how such excellent music could be unknown and go unreleased for so long. Powell performs 13 Charlie Parker compositions (including two versions of "Big Foot") and Dizzy Gillespie's "Salt Peanuts." Although there are some minor missteps, the music is quite enjoyable and generally hard-swinging with the more memorable performances including "Straw 'Nuff," "Yardbird Suite," "Confirmation" and "Ko Ko."
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.
Martial Solal and Joachim Kühn joined forces in 1975 for a duo piano concert during the debut of the Festival Independent de Massy. Both musicians enjoy showing off their right-handed runs in the opening to "Solar," before turning on the afterburners and really starting to wow the audience. The remaining two numbers are evidently on-the-spot duo improvisations, with "Journey Around the World" segueing through many different moods. "Musica 2000," a 19-minute excursion, is even more intense and clearly much further into the avant-garde camp. Throughout the concert, the two pianists are clearly inspired by each other. Released by Dreyfus in Europe, but not in the U.S., this recommended live CD may be somewhat difficult to acquire.
One of the few later recordings we've seen from tenorist Eddie Chamblee – a player who first rose to prominence on the Chicago scene of the 50s, and one who's got a well-bitten style that creates a deeply soulful tone! Eddie's roots are more in swing than bop, but there's also a quality here that recalls some of the earliest soul jazz sides on Prestige – especially as Eddie's working in a combo that includes organ and vibes from Milt Buckner. Other players on the session include Earl Warren on alto sax, Arnett Cobb on tenor, and Buster Cooper on trombone.
The story of the Cranberries is one of dogged survival. Debuting with a maiden release that everybody seemed to rate as a portent of great things, the band suffered not only a "difficult" second album but also an absolute stinker of a third one, as the bandmembers strove desperately – too desperately – to live up to their reputation for sensitivity and thoughtfulness, and completely lost sight of their true virtues in the process. Internecine squabbling, health problems, and general disaffection all took further toll, so much so that, as the band prepared to release its fourth album, 1999's Bury the Hatchet, many observers were shocked to learn that the band even existed any longer, let alone was capable of actually making a new record – especially one that was as good as Bury the Hatchet turned out to be. Filmed at the Paris Omnisport de Bercy on December 9, 1999, toward the end of that album's accompanying tour, Beneath the Skin captures the full 84-minute concert performance, with the band ranging and, occasionally, raging through a veritable greatest-hits collection. The 22 tracks date back to the shimmering beauty of the Everybody Else Is Doing It era, fast forward through the highlights (and there were a few) of the two albums that followed, and then climax with eight cuts from the new record, including an opening salvo of "Animal Instinct," "Loud and Clear," and "Promises" that restates Hatchet's own defiant kickoff.