Bud Powell: Dissonance as Brilliance

Dissonance as Brilliance: The Genius Aftermath of Earl “Bud” Powell Dr. Brian J. de Lima Toronto, Canada October 2014 Table of contents Acknowledgments Page 5 Preface Page 6 Introduction Page 7 Comprehensive Questions Page 9 Research Methodologies Page 10 Projected Outcomes of Research Page 12 Limitations and Disclaimer Page 12 Analysis of Criticisms Page 13 Born into the Birth of a Subculture Page 19 Emic and Etic Perspectives Page 20 Mental Health Abuse Page 23 Overlooked Aspects of Powell’s “Downward Spiral” Page 26 Transformations and Self-Efficacy Page 29 Chaotic Structures Page 30 Creativity as a Coping Mechanism Page 32 Artist Projection Page 33 Art Mimics Life Page 33 “Outside” Influences Page 35 My Personal Account with Illness as a Rationale Page 35 Plasticity of the Brain Page 36 Drugs and Creativity Page 40 Powell’s Epilepsy and Creativity Page 42 The Musical Lexicon Page 47 3 Analysis of “Aggregates” Not Considered Page 49 “The Glass Enclosure”: Analysis Page 49 Favourable Criticisms by a Few Page 63 Conclusion Page 64 Future Goals of this Study Page 65 References Page 67 Discography Page 70 Appendix Page 71 4 List of Figures Figure 1.1 Page 38 Figure 1.2a Page 39 Figure 1.2b Page 39 Figure 2.1 Page 48 Figure 2.2 Page 53 Figure 2.3 Page 54 Figure 2.4 Page 55 Figure 2.5 Page 56 Figure 2.6 Page 56 Figure 2.7 Page 57 Figure 2.8 Page 57 Figure 2.9 Page 58 Figure 3.0 Page 59 Figure 3.1 Page 59 Acknowledgements This comprehensive essay is dedicated to the memory of Professor Michael Marcuzzi (1966-2012). Dr. Marcuzzi’s unrelenting dedication to his students, myself included, is testimony to the essence of what this essay seeks to exemplify. I hope to always do justice to the exhaustive knowledge that Professor Marcuzzi has passed on to me and which I likewise hope to pass along to others. I would also like to acknowledge Dr. David Rosen of Trillium Hospital in Mississauga and Dr. Andre Douen, head of neurology there, for the time they took from their busy schedules, to answer my questions about brain injuries. Finally, I would like to also dedicate this comprehensive essay to Earl “Bud” Powell, for his unabated efforts in finding new ways of expressing himself musically amidst a gruelling and turbulent life. 6 Preface The career of jazz pianist Earl “Bud” Powell evidenced a near cinematic arc. By the time he was in his late teens, he had all of the technical tools necessary to move to the front ranks of musicians in his category. He was one of the first pianists to truly understand the melodic, rhythmic and harmonic implications of the new music that was later termed “bebop.” If he fell short of Charlie Parker and Dizzy Gillespie in terms of technical ability, he was at least the equal of some of the other players whose mastery of the idiom was complete, such as Fats Navarro, Sonny Stitt, Charles Mingus and Kenny Clarke (Farrell 2011). It can be argued that he was the most compelling player of the aforementioned group, a man compelled to channel his emotions through his improvisations, demonstrating an endlessly creative mind. He managed to fuse early influences of stride, swing and bebop into his musical vocabulary, without sounding contrived or archaic (Groves 2001, 3). In short, Powell may very well be viewed as a consummate artist, who explored and challenged his creative mind to the fullest extent possible. Where other pianists were content to follow the school of Art Tatum, Powell was heading in a different direction, more concerned with the new sound of Charlie Parker and transferring Parker’s ideas and harmonies to the piano, while preserving the orchestral aspect of the instrument as Tatum did (Pullman 2012, 39-40). Powell’s harmonic disposition was both esoteric and erratic, as well as arcane and widely misunderstood. 7 Introduction Great composers find ways to induce more complex emotional states, making it possible for them to express through their work both pain and suffering. Arguably, it can be said that jazz pianist Earl “Bud” Powell crafted an architecture based on this very blueprint. In 1945, after suffering the effects of a severe police beating, Powell was admitted to New York’s Belleview psychiatric facility for evaluation (Groves 2001, 49). On the admission form, under “Occupation,” he wrote: “Pianist and composer of over 1,000 songs.” The psychiatrist diagnosed him as having both “delusions of grandeur” and schizophrenia, subsequently putting him in a straitjacket (Groves 2001). Spending most of the year recovering from both the beating and treatments he received, he suffered excruciating headaches, seizures and often exhibited erratic behaviour, on and off the bandstand (Citizens Commission on Human Rights 2004). From that point on, critics and fans alike looked upon him, from the mid to late part of his career, as an exasperating, erratic liability in the jazz world (Pullman 2012, 359). It is my argument here, however, that contrary to popular opinion, Earl Powell never stopped growing as an artist. The purpose of this study is to demonstrate that the musical output of Earl “Bud” Powell, after his medical traumas, was just as musically relevant to his earlier musical oeuvre, widely regarded as “genius.” Furthermore, his earlier musical output should not be used to distort the evolutionary genius of his ongoing artistry, regardless of any musical and mental setbacks. More importantly, I postulate that the life and music of Earl Powell may serve as evidence that the “artist” and the “neurotic” can effectively coexist, within the same individual. It is this unsettled relationship between “the will to survive” and “the 8 will to self-destruct” that I believe gives rise to the elements not found in Powell’s earlier works—and more importantly, to those elements largely overlooked by both critics and members of the general public. I also believe that the romanticism created by Powell’s critics, based on his earlier playing, before the onset of any medical issues, may have pigeonholed his compositional techniques. Any new direction he took thereafter, any later compositions and performances, were unfavourably compared to his earlier works and resulted in a misrepresented taxonomy toward an evolving artist. Moreover, I aim to show that in the case of Earl “Bud” Powell, there may be a grave misunderstanding by his critics and the public regarding his alleged “fall from grace.” I also aim to show that Powell never really truly deteriorated as a musician.1 To the contrary, he began to play more adventurously and innovatively, perhaps even in a way that was too modern for his critics and the public to understand at the time. Furthermore, I aim to show that the head trauma, as well as the electro shock and drug therapies that he experienced in his adult years, may have been the catalyst that gave rise to a new harmonic palette of dissonances. A major goal of this study is to show that Powell’s relationship between his neurosis and genius, the juxtaposition between his emotional turbulences and his artistic expression, became the blueprint, what I propose to be the “aggregates,” 2 that formed a gestalt of new harmonic architecture. I will endeavour to show that the creative treatments and dissonances in his playing that others saw as being flawed 1 Perhaps some of his later recordings and performances, especially in his technical execution, have shown him to be a victim of the ravages of drug and alcohol abuse. 2 Aggregates can be considered to be a sum, mass, or assemblage of particulars of all past experience (Aggregate. Dictionary.com. The American Heritage® Stedman's Medical Dictionary. Houghton Mifflin Company. http://dictionary.reference.com/browse/aggregate (accessed: March 15, 2014). 9 were more likely a diachronic evolution of an artist trying to evolve in the process of experiencing the journey of a turbulent life. Comprehensive Questions 1. In deconstructing the “genius” of Earl “Bud” Powell’s post-trauma musical output as an amalgamation of aggregates, does it serve as evidence that Powell, the “artist” and “neurotic” can coexist, and if so, what are the sources, structure, and limits of these aggregates? 2. Do these aggregates give rise to new elements previously undiscovered in Powell’s earlier works, and more importantly, have these elements been largely overlooked by his critics and members of the general public, resulting in a misrepresented taxonomy of an evolving artist? 10 Research Methodologies First, an “analysis of criticisms” gleaned from the various publications on Powell will be examined, making particular note of archaic stereotype philosophies that may have misrepresented Powell. Next, the bebop culture will be examined, in order to assess the reasons for the ignorant criticisms from critics (and fans), whose experience lay outside the bebop culture. This will be done in the spirit of better understanding the projection of certain ideas with regard to what I posit to be an archaic jazz model. Next, the effects of mental illness on the creativity of an artist shall be explored through various sub-topics created and made famous by author and psychologist Dr. Tobi Zausner, based on her 2006 book, When Walls Become Doorways: Creativity and the Transforming Illness. The sub-topics entitled “SelfEfficacy,” “Chaotic Structures,” “Creativity as a Coping Mechanism,” and “Artist Projection,” will be used to show how Powell’s musical output, after his medical ailments, may have actually contributed to his creativity and originality. The methods I will be using to support my argument are of a qualitative nature, stemming from a variety of works that include publications of case studies in which mental health abuse is examined, as well as biographies written about Powell, most notably by author Carl Smith, who shows a different side of Powell’s posttrauma musical prowess. Smith—who claims to have every recording of Powell’s, including some that are private and unreleased, as well as considerable video archive material featuring Powell—includes favourable criticism in his book Bouncing With Bud (1997) pertaining to Powell’s post-trauma compositions and performances. I also conducted a personal interview via Skype with author Peter Pullman (in February 2012) concerning the long-awaited Powell biography entitled Wail: The Life of Bud Powell (2012). More importantly, I will show a medical analysis of Powell by his 11 physician Dr. Harris, also a trained musician, who offers a positive analysis of Powell’s musical performances and possible insight into Powell’s medical issues. Furthermore, I will briefly touch on the topics of “plasticity” of the brain (also known as “neuroplasticity”), as well as the brain’s ability to recuperate after trauma— showing that changes reflecting recovery in the brain’s neural pathways and synapses are due to changes resulting from bodily injury. 3 Unfortunately, in the case of Earl “Bud” Powell, the conditions and circumstances of his era did not see any significant medical advancements in terms of recovery and plasticity of brain injuries. 4 From there, I will look at the anti-psychotic drug administered to Powell—Largactyl—that I posit to be a contributing factor with regard to his musical perception. Finally, I will do an analysis of Powell’s post-trauma harmonic treatments for which critics and fans alike have harshly criticized him. My analysis will show that Powell’s harmonic treatments may go beyond a reflection of deliberate artistic expression on his part. These may in fact reflect a subconscious, ongoing state of expression that encapsulates semiotic elements of his tortured life, which I refer to as 3 Please read disclaimer below. Neuroplasticity occurs on a variety of levels, ranging from cellular changes due to learning, to large-scale changes involved in cortical remapping in response to injury. The role of neuroplasticity is widely recognized in healthy development, learning, memory and recovery from brain damage. During most of the 20th century, the consensus among neuroscientists was that brain structure is relatively immutable after a critical period in early childhood. This belief has been challenged by subsequent findings revealing that many aspects of the brain remain plastic even into adulthood (Rakic, P. January 2002. Neurogenesis in adult primate neocortex: an evaluation of the evidence. “Nature Reviews Neuroscience 3: 65–71). More importantly, I posit that Powell’s ethnicity, as an African American, made it that much more difficult for practitioners to give him appropriate tests and treatment. The major exception seems to have been Dr. Harris, who treated Powell, and offered me his prognosis on why he thinks Powell evidenced such erratic and neurotic behaviour, which also served to contribute to his musical creativity (Paudras 1986, 181). 4 12 “aggregates.” I also further posit that these semiotic elements became a reflexive gesture, through the creation of a feedback loop, possibly influencing any future musical output. These elements and considerations have been largely overlooked, resulting in an inaccurate understanding of an evolving artist. Projected Outcomes of Research I project that the qualitative data gathered from the various aforementioned sources will shed new light on the subject of Earl “Bud” Powell. These new findings will give readers additional insight into what have been regarded as musical “failures,” which may now been seen more accurately as accomplishments. I also believe that the medical setbacks undergone by Powell will be shown to be part of an architecture—a unified form of aggregates that gives rise to a gestalt—forming what I purport to be his actual “genius.” Limitations and Disclaimer This study will only briefly touch on any medical research such as the neurological plasticity of the brain and related drug therapies, by utilizing qualitative data gleaned from specific sources pertinent to Earl Powell’s condition(s). Disclaimer: I am not a physician and I do not purport to make medical diagnoses on my own. Neither York University, my Ph.D. committee members nor I assume any responsibility for my findings and interpretation (hermeneutical or otherwise) in the in the section entitled “Plasticity of the Brain” and “Powell’s Epilepsy and Creativity.” The statements I make are only interpretations of a secondhand nature, gleaned from published medical literature relating to Powell, reported by his physician at the time. 13 Analysis of criticisms Because of the inconsistencies in the published literature and criticisms of Powell’s musical output, I start with an analysis of the already published observations made by his critics. The All Music Guide (Wynn 1994) is an in-depth and exhaustive publication showcasing criticisms of Powell’s recordings, by date. Editor Ron Wynn does a satisfactory job unpacking reviews of Powell from various critics including Blumenthal, Morgenstern, Rusch and Davidson, to name a few. Wynn writes of his misgivings regarding Powell’s musical output in the later part of his career but other critics such as Rusch view Powell’s later recordings as being infused with despair and torment. Unfortunately, there is no consensus amongst the various critics that establishes a diachronic analysis of Powell’s musical trajectory from the beginning of his career. The Penguin Guide To Jazz (Cook and Morton 1994) seems quite limited in its criticisms of the scope of Powell’s musicality. The parameters discussed do not nearly begin to speak of the contributions made by Powell to the ongoing trajectory of “modernism.” Co-authors Richard Cook and Brian Morton have compiled some rare recordings that most Powell aficionados may not even know existed In my opinion, however, they come to some hasty and unwarranted conclusions to the effect that the level of his musicianship became degraded. For example, in reference to the later recordings Powell made in Europe, the co-authors state: We’re now firmly in the era of an important discographical sub-genre: The Bud Powell live in Europe album(s). There are a great many of these. Some are good, many are awful, but the majority don’t stand up to their own terms (Cook and Morton 1994, 1062-1063). 14 Although there are a substantial number of later Powell recordings included in this Penguin volume, there seems to be an overwhelmingly unfavourable attitude toward the musicality Powell demonstrated. Jazz Styles: History and Analysis (Gridley 1994) does a wonderful job in the context of an exposition that details Powell’s many achievements throughout his early to mid career. Unfortunately there is no reference to the later years, which other critics and his fans may have viewed as representing a downward spiral into his musical demise. Introduction To Jazz History (Megil and Demroy 1993) is an important text that includes much information about Powell’s musical recordings. Authors Megil and Demory have done a wonderful job of portraying Powell’s varying emotional states throughout his early to mid career. I also feel that the authors have taken into consideration the innovations contributed by Powell throughout his early to mid career, during which he was hospitalized several times. Unfortunately, there are not any real examples provided toward the end of Powell’s career, when, in my opinion, some of his best musical accomplishments were made, especially in the realm of harmony. Thinking In Jazz (Berliner 1994) is a well documented and well written account by ethnomusicologist Paul F. Berliner. It is organized according to the learning process through which jazz improvisers proceed, from first picking up an instrument, to later becoming masters of their art. In the mode of an ethnographer, Berliner acquired vital information while interviewing the dozens of musicians who provided insights about how the jazz “greats” learned. Unfortunately, this book's aesthetic range is fairly narrow: it basically covers only bop and hard bop, filtered through the classicist bop aesthetic of Barry Harris, the pianist-pedagogue who is one 15 of the book's touchstone musicians. There is not nearly enough representation on Powell’s journey, through the eyes of the many individuals interviewed. Thelonious Monk: The Life and Times of an American Individual (Kelley 2009) is an excellent account of the perceived eccentricities and musical journey of Thelonious Monk. The material presented is gathered from interviews of family members and fellow musicians. This text includes information about Powell, as they were both colleagues and friends. The information presented about Powell includes a fascinating portrayal of the eccentricities that members of the press and fans may have prematurely judged as adversely affecting his musical output. The Birth of Bebop: A Social and Musical History (DeVeaux 1997) is a significant effort in documenting the lives and journeys that evolved within the subculture of the bebop era. Author Scott DeVeaux does a fine job of bringing to life the musicians, such as Powell, who participated in shaping the parameters of this music. The limitations of this literature, in the context of Powell, stem from the lack of entries about his life and contributions to the bebop movement. In my opinion, the post-1940 works of Powell, after his medical and psychological setbacks, are essential in any exploration into the harmonic evolution of bebop. DeVeaux never quite unpacks the historicity behind Powell’s use of dissonance that others saw as musical blemishes. Quintet of The Year (Haydon 2002) is ground-breaking in the fact that it dissects the musical lives of the five musicians, including Powell, who participated in the summit of concerts at Massey Hall, Toronto, in 1953. Author Geoffrey Haydon has made an impressive effort in deconstructing the musical path each of these men took in finding and crafting their artistry. In the case of Powell, Haydon does focus on positive attributes that critics may have deemed to be Powell’s failures. The only 16 reservation I have regarding Haydon’s account of Powell is that Haydon does not articulate how he feels about the critics and fans lack of understanding with regard to the brilliance of Powell’s musical contributions—a brilliance that he also acknowledges never left Powell throughout his career, even after falling victim to police beatings and medical mishaps. Bouncing With Bud (Smith 1997) is an exhaustive archive of criticisms of the complete recordings of Bud Powell. Author Carl Smith, whom I had the pleasure of interviewing several years ago, told me the great lengths that he went through to retrieve all the unpublished recordings from family members and close personal friends of Powell. Smith may seem to be biased in favour of Powell in his reviews, as evidenced by his praise within each chapter, but he does explain the reasons for each recording being regarded as a “triumph.” I like what Smith has done but also want to add to his critique by also trying to deconstruct other avenues that gave rise to Powell’s erratic and eccentric genius. Since Smith does not delve into the areas of neurology and physiology of the brain after trauma, such as in the case of what happened to Powell, I believe my contribution will be worthwhile. The Glass Enclosure (Groves and Shipton 2001) is a slim but nonetheless informative volume on Powell’s life and career. Co-authors Alan Groves and Alyn Shipton trace the highs and lows of Powell’s career in detail. Although The Glass Enclosure does not delineate the later musical successes and innovations that others misinterpreted, it is nonetheless a fascinating biography, told with great empathy. This volume could have been much more conclusive if the authors had considered deconstructing some of the Powell recordings. Unfortunately, Groves and Shipton only partially review certain eras in Powell’s career, making taxonomical categorizations of his playing, not taking into consideration the psychological 17 influences from his tortured and scarred past that may have influenced the artist’s musical journey. Dance of The Infidels: A Portrait of Bud Powell (Paudras 1986) is a touching and heartfelt first-hand account from long-time Powell guardian (and manager from 1962-1964) Francis Paudras. Written with sincerity and affection, Paudras captures the genius that was Bud Powell. Paudras also takes the time to explain why some of Powell’s later recordings, which his critics saw as overly eccentric, actually have a purpose and meaning, from Powell’s perspective. Paudras tends to focus on the later recordings in Powell’s career, which, in my opinion, is crucial for readers to understand why Powell’s sound changed, and why certain outside influences affected his emotional and mental state, and therefore, his compositions. Wail: The Life of Bud Powell (Pullman 2012) is an exhaustive exploration of the life and career of Powell. Pullman’s account not only examines all aspects of Powell's career but also focuses upon the struggles that all his musical peers (Charlie Parker, Dizzy Gillespie and Miles Davis, among others) experienced, in trying to express their ideas in a jazz world that had become stuck in swing-band conventions. Pullman’s book situates Powell not only in the nightclub milieu. The story also quotes dozens of musicians on the scene on the topic of what went on offstage—in the recording studios, as well as privately, in people's homes. Pullman’s narrative does not flinch from documenting Powell’s involvement with alcohol and heroin. Furthermore, through requests made of the police, FBI and New York State Health Department officials, Pullman carefully narrates, in some detail, Powell's life in psychiatric hospitals. Powell's fortunes improved when, at the end of the 1950s, he moved to Paris (Pullman 2012, 264). Pullman has the same eye for detail here, as many French musicians and fans spoke to the author of the more public and 18 easygoing life that Powell led there. Throughout his text, Pullman provides colourful anecdotes of Powell’s life, based on many eyewitness accounts. A scholarly appendix examines the bizarre, punitive regulations that hampered many performers from appearing in New York nightclubs. After 300 formal interviews and 500 informal ones, research in private archives, the police records, FBI files, successful petitioning of New York state psychiatric hospitals and a series of fact-finding trips to Europe, including visits with Powell guardian Francis Paudras, and scouring his archive, Pullman has done a wonderful job of capturing some important if not forgotten information to which other authors may have not had access. By the end of the book, the readers are left with personalities, places, and music swirling around in their heads, while the central figure remains inside an opaque world where mental illness and enormous creativity uneasily coexisted. There are points of light and darkness within the mysteries that make up Powell’s life, and Pullman deeply explores these points. Pullman’s account is a fair-minded, demystifying, complete biography, one with constant reference to Powell's recording sessions. It may also unfortunately be an uneducated position that makes a judgement on the artistic output of Powell’s musicianship—a judgement that I believe adheres to a false postulation of Powell’s later recordings and musical output. By “uneducated,” I mean that Pullman has no formal musical training (de Lima interview 2011). For this reason, the author’s pronouncements regarding Powell’s “musicianship” should be approached with caution. The Amazing Bud Powell: Black Genius, Jazz History and the Challenge of Bebop (2013), written by Guthrie P. Ramsey, Jr., may be the first extended study of the social significance of Powell’s place in the American musical landscape. Ramsey, Jr. delineates how Powell expanded his own artistic horizons and moved his chosen 19 idiom of “modernism” into new realms. Ramsey, Jr.’s work is well written, illuminating and multi-layered, to say the least. The Amazing Bud Powell centralizes Powell’s contributions, as it details the collision of two vibrant political economies: the discourses of art and the practice of “blackness.” Not relying on anecdotal clichés in his account of Powell, Ramsey, Jr. also attempts to unpack the “essences” of bebop—from East to West, with consideration given to the social, political and economic contexts of its day. The limitations of Ramsey’s account lie in the sheer amount of information presented in the context of a relatively short space. While the author writes well and broaches many topics, he unfortunately does not delve deeply into any one topic, including that of Powell’s accomplishments achieved near the end of his career. Born Into the Birth of a Subculture The press initially used the term “bebop” sarcastically. Yet for all of the obstacles that the musical modernists faced, including those that specifically constrained Earl “Bud” Powell, he had been lucky to be born in the midst of Harlem’s great artistic ferment. The young Powell was just old enough to have witnessed all of the great masters on his instrument in speakeasies and other informal settings near his home. Drawn to Harlem, as the center of such musical activity, and through their constant competition with each other, artists performed for discriminating audiences. The history of jazz piano can be viewed in terms of epic solo battles that often lasted all night (Pullman 2012, iii). Powell’s father, also a stride pianist, showed him firsthand the language of the great stride and swing players. This oral/aural transmission—witnessing, listening and being taught the foundation of Harlem music 20 culture from his own father—brought an authenticity to the young Powell’s playing (Groves 2001, 17). When Powell came into his late teens, he was starting to associate with a small group of individuals who strove to find new ways to voice and express what they perceived as the zeitgeist (the spirit of the times). The new music, later termed “bebop” by the critics, was an expression of revulsion against the old guard and popular styles such as swing and big band music that did not offer the same degree of improvisational freedom (Pullman 2012, ii). Developed by and for African American virtuosos, only a few musicians were capable of performing it well—and Powell was certainly one of them (Megil 1993, 144). The sophisticated chord structures, irregular melodies, and flashing speed of the music left listeners, critics and members of the general public as well, befuddled (Pullman 2012, ii). This was a form of music championed by Powell and his cohorts. It was a form of music that was not commercially oriented, requiring a certain amount of study on the part of not only the performers but the listeners as well. Emic and Etic Perspectives Regardless of whether he realized it, Powell and his colleagues were building a (sub)culture, as they came together and worked out musical ideas at clubs such as Uptown House and Minton’s Playhouse. It was a culture that belonged to a parallel social world where musicians just hung out together, sharing musical ideas and confabulations (Pullman 2012, 18). Earl Powell biographer Peter Pullman describes this creative atmosphere: There were countless nights that Powell spent revolving around close colleagues and friends—and this was where creativity was in constant if elliptical motion. Of course in this, was a closed system (Pullman 2012, 27). 21 I argue that if one was not a part of the new movement or culture, then one might be considered an outsider. As such, one would have no perspective from which to study a society’s cultural system—in this case, the (sub)culture of bebop. It has become a basic tenet of ethnomusicology that any particular kind of music can only be understood in terms of the criteria of the group or society, which makes and appreciates, that music (Shepherd et al. 1977, 1). Anthropologist Kenneth Pike suggests that there are two perspectives from which to consider the study of a sociocultural system. It is possible to take the point of view of either the insider or the outsider. As Pike defines it, the “emic” perspective focuses on the intrinsic cultural distinctions that are meaningful to the members of a given society (Pike 1954, 38). The native members of a culture are the sole judges of the validity of a cultural designation, just as the native speakers of a language are the sole judges of the accuracy of a phonemic identification (Pike 1954, 38). It is my belief that since the young modernists such as Powell belonged to this new (sub)culture, the language that they “spoke” (on their instruments) would likely be foreign to any person lacking real intimacy with the rules governed within this culture’s architecture. Genres and conventions crystalize because a certain community embraces them as “natural”: they define the limits of what counts as proper musical behaviour. Thus, the occasions of stylistic disruption—those times when jazz musicians seemed to push the limit of acceptable generic expectations—are important sites in which to tease out gendered meanings: in the space between convention and innovation exists the stories of power struggle through experimentation. In other words, as musicians push against a listening community’s acceptable codes of musical behaviour, they are usually articulating who they believe they are in the world through displays of musical prowess, stylistic challenge and experimentation (Ramsey, Jr. 2013, 141). The “etic” perspective, according to Pike, relies upon the extrinsic concepts and categories that have meaning for observers. External observers are the sole judges of the validity of an etic account (Pike 1954, 39). Furthermore, as I posit, since the critics and fans are the real “outsiders” to the culture of bebop, they would have no 22 fluency in the idiom, and therefore cannot be considered as having credibility when commenting on Powell’s so-called “fall from grace.” In his essay “Jazz and the White Critic (1963), LeRoi Jones (aka Amiri Baraka) argues that “Negro music is essentially the expression of an attitude, or a collection of attitudes, about the world, and only secondarily an attitude about the way music is made” (Jones 1963, 13). Furthermore, Jones believes that the white critics’ approach to jazz criticism has stripped “the music too ingenuously of its social and cultural intent. They seek to define jazz as an art that has come out of no intelligent body of social-cultural philosophy” (Jones 1963, 14). Similarly, music scholar and author Samuel A. Floyd, Jr. purports that individuals, or what he has referred to as “auditors,” must exercise caution when attempting to decode an artist’s musical output within the context of that artist’s cultural framework. Works of music are not ‘objects,’ but cultural transactions between human beings and organized sound—transactions that take place in specific idiomatic cultural contexts that are fraught with the values of the values of the original contexts from which they spring, that require some translation by auditors in pursuit of the understanding and aesthetic substance they offer (Floyd, Jr. 1991, 278). More than likely, Powell’s dismissal of the archaic and the predictable must have seemed cryptic and arcane to non-enculturated “foreign” ears. The response to music as well as its perception depends upon learned habit responses. The style systems to which the responses are made are developed by musicians within a specific culture… music in a style with which we are totally unfamiliar is meaningless (Meyer 1956, 35-61). From his 2013 in-depth biography of Powell, The Amazing Bud Powell: Black Genius, author Guthrie P. Ramsey, Jr. purports that not only did the outsiders, or “layman” including both critics and members of the general public, have problems deciphering the music, so did the professional musicians who were close to it. 23 The best work (Powell’s) was so complex in harmony and rhythm that it sounded at first incoherent not only to laymen, but to the professionals very close to it…Whenever jazz seemed to stray from certain ideals held in Western music, critics have responded hastily (Ramsey, Jr. 2013, 20-37). Even though Powell’s public was possibly not cognizant of the new bebop culture, I believe that non-musical aggregates may have played a crucial role in defining the juxtaposition of Powell’s “genius” and “neuroticism.” Thus, I propose the question, what are these non-musically influenced aggregates that may have fleshed out a new color palette from Earl Powell? In answering this question, I propose that a deconstruction of Powell’s history of mental setbacks in the context of some of the medical literature on the subject can help to illuminate the issues. Mental Health Abuse It could be said that the medical treatments Powell received during his stay at the Belleview and Willow Grove mental institutions bordered on abusive. According to Citizens Commission on Human Rights, psychiatrists and psychologists had labeled the creative mind, as in the case of Powell, a mental disorder. They mischaracterized the artist’s “feverish brilliance” as a manic phase and his melancholic performances as depressive phases. They labelled his creative vision as hallucinations (Citizens Commission on Human Rights 2004). However, according to Margaret A. Hagen, a Boston University lecturer cited by Citizens Commission On Human Rights, neither psychiatry nor psychology has ever conclusively proven the mental “illnesses” they claim to address in the case of Powell. She further states that these fields have no means of measuring the mind, since they do not have precise and universally agreed-upon definitions of terms or key labels such as “schizophrenia.” They speak of “disorders” because they cannot prove the existence of criteria that make a 24 “disease.” In Hagen’s opinion, clinical psychology is classic junk science (Citizens Commission on Human Rights 2004). Dr. Thomas Szasz, professor of psychiatry, agrees with Dr. Hagen about psychiatry’s lack of scientific veracity, by explaining that an “illness” must somehow be capable of being measured or tested in a scientific fashion, as through a blood test or an electroencephalograph. “As in the case of mental illness, if it cannot be so measured, then the phrase ‘illness’ is at best, a metaphor. Therefore treating these socalled illnesses is an unscientific enterprise” (Citizens Commission on Human Rights 2004). Szasz agrees with Dr. Hagen that mental travail and upsets exist but points out that unhappiness is a problem rather than a disease. Low self-esteem or eating too much or too little are also not diseases. The psychological establishment has defined many of these behaviours as psychological diseases, representing itself as uniquely able to provide the necessary “therapies” for them. He states: “Psychiatrists and psychologists should no more be let loose to diagnose the problems faced by those working in the arts, than a butcher should be allowed to operate on people. The consequences are staggering and dangerous” (Citizens Commission on Human Rights 2004). In this light, Bud Powell may have been a victim of a misinformed system incapable of measuring and diagnosing individuals suffering from mental anguish and manic depression. This misdiagnosis and improper treatment may have been the catalyst that accelerated a downward spiral in Powell that could have otherwise been halted. In 1947, shortly after composing “Celia,” a tribute to his daughter, Powell was institutionalized again for 11 months. At that point, Powell’s mental health had deteriorated to the point where his technical brilliance had become affected (Paudras 25 1986, 5). From that time onward, what becomes most valuable in his work is the degree to which this descent sits in a kind of artistic equilibrium with his powers of expression All, however, do not hold this view. I posit that Powell’s critics and public, past and present, may have betrayed his ongoing genius and misinterpreted Powell’s diachronic evolution as an artist. According to editor and critic Dan Morgenstern, who criticized Powell’s playing on the recording of The Charlie Parker Quintet: One Night in Birdland, “Bud Powell is in fine shape here… there is no[ne of the] tension [that is] sometimes evident in his studio recordings” (Smith 1997, 44). Although the Morgenstern comment in the liner notes of this recording appears as somewhat favourable to Powell, it may also insinuate (unintentionally) that Powell’s creative output has been negatively affected by his own mental instability. His seemingly erratic harmonic treatments, or so-called “tension,” which sounded to critics as flawed performances, were possibly beyond the musical scope of his public. In his critique of Powell’s anguished interpretation of a well-established song from Rodgers and Hart’s show Pal Joey, critic Leroy Lovett said that, while he respected the artist’s right of reinterpretation, Powell treated the material “as if it’s a religious song, a choir song … That’s okay, but the [right chords] would have been prettier” (Pullman 2012, 213). This aforementioned view that Powell had abandoned the “Fatha Hines” horn-influenced style in his playing, deliberately or unconsciously suspending the music’s pulse, added to the judgments by his critics that he may have become irredeemably self-absorbed and emotionally damaged (Pullman 2012, 63). More importantly, it is my belief that these critics may have been so confined (and possibly defined) by their comfort zones that they did not criticize other less “adventurous” musicians for being complacent as a result of playing worked out riffs and common melodic sequences in a rote manner. Most importantly, if one is to 26 accept Powell’s musicianship as a diachronic evolution, an unwinding and unpacking of originality over time, then the good and bad musical ideas become one and the same; they are both part of a homogenous tectonic structure, regardless of intent. Thus, I postulate that a myopic view of Powell may have been the result the critics’ and fans’ inability to accept and understand his artistic evolution, as a modernist who had not given into convention. Overlooked Aspects of Powell’s “Downward Spiral” There are important aspects of Powell’s so-called degeneration that are not commonly considered by critics and his public. In a personal interview held on March 15, 2012, author and Powell biographer Peter Pullman held that, no doubt because of his race, there was a crucial delay in getting his 1945 injury treated (Pullman 2012). Consequently, Powell began to act in such a way that those in charge felt that they could institutionalize and further brutalize him. This may have been the catalyst for the subsequent unconventional, if not macabre, opus of music, channelled from the bowels of the downward spiral he underwent. Works such as “Hallucinations,” “Willow Grave,” “Wail,” “Oblivion,” “Un Poco Loco” and “The Glass Enclosure” are representative of antecedents derived from turbulent times which may have gone on to shape his compositional and harmonic palette. Second, in 1959, Powell moved to France, where he continued being given Thorazine, a powerful tranquilizer known as the “chemical lobotomy” (Paudras 1986, 67). It is here where I posit gossip to be manifested and the romanticism of Powell’s deterioration conjured. News of his artistic development, or lack thereof, may have jeopardized his public image. Incriminating questions raised by his critics may have caused the public to see a distorted picture of an incompetent, who had lost his mighty facilities and prowess (Paudras 1986, 182) 27 However, according to Powell biographer Carl Smith: Bud’s playing was never sentimental in the conventional sense…flourishes sometimes suggest a more conventional artistic sensibility than might be expected from Bud Powell, and critics have faulted him for using them…Those not familiar with Bud’s playing may be surprised by what often sounds like wrong notes or wrong chords. While startling at first, these are usually not mistakes but rather part of Bud’s adventurous, often experimental, piano style. Bud studied classical music for many years as a young performer and was familiar with the dissonances used by modern composers. Many of his strange and apparently wrong-sounding chords are the results of previous experiments that he deemed successful enough to incorporate into his treatments of songs. They are not “wrong” unless Bud can’t find a harmonically appropriate way to resolve them (Smith 1997, 7). Why was it so hard for the media, critics and fans to see that Earl Powell may have never really expired as an artistic phenomenon? The brutal and painful events that he endured, before and after his medical setbacks, must have created feelings of anxiety and disorder (Paudras 101). It is my belief that these feelings may actually have been a catalyst for his subsequent, harmonically adventurous performances and compositions. According to the French commercial artist Francis Paudras, who helped restore Powell’s health, and who is cited by Neil Tesser in the liner notes of Powell’s record The Genius of Bud Powell, vol. 2: Powell has a complex personality—diagnosed by the doctors as schizophrenia. He has two personalities. One drives him to fight to conquer his problems, to play music and live a creative life… The other personality is one in which he lets himself go to self-destruction, one in which he has no goal and no selfrespect (Tesser 1978). Ultimately, the symbiotic relationship between the neurotic and the genius, the juxtaposition of turbulence and creativity, makes for the greatest argument towards Powell’s genius. The life and music of Earl Powell serve as evidence that the artist and the neurotic can coexist. It is this unsettled relationship between the will to survive and the will to self-destruct that gives rise to the elements not found 28 in Powell’s earlier works (such as when he was a member of the Cootie Williams Orchestra, from 1944-46, and The Bebop Boys, in 1946) or which may have not even been considered by his critics and public. Where once melody and dissonant harmonic treatments may have been superseded by technical virtuosity, does there lie a polar opposite? On the contrary, I propose that there lies not a digression but rather an evolution (and possibly revulsion), away from former tainted memories of a tortured self. The new “Powellian” sound did not feature the flash and pyrotechniques that some had come to expect but rather an introverted wash of melancholy as poignant as the titles of his mid-late recordings (such as Inner Fires, The Invisible Cage, The Lonely One, and Ups and Downs). Eminent psychotherapist Rollo May writes of this synergistic relationship between the neurotic and the artist in his book Love and Will (1969). May explains that both the artist and the neurotic speak and live from the subconscious and unconscious depths of their society. The artist does this positively, communicating what he experiences to his fellow men, while the neurotic does this negatively. Experiencing the same underlying meanings and contradictions in his culture, the neurotic is unable to form his experiences into communicable meaning (May 1969, 43). In the following chapter of this study, I examine some possible psychological elements taken from author Dr. Tobi Zausner’s 2006 seminal treatise on the subject of creativity and mental health, When Walls Become Doorways, which may shed light on Powell’s mid-late career compositions 5 and performances. The epitome of Powell’s music becoming a metaphor for his turbulent life is the 1953 composition Glass Enclosure, which I believe offers a window into 5 29 Transformations and Self-Efficacy It can be said that creativity is central to an artist, regardless of illness or trauma. This illness can be viewed as transformable, as a result of the artist’s passion to be creative during times of sickness. According to psychologist and author Tobi Zausner, artists choose to be creative when they are sick. As a result of that creativity during sickness, a transformation occurs, not just with regard to the work but also with regard to the self (Zausner 2006, 14). This transformation of the work and self is a precursor to what psychologist Albert Bandura calls “self-efficacy, the way we perceive ourselves and our belief that the things we do make a difference” (Zausner 2006, 14). Not only do these beliefs inspire motivation and determine our behaviour, they foster an individual’s mastery in performing a task in a difficult situation, as a result of the uncontrollable circumstances at hand (Zausner 2006, 14). Despite his challenges, I believe Bud Powell achieved self-efficacy through experiences and hardships—and more importantly, that Powell achieved what Zausner refers to as “mastery,” a creative process that usually begins after an acute phase of trauma is over and an overabundance of rest produces a need to fill the empty hours, resulting in creativity (Zausner 2006). A transforming illness is a stage of poor health that will have major implications on a person’s work, perception and life (Zausner 2006). Whether the transforming illness is a single episode or a chronic condition of health, things are never the same afterward. Furthermore, as no person is immune to illness or to change, everyone is a potential candidate (Zausner 2006). The transformational process can occur quickly in a split second of insight, an epiphany. At other times, it may be a slower, more gradual transition to a new life (Zausner 2006). Powell’s turbulent health and lifestyle. I analyze Powell’s Glass Enclosure later in this essay. 30 Physicians have recognized and written about the connection between illness, creativity and self-transformation. According to author and surgeon Philip Sandblom, “In artists, the passion to create generates a willpower strong enough to defy the worst disease” (Sandblom 1999, 20). Zausner cites psychiatrist Rudolph Balentine, who states: “Illness gives you the gift of helplessness, the overwhelming awareness that your way of being has at least in some aspects failed” (Zausner 2006, 9). Geoff Dyer, in his impressionistic book But Beautiful “speaks” to Powell of his failing technique: I’ve always believed that an artist is someone who turns everything that happens to him to advantage. Was that true for you, Bud ... the days you couldn’t play wasn’t there something special about those performances as you struggled to learn again the language you had helped invent? Is it possible the music was heightened by your inability to play it, like damage to a painting enhancing a perfection that is no longer there? (Smith 1997, 140) Whenever a transforming illness occurs, it is a turning point in the life of the individual, leaving him or her a different person than the one they were before. Feelings of chaos are usually predominant before any new transformation takes place (Zausner 2006, 15). Chaotic Structures Whenever one is stressed or sick, one is in a state of chaos. Emotional stress such as depression and physical stresses such as head or heart trauma produce chaos (Zausner 2006). According to Nobel Prize winner Ilya Prigogina: “Chaos is a state of turbulence in which things appear disordered, but actually have an inherent structure that can produce new order” (Zausner 2006, 10). Transforming illness may look disordered, but encapsulates the foundations for a new existence. Illness parallels chaos in two ways: First, in an acute illness, a time of chaos is encountered and reorganizes the individual’s world and dissipates. Second, in chronic illness, the chaos is ongoing and individuals must try to cope, persevere, and adapt accordingly. There 31 are many examples of chaos and its and the by-product “aftermath.” New Year’s Eve parties are noisy before the New Year begins. The birthing process of a baby is chaotic in the delivery room before any relaxation and family building can take place with the new parents. Chaos ushers in a window of opportunity to turn a transforming illness into a spandrel of positive artistic growth. The elements that encompass chaos may be no different from the architecture of abstract harmonic treatments; the relationship between static or non-static elements that are not similar and yet are homogenous. Examples of this relationship would include colours on opposing sides of a colour wheel, or oil and vinegar on a salad. The harmony in chaos may also be no different than primitive elements combining to create art and, more importantly, the relationships between these elements. To apply neuroscientist Daniel Levitin’s idea to music, the relationship between pitches and chord progressions becomes art, as they “combine harmoniously… [Giving] rise to perspective, foreground and background, and ultimately to emotion and other aesthetic attributes” (Levitin 2007, 18). It is this relationship of those elements to one another that creates integrity and integrality, a coherence and cohesion that the higher levels of our brain process (Levitin 2007, 18). Similarly, the “coping” elements of chaos work in tandem to give rise to creativity. What are these “coping” elements of chaos? Concepts from psychology can be used to show a parallel between primitive elements of creating art, including the important relationships between those elements, and the architecture created by chaos as a coping element. Pullman demonstrates this idea when he describes Powell’s performance of “Just One of the Those Things”: “The long improvised section, each idea is a different pathway that’s chosen to break free—yet with each 32 failure comes a brief self-assessment, before he searches again, furiously, in another direction. It’s creativity-by-desperation” (Pullman 2012, 153). Creativity as a Coping Mechanism The “coping mechanism” is a term used to define how individuals deal with stressful events. Using creativity to cope during poor health is a positive response to a difficult situation. Psychologist Salvatore R. Madd states: “Making a hard time more bearable is what is known as transformational coping” (Zausner 2006, 11). According to psychologist Celeste Rhodes, the coping mechanism becomes a tool for personal growth (Zausner 2006). The result is known as eminent creativity, resulting from art and created to counteract feelings of depression. Conversely, there are negative coping mechanisms whereby artists may sometimes use an unhealthy strategy in response to illness. This negative coping mechanism, such as the use of drugs or alcohol, is usually used as an escape from reality when dealing with illness or trauma. Unfortunately, this was also the sanctuary sought by Powell in response to his troubles. Artist Projection Artist projection can be viewed as a compensational response of committing an action to make up for something that is missing (Zausner 2006, 12-14). Rooted in psychological undertones, artists project themselves and what they desire onto what they are creating; as a result, they manifest themselves in their works, as the focal point and subjects of their creations. This virtual reality of artistic endeavour is also a compensational tool for letting go of their physical condition at the time (Zausner 2006). Author Guthrie P. Ramsey, Jr. posits that one might even venture that Powell—like the protagonist in Ralph Elison’s novel, Invisible Man (1952)—played 33 the music of his own invisibility; as a difficult-to-know individual, he may have communicated his innermost emotions through his art (Ramsey, Jr. 2103, 59). As a result of receiving numerous physical beatings from the police in response to drug related activities and disorderly conduct, Earl Powell’s stay at the Willowgrove Mental Ward was a fruitful time, in a creative sense, producing such compositions such as “The Glass Enclosure,” “Willowgrave” and “Hallucinations” (Paudras 1986, 182). These works not only exemplify Powell’s turbulent times in the institution, but conceivably the experiences of violence he encountered with police officials as earlier mentioned: listening to the erratic rhythms and polytonal clusters gives the audience a window into his tormented encounters with the law. Because it is so convincing to the artist, compensation and artistic projection can fuse in the creative process, during which the artist feels a stronger experience through the creative process itself, rather than reflectively looking at the work after completion. “From a musical axis, this can be viewed as the artist enveloped in the moment of his creation, becoming what he composes as it appears” (Zausner 2006, 16). Powell’s composition “The Glass Enclosure” is testimony to this notion. New York critic Ira Gitler has described Powell’s compositions as “a man walking on a tightrope over a chasm of poetic beauty and madness” (Gitler 2001, 116). The dichotomy of Powell’s inner torment drove him to seek relief in compositions that gave him a rehabilitative effect, while at the same time adding to his suffering (Groves 2001). Art Mimics Life According to Alan Groves (2001), on September 4, 1952, Earl Powell was committed to the Pilgrim State Mental Institution. He was allowed to play the piano 34 and compose once a week under supervision. When Powell became too agitated by his musical compositions, the attendants stopped the sessions (Groves 2001, 51). I postulate that Powell’s compositions were all fragments of his inner life and surroundings that denote hermeneutically the struggle for artistic beauty in times of mental breakdown and chaos. For example, the Powell compositions “Hallucinations,” “Oblivion” and “Wail” were written during the time when he was subjected to electroshock treatments (Paudras 182). I also posit that the Powell composition “Glass Enclosure” that was written towards the end of his career refers to Powell being a prisoner in a physically damaged body (Glass Enclosure) with physical and emotional fragility that may shatter at any moment. The sense of transparency suggested by Powell’s song titles is also a denotation of the turmoil one hears in his compositions. Unfortunately, Powell’s new compositions that may have sounded obtuse to any outsider were linked to his hospitalizations, and subsequently were cruelly reported in the press (Pullman 2012, iv). They were also spread as gossip, in and around the clubs; some of these rumours, it turned out, had been wholly invented (Pullman 2012). But once word got around that Powell had just been released from or was about to return to the hospital, spectators eagerly looked for signs of emotional improvement or, more often, decay (Pullman 2012). They made amateur pronouncements of his psychological state and incorporated them in their assessments of his musical abilities (Pullman 2012). 35 “Outside” Influences NOTE: Please read the aforementioned disclaimer on page 9. The following statements in “Plasticity of the Brain,” “Drugs and Creativity” and “Powell’s Epilepsy and Creativity” are only an interpretation of my findings from documented literature. I do not purport to make any medical diagnosis or prognosis of Earl Powell’s condition. My Personal Account with Illness as a Rationale In pursuing this study, I realized there were some similarities I encountered with my own physical health that mirrored Powell’s. For example, in February of 2005, I suffered a concussion. Immediately following the concussion, I began to have feelings of anxiety and anger, after which I became depressed. The depression was largely a result of an inability to manage no more than 30 minutes of practice as a result of pain and lack of concentration—a significant drop from practicing 8-10 hours a day. Composing then became a major focus for me, and I hoped that perhaps new creativity might manifest itself after the incident. Upon reflection, my compositions after my concussion embodied the frustration and pain of my ordeal. Harmonically, the compositions were like none that I had ever composed before, reflecting the landscape of my emotional state. Besides physical pain and mental stress, I asked myself, could there be other factors affecting my compositional process? The doctors did not administer any painkillers or blood thinners; therefore, medication in this case did not influence my music. What I later found out was that brain chemistry is quite volatile and will react to a concussion and drug therapy by 36 releasing an overabundance of chemicals. 6 Also, according to the brain injury association of America: When a brain injury occurs, the functions of the neurons, nerve tracts, or sections of the brain can be affected. If the neurons and nerve tracts are affected, they can be unable or have difficulty carrying the messages that tell the brain what to do. This can result in Thinking Changes, Physical Changes, and Personality and Behavioural Changes. These changes can be temporary or permanent. They may cause impairment or a complete inability to perform a function (Living with Brain Injury 2003). Thus, in trying to deconstruct the aggregates that shape the gestalt of Powell’s “genius” and “neuroticism,” I propose that there may be medical factors that should be taken into consideration, factors that act as “aggregates,” which may have influenced Powell’s harmonic pallet. I also posit that the critics, literature and fans may not have taken any of these medical factors into consideration before pigeonholing Powell into a false taxonomy. Because Bud Powell was a victim of police brutality that resulted in a head injury (Paudras 1986, 2), I believe the healing of his brain and the drugs that he was administered may have played a large role in the harmonic output he has been criticised for, as we shall see below. Plasticity of the Brain Over the last twenty years, new data have shown that the brain is not a hardwired machine, as it was once believed to be. It was once thought that the brain was hardwired after a period in development; however, it is now accepted that the brain has a remarkable capacity to modify its structural and functional organization throughout the life of a human. Dr. C. Wan sheds a new light on the brain’s turnover for recovery, giving rise to “neuroplasticity.” 6 Further explorations of the brain when injured and its role in the creative process will be discussed later in this study. 37 If the brain gets injured, it may be possible for the neurons to find a different path to reconnect and keep up with the demands of the mind. This type of malleability shows how, even after an injury, plasticity in the mind’s ongoing neural networks can stay intact if wired differently (Wan, 2010, 566). Otherwise stated, “Neuroplasticity is the capacity of local neural networks and neural systems to change their topography and local architecture in response to new information, sensory stimulation development, damage, or dysfunction” (Britannica, 2008, 32). This valuable information could be taken into consideration in the account of my own concussion (2005). After the injury, I felt no creative impulses for weeks after the incident, as a result of the pain from headaches and subsequent inability to concentrate. It was only after the head/brain injury began to heal that I believe I was able to start the creative process again. The process, however, was coloured by changes in my personality (possibly caused by the concussion), which may have resulted in a new direction in sonority (de Lima 2011, 42). According to Dr. Alan Deutsch: Rapid change or organization of the brain’s cellular or neural networks can take place in many different forms and under many circumstances. These can include instances such as when the brain experiences actual physical damage from a head injury or stroke and the brain attempts to compensate for lost activity. This is known as “compensatory masquerade” and can be described as the brain devising an alternative strategy for carrying out a task when the initial strategy cannot be followed due to impairment. If certain key neural pathways are blocked, then the brain uses older pathways to go around them (Deutsch 2010, 9). Dr. Alan Doidge purports that the brain has a window of “growth” that begins in infancy and ends between eight years to puberty (Figure.1.1). Within this time frame, language development can be learned at a higher level of intensity, compared to post puberty, when, for example, a person learning a second language is rarely able to achieve mother-tongue proficiency (Doidge 2007). As music and language maps overlap and are found throughout both hemispheres of the brain (rather than being 38 localized) and the brain circuits that process speech and music overlap, music may therefore be viewed as a language (Doidge 2007). Most importantly, since Powell began learning to play jazz music before the age of six (Groves 2001, 10), an age well within the aforementioned timeline, or “critical period of plasticity,” Powell may have been able to form crucial connections as a result of the early formation of these neural pathways (Figures 1.2a, b.). Figure 1.1. Post hoc tests revealing a significantly larger anterior corpus callosum in musicians with early commencement, compared to that of a non-musician (Schlaug, 2001). 39 Figures 1.2a,b. The Corpus callosum of a musician with early commencement of musical training (A) and of a nonmusician (B). The images show a larger anterior half of the callosum in the musician (Huang, Jancke, Schlaug, Staiger, & Steinmetz, 1995). 40 Drugs and Creativity Perhaps it was the drug therapy after Powell’s head injury and not the medical trauma, or perhaps, even a combination of both stimuli that affected Powell’s subsequent compositional process. According to authors Boso, Politi, Barale and Enzo of Neurophysiology and Neurobiology and the Musical Experience (2006), musical stimuli have been shown to activate specific pathways in several brain areas associated with emotional behaviours such as the insular and cingulate cortex, hypothalamus, hippocampus, amygdale and prefrontal cortex. In addition, neurochemical studies have suggested that several biochemical mediators—such as endorphins, endocannabinoids, dopamine and nitric oxide—may play a role in the musical experience. The neurotransmitter dopamine is responsible for mood regulation, coordination of movement and being part of the brain’s pleasure-and-reward system. When drug addicts use their drug of choice, when gamblers win a bet, or even when “chocoholics” eat cocoa, this is the neurotransmitter that is activated. From a musical and creative perspective, dopamine is also responsible for the “thrills and chills” associated with a particularly pleasant or euphoric musical experience (Levitin, 2006, 189). Musicians such as Charlie Parker, Miles Davis and John Coltrane, to name but a few, were addicted to heroin at an early stage of their careers (Burns 2001). Powell himself was no stranger to the drug’s intoxicating aftermath (Pullman 2012, 104). Heroin belongs to a family of drugs constructed from the unripe seedpods of the opium poppy. Opium’s active principals, principally morphine, reside in its alkaloids. These alkaloids, also known as opiates, exert their main effects on the brain and spinal chord. Their principal action is to suppress pain. They also alleviate anxiety, 41 induce relaxation, drowsiness and sedation, promoting euphoria. These alkaloids are also extremely addictive (Britannica, 2008, 287). How opiates achieve these effects is through a close resemblance to the “pleasure centre” molecules, endorphins. Opiate alkaloids are able to occupy the same receptor sites usually occupied by endorphins. The individual is therefore able to feel the “pleasure and chills” sensation whenever the drug is administrated (Britannica 2008, 288). For jazz musicians, there exists a dichotomy when taking drugs to suppress the negative affects of adrenaline, which can also fuel the spontaneous creativity known as improvisation, an essential aspect of their music. Bud Powell’s prescription for the drug Largactyl for the treatment of schizophrenia (Paudras 1986, 65) is another example of how drugs not only block the effects of dopamine but also alter performance and creativity. Paudras discovered that Powell’s girlfriend was slipping him pills every day. These pills turned out to be Largactyl, a powerful tranquilizer commonly known as Thorazine and also as the “chemical lobotomy” or “chemical straitjacket.” When mixed with alcohol, they cause “dangerous oversedation.” This can also cause agitation, drowsiness, and tardive dyskinesia, a condition characterized by involuntary movements of the tongue, face, mouth, and chewing movements. [Powell] fought against the disastrous effects of Largactyl combined with alcohol. He fought to preserve the one thing that mattered: his music. But it was an unequal battle. His physical and emotional state worsened everyday. To express himself in music, as in life, all his powers were failing him. To overcome this debilitating state, he found another music, excessively slow but even more poignant than the familiar one (Paudras 1986, 72). Largactyl, also known as an anti-psychotic drug, can reduce agitation, delusions, hallucinations, and suicidal tendencies (Britannica, 2008, 297). Powell’s use of this drug shortly after his run-in with the police could also have been the 42 beginning of a physical breakdown that was a side effect of this drug. Powell’s performances had become inconsistent and his phrasing, timing and creative improvisations had stagnated during the years when he was using Largactyl (Paudras 1986, 65-66). The side effects of these types of addictive anti-psychotic drugs are loss of muscular coordination and slowing of reflexes. Powell’s Epilepsy and Creativity Dr. Harris, a physician, pianist, and friend of Powell’s guardian Francis Paudras, decided to investigate Powell’s case. His conclusions stemmed from physically examining Powell and accurately transcribing his compositions and improvisations. He notes the following: Apart from the usual psychiatric interpretations of that phenomenon [epilepsy], it is a fact that auditory hallucinations—including hearing voices—are one form of epileptic manifestations. What I am talking about is a far more subtle form of epilepsy, rather than the stereotype of the grand mal seizure or whole body convulsions, which I’m sure most people call to mind when they hear this word. Actually, the French term—“absence”— expresses the idea of the petit mal variety of epilepsy, which is what I have and I think Bud had. The precise symptoms depend on exactly what part of the brain has been injured. This injury would in no way be visible to the naked eye, even if it could view the brain directly. Yet, the injured area has acquired the property of spontaneous activity (that is, activity without an external stimulus or willed internal stimulus). If it is the area concerned with normal hearing, for example, the individual may at times hear things which aren’t there. These may be “records” of the past—as in the case of hearing symphonies—or voices speaking for the first time. After experiencing such sensations, the individual may or may not lose consciousness for a brief period of time. If he loses consciousness, he may nevertheless carry out movements of parts of his body (including turning the head, facial grimaces, staring with the eyes or blinking rapidly) which appear to the observer as if they were deliberate (Paudras 1986, 180). As for Powell’s performance and creativity, Dr. Harris goes on to state the following: I think that the content is so strong (that is, the chords are so richly voiced, and there are so many notes with such a strong pulsation in the line) that the brain is literally driven into “overload” and if the person doing the playing has any tendency towards seizures, the music will thus trigger their occurrence. The 43 onset of the seizure has a terrible subjective sensation (I feel as if I am going to become paralyzed, or lose consciousness and die); since I know what is happening to me, I can deal with it, but if Bud didn’t know what was happening to him, it would have been very frightening to him to have such experiences, I’m sure. All I have to do to stop the sensations is to stop playing for a short time. This may have been what Bud was doing when he paused in the middle of playing, as several critics have described, or simply sat at the keyboard without even beginning to play. In those instances, he may have begun to experience odd sensations as soon as he got near the piano, and was afraid to play because that might worsen the way he was feeling (Padras 1986, 181). Neurologist Anjan Chatterjee of the University of Pennsylvania believes that “brain injuries and disease usually hamper the production of art, yet the exceptions could be revealing. Sometimes the great artists can give us insight into the process because they have distilled it into a more extreme version” (Jablow 2010). Such an argument could be made for Powell’s situation. He refused to suppress emotions. Rather, through his music, he engaged in a purging of terrifying insights, with an erratic, tenuous balance between genius and madness (Groves 2001, 51). Although it may be difficult, if not unsettling for the listener to comprehend, it is his soul that Powell bares, which makes the music so interesting. And so, what are left are visions and nightmares, beauty and a touch of madness, contributing to an artistic legacy that to this day contains a warped beauty far too rich to be written off. The following quotes from critics and friends will shed some favourable light on Powell’s mid-late career sound, which was misunderstood by so many of his critics, fans and colleagues. According to Francis Paudras, who was listening to Bud Practice one afternoon in his apartment: Bud continues singing and laughing at the same time, altering the song drastically with strange mixture. Then he sits at the piano and simply plays the song. I am knocked out to hear the exact same interpretation as on the record. And this confirms to me that this version of the tune, so hotly contested by all the critics of the time, was no accident, and was not connected in any way to any momentary weakness, but on the contrary, it 44 had been perfectly thought out and was totally masterful in its dramatic context (Paudras 1986, 63). The liner notes on one of Powell’s last recordings, Ups and Downs, written by Nat Hentoff, state: As these performances indicate, a primary element of Powell’s distinctiveness was his phrasing … which led to continual surprises but which, in retrospect, sounds inherently, inevitably illogical. There was also the way he harmonized songs. Bud has his own unmistakable color sense, and it’s rewarding to listen all the way through this just to follow his play of texture and also to hear how he used harmony rhythmically (Smith 1997, 141). Author of Bouncing with Bud, Carl Smith provides his personal insight with regard to the later years of Powell’s recordings: At first I dismissed these feelings of attraction to many of the later recordings as nothing more than a response to the novelty of things I had never heard before. I also suspected myself of being such a devoted Bud Powell fan that it was not possible for me to be objective. Surely the great majority of jazz authorities and critics must be right; that Bud’s later recordings range downward from poor imitations of his own early work to outright failures. Nevertheless, after countless listenings, I still find myself going back to many of the later recordings. The novelty is gone but the musical satisfaction remains. There is something about the later Bud that defies all attempts at the kind of comparative analysis that is so often applied to him. I think the many critics who find little value in Bud’s later recordings are wrong… many of the later recordings are like Mozart’s great piano concertos. No matter how many times you hear them, they always seem to have more to offer. I think this ineffable quality is the result of the maturing of a brilliant musical mind. Bud went places harmonically that no one else could go, and we are still trying to catch up to him (Smith 1997, 144). Clearly, there were individuals who were able to see Powell’s continuous arc of musical evolution. In the following section, we will learn why some of Powell’s uses of dissonance are actually acceptable to the ear. According to neuroscientist Michael Merzenich, as humans age and use their native language more often, the more the linguistic map space becomes dominated by this native language (such as music, if one considers music a language). Interestingly, in children who are bilingual, brain scans show that two languages share a single large 45 map, a library of sounds from both languages that get processed evenly by the brain (Doidge 2007, 45-92). This type of processing may make a recovery from a traumatic brain injury easier for music patients because music maps are being triggered that are already overlapped with maps of speech and language syntax. Thus, the injured individual, due to the plasticity of the brain, can still process the language of music (Doidge 2007, 273-74). Since music is linked to the same systems that govern emotional expression, Jamshed Bharucha, a cognitive scientist at Dartmouth, also sees its roots embedded in pre-linguistic manipulations of the voice (Shreev, 1996). After Powell’s head injuries, I postulate that his harmonic embellishments and treatments could be described as an expression of Bharucha’s theory. The use of dissonance in Powell’s compositions can be viewed as a “cry” and can be associated with what scientists refer to as “Motherese” (Levitin 2003, 228-29): higher pitches, lower pitches and sweeping pitch contours, all which violate the expectations or schema one might usually expect to hear in that chord (Levitin 2003). According to Deutsch: The “prosodic cue,” or “prosody,” of the syntax and linguistics part of the brain’s output is correlated to the expression of emotional state that encompasses overall pitch level, range and contour (the pattern of rises and falls in pitch), loudness variation, rhythm and tempo, regardless of the words being spoken. Some well-known examples of “Motherese” include Grieg’s Peer Gynt Suite No.1, “Morning Mood,” which conveys peacefulness; Albinoni’s Adagio for Strings in G minor evokes sadness and tears (Deutsch 2010). Also, according to Deutsch, prosodic characteristics reflect a person’s emotional state; these characteristics would have to be found in individuals with trauma such as a brain injury (Deutsch 2010). Thus, I postulate that Bud Powell may be viewed as someone who was misrepresented as a declining misfit of a musician in the wake of brain injury. 46 Powell’s body of work before his head trauma had a very typical harmonic sound, found from the perspective of 1940s bebop. His use of standard three-note voicings in the left hand while playing the melody, or improvisation, sounded like generic bebop fare. Conversely, after his head trauma, I posit that Powell’s use of odd harmonies and melodic notes gave rise to the catalyst discourse that many may have interpreted to be his “fall from grace,” purporting that he had lost his touch and could no longer be the modernist he once was. I disagree with these allegations, as Powell may have very well been expressing musically the pain and stress of the many physical traumas he experienced from the above-mentioned police brutality and the aftermath of depression, as well as drug and electroshock therapy. Jack Panksepp, a bio-psychologist at Bowling Green University, offers an intriguing explanation as to what he calls “chills”: “An emergence to excite primitive mammalian regions of the brain that responds to the distress signals of an infant who has suddenly lost its parents” (Shreeve, 1996). Not only did Bud Powell try to make his music sing: he sang or whined at times in unison with his soloing. On the album Bud Plays Bird (1957), the listener can hear Bud crying out at times while soloing. From his seminal biography Portrait of Bud Powell (1986), Powell’s guardian Francis Paudras gives his first-hand account of living with Bud Powell, shedding light on Powell’s mental and physical setbacks that seemed to act as aggregates in forming a gestalt for his erratic behaviours: Bud numbed by tranquilizers and in constant fear of reprisals, had long ago become resigned. He had been thoroughly conditioned by his successive hospitalisations, his time in jail, and his run-ins with all kinds of people who had power over him, as a man and as a musician. With his past raked over and spotlighted by the press, he didn’t stand a chance in case of conflict. He was caught in a vicious circle and his withdrawal into himself was a desperate means of self-protection in order to avoid any embarrassing indiscretions. But I sensed that he had kept his lucidity. This lucidity came out in his music, where each note was a cry for help (Paudras 1986, 72). 47 The Musical Lexicon The musical lexicon (Figure 2.1.) is a representational system derived from Dr. Isabel Pertez that contains all the representations of the specific musical phrases to which one has been exposed during one's lifetime. The same system also keeps a record of any new incoming musical input. Accordingly, successful recognition of a familiar tune depends on a selection procedure that takes place in the musical lexicon. The output of the musical lexicon can feed two different components, depending on task requirements. If the goal is to sing a song like "Happy Birthday," the corresponding melody, represented in the musical lexicon, will be paired with its associated lyrics that are stored in the phonological lexicon and will be tightly integrated and planned in a way that is suitable for vocal production. If the task requires retrieving non-musical information about a musical selection, such as naming the tune or retrieving a related experience from memory, the associated knowledge stored in the 'associative memories' component will be invoked (Peretz 2003). The musical lexicon could also aid as a tool in helping explain why Powell might have made certain “questionable” harmonic and rhythmic choices. If Powell’s memories of certain “events,” such as the incidences with police brutality and electroshock therapies in the mental hospital(s), happened at certain particular times of his life, then Peretz’s Musical Lexicon offers potential insight with regard to why Powell’s compositions and improvisations would take on the characteristics that his early performances and compositions lacked. It is my contention here, based in part on Peretz’s Musical Lexicon, that Powell’s misgivings” became the kernels that gave rise to a new “vocabulary” to map onto any future compositions and improvisations. I also posit that Peretz’s “associative memories” module within his Musical Lexicon would be the main instigator—always playing a major role in not only triggering 48 memories of physical pain (as suffered from police brutality and electroshock treatments) but also the pain of not being able to articulate himself through his instrument, as a result of these physical setbacks. All the memories (physical and emotional) associated with Powell at those critical moments—originally brought on by the “associative memories” module—will thereby influence the other modules, such as “rhythm,” “meter,” and “contour,” thereby influencing not only Powell’s performance but more importantly, the “shaping” of any future musical output of his that may have been seen as “beyond the scope” and compliance class 7 of Bebop. Most importantly, I posit that Powell’s feelings of pain and helplessness ultimately givs rise in part to create a feedback loop that influences a constantly evolving non-static vocabulary that others may have misinterpreted. Figure 2.1. The Musical Lexicon (Peretz 2003) is a representational system derived from Dr. Isabel Pertez that contains all the representations of the specific musical phrases to which one has been exposed during one's lifetime. See Nelson Goodman’s section on aesthetics from his seminal 1 6 treatise, Languages of Art. 7 49 Analysis of “Aggregates” Not Considered According to neuroscientist Daniel J. Levitin, “dissonant notes that are substitutions for the brain’s anticipation of correct notes cause a violation of expectations but are accepted nonetheless to the ear. This is also known as unconscious inference”(Levitin 2006, 79). Unconscious inference can be seen in Powell’s 1953 Roost records rendition of Richard Rodgers’s “My Heart Stood Still.” Powell’s use of dissonance contradicts the listener’s expectations of a more traditional harmony. Instead of using an Fmaj6 chord for the first chord of Bar 1, Powell uses an FMaj7(b9) voicing that has the b9 voiced in a hidden fashion within the voicing. Although the flattened 9th is not normally a favourable substitute for the natural ninth on a major chord; however, because it is in close proximity to the natural 9th, I believe that the ear accepts this substitution (of the b9) as a variation of the natural 9th. Also, Powell plays the b9 chord as a solid chord, not broken making the variation not as obtrusive in my opinion to the ear. This is known as simultaneous onsets—sounds of a similar volume group that are being grouped together to keep a unified whole or form (Levitin 2006, 80). Since the “simultaneous onsets” are being struck at the same time, forming a gestalt, I posit that any awkwardly dissonant notes become synthesised together within the ear, producing a blending within the sounding of the chord. A further explanation of why onsets can be grouped together can be found in physicist Carl Stumpf’s theory of Tonal Fusion, which postulates that there are tendencies for some sound combinations to cohere in the brain as a single-sound image (Stumpf 1890, 176). 50 “The Glass Enclosure:” Analysis To begin, I would like to deconstruct the particular areas within “The Glass Enclosure” that the critics and public may have found to be arcane—and therefore may have contributed to myopic views of Powell’s misunderstood musicality and harmonic treatments after his medical issues. According to Bluenote Records producer Alfred Lion, “The Glass Enclosure” was composed by the “unpredictable” Powell at a time when he was “a bit under house arrest” (Ramsey, Jr. 182). Author Ramsey further explains how “The Glass Enclosure” came to fruition: During an extended gig at Birdland, Powell was supplied an apartment and other things he needed by Oscar Goodstein, who was at that time the manager of the spot. The arrangement assured the fulfillment of his performance contract by supplying some day-to-day needs. [With] the doors locked, Powell was left to his own creative devices with a piano. Lion borrowed the key and visited him one day. After hearing the new piece, he asked Powell its title. “Glass Enclosure,” Powell said, after looking around his locked apartment (Ramsey, Jr. 2013, 182) . Author Evan Sarzin states that Powell’s ‘The Glass Enclosure,’ recorded and published in 1953, “is a composition that expresses the alienation and pain of the composer’s institutionalization at several mental facilities” (Sarzin 2000, 16). To unpack and expand upon Sarzin’s comment, I would like to offer my personal insights to what I believe is denoted by Powell’s “The Glass Enclosure” whilst also deconstructing what I believe to be Powell’s harmonic intentions that may not be evident to his critics and public (figure 3.0.). The composition itself is 80 measures and lasts under three minutes—shifting in emotion, dynamics and beat. It is more a movement than a song, comprised of five sections (with the fifth section somewhat similar to the first). Each section projects a contrasting mood, lacking in repetition, while driving forward relentlessly. “The Glass Enclosure” is an exemplification of what I believe to be a classical “Fantasia” due to its 51 fanciful style, irregular form and exotic harmonies. The composition has several distinct themes of style ranging from a military march to gospel harmonies within its cell structure. There is no improvisation throughout the entire composition. Author Guthrie P. Ramsey, Jr. describes the first and last sections of this composition as a “fanfare of disjointed and asymmetrical march-like rhythms. The harmonic language of the first section juxtaposes diatonic and bitonal ‘gestures,’ the latter of which languish, unresolved” (Ramsey, Jr. 2013, 182). The second section becomes a swinging soirée that moves between the scalar gestures emphasizing a I-IV harmonic pattern—“suggestive of minor blues and chromatic sequences that tumble downward” (Ramsey, Jr. 182). The three middle sections, built on thematic material from the first section, move from a contemplative state without a clear melodic line, to a penetrating and moving statement that brings together a duet between the piano and arco double bass. As Powell’s dynamics become heavier in this section, he plays the earlier evocative and repetitive march pattern, but with an even more disjointed sense of phrasing than the former pattern. The whole song builds up to an implied tonal center of the key of C major, but when this chord is finally expected, Powell settles on altering the C major chord to a dominant functioning C9 flat 13, which Ramsey refers to as the “sonorous bebop gesture” of the song (Ramsey, Jr. 182). Finally, the fourth section plays with thematic material from the first section, and the fifth repeats the material from the first section almost verbatim. Ramsey Jr.’s analysis of “The Glass Enclosure” makes for many important and compelling key points to the reader, such as Powell’s use of “bitonality mixed with disjointed and asymmetrical march-like rhythms.” Although I can concur with the formal analysis that Ramsey Jr. has published as one “perspective,” I would also like to offer an alternative analysis of “The Glass Enclosure” that takes into consideration Powell’s psychological setbacks as aggregates forming what I believe 52 to be a gestalt . In my own analysis of Powell’s “The Glass Enclosure,” I posit that its meaning extends deeper, beyond Oscar Goodstein’s account of Powell taking a cursory glance around his locked apartment to name his composition. To me this composition is not only an exemplification of Powell’s advanced and vast harmonic language8_, it also denotes the many “moods and tonalities” that Powell had developed, as a victim of his unfortunate circumstances. I argue that the dominant theme of bitonality within “The Glass Enclosure” may be the manifestation of the many “ups and downs” he experienced both on and off the bandstand. As aforementioned earlier in this study, examining psychological elements taken from Dr. Tobi Zausner’s 2006 seminal treatise, When Walls Become Doorways, may shed light on Powell’s mid-late career compositions_ and performances. Therefore, along with the already published offering from Ramsey Jr., I would also like to add to the axiom of analyses as a psychological deconstruction of Powell’s “ The Glass Enclosure” using Zausner’s published criteria. For example, as previously mentioned in this essay9,_ Dr. Zausner purports that creativity is central to artists, regardless of illness or trauma. Their illnesses can be viewed as transformable, as a result of their passion to be creative during times of sickness. Artists choose to be creative when they are sick. As a result of that creativity during sickness, a transformation is incurred not just of the work but also of the self (Zausner 2006, 11). Artists use creativity as a “coping mechanism,” in dealing with stressful events. Using I believe Powell’s early training and affinity for classical music may have influenced his compositional palette to veer into this arcane direction later in his career that the critics and public may not have understood. Powell was also no stranger to classical compositions of his own. For example, he wrote “Bud on Bach,” that is a contrafact of C.P.E Bach’s “Solfeggietto,” whilst also composing lavish like introductions to standards such as “Autumn in New York” and George Gershwin’s “Sure thing.” 9 For further detailed information on artist creativity during illness, see pgs. 29-46 of this essay. 8 53 creativity to cope during poor health is a positive response to a difficult situation, also known as “transformational coping,” making hard times more bearable (Zausner 2006, 14). As previously mentioned, Powell’s harmonic palette was much more advanced than his critics or public, and in my opinion may have caused both parties to misunderstand Powell’s ongoing advancement and maturity within his harmonic treatments. I also argue that since his critics and public may have been accustomed to Powell’s musical “style” as being akin to his bebop cohorts, Dizzy Gillespie and Charlie Parker, certain chord clusters and especially the use of bi-tonality treatments throughout “ The Glass Enclosure” would have violated their ear’s expectations. For example, in section A1, measure 4, the bitonality is most compelling as Powell reveals what I believe to be a masking of the subdominant chord (II7, or V7/V7), as a blend of the tonic, G minor, and a tritone substitution of the II7 chord, Eb. As a result of this “blending,” the dissonant chord in m. 4 that resembles a Gb/ G “slash chord” (and most likely what the critics and public did not understand or found to be “harsh”) can be viewed in my opinion as a quasi-“German 6th” chord (Eb7sus4 [#9]) voice leading from the subdominant function to the dominate function. Figure 2.2. Measure 4. Quasi “German 6th” I believe this to be a quasi German 6th chord (with a an augmented 9th) because Powell plays the exact progression later, at m. 12, but this chord is written as an Eb Maj7th chord. This Eb Maj7th in m. 12 is what I believe to be the true foundation of 54 the chord Powell intended for m. 4. The quasi-German 6th chord in beat one of m. 4 can then can be analyzed from what I purport to be the compliance of an Eb type of augmented chord. Furthermore, since Powell writes a C# in this chord in beat one of m. 4 (which is an interval of an augmented 6 th above Eb), I believe that this Gb/G chord may actually be functioning as an Eb chord that is implied (but not stated) as a result of seeing the explicitly written Eb chord in m. 12. Figure 2.3. Measure.12. Eb Major 7. Knowing that this may be an Eb chord in m. 4, the C# in my opinion is clearly functioning as the augmented 6th, forming what is in my opinion a quasi-German 6th chord. Although this chord is NOT a true German 6th (as a result of the #9 in the voicing), it does however contain an augmented 6th that is indicative of a German 6th and that also makes for a smooth voice leading to the dominant (D) that I believe is denoted by the pattern of dotted eight- sixteenth notes. As previously stated, the use of bitonality throughout “The Glass Enclosure” is most compelling as one would naturally hear a Gb/G chord as a manifestation of Powell’s bi-polar personality on and off the bandstand. However, I believe that Powell’s classical training as a youth cannot be dismissed from this argument (Pullman 2012, 6). This training may have been an influential factor during the creation of “The Glass Enclosure.” As a youth Powell was trained in classical piano and also showed a strong affinity towards such composers as J.S Bach, Beethoven, Chopin and Debussy and Ravel (Pullman 2012). 55 Thus, I believe an argument can be made that the chord on beat 4 of m.3 can be heard as a minor 3rd—briefly exhibiting bitonality. Powell simultaneously implies the dominant chord of G and its tritone-sub, voice-leading and targeting F#/G in m.4 and giving the listener a sense of ambiguity with non-resolution. This use of bi-tonality by Powell may very well be deliberately used as a result of the countless hours of listening to and playing classical repertoire (Pullman 2012). Therefore, also analyzing “The Glass Enclosure” from a classical compliance makes for another important argument into why certain harmonic sonorities were not understood by the critics and public who themselves must have been musically inferior. Bitonality is exhibited throughout the” The Glass Enclosure” such as in mm.34 and also in m. 48, and may also be viewed as the 20th century classical technique known as “parallel planing.” Parallel planing is when entire triads or seventh chords move in parallel motion with some notes of the chords being undiatonic to the key center. This usually makes for a very interesting sound palette when done effectively. One of Powell’s classical influences, Maurice Ravel makes use of “triad planing” in the first four measure of his composition Le Tombeau de Couperinand as seen in figure 2.4. Figure 2.4. Le Tombeau de Couperinand. Maurice Ravel (1914). 56 In mm. 3-4 (figure 2.5) of “The Glass Enclosure,” Powell’s use of harmonic planing is evident. Even though, as previously mentioned, this can also be seen as bitonality, I believe that it is an example of the harmonic planing technique with which his classical counterparts were experimenting. Figure 2.5. m.3- m.4 “The Glass Enclosure,” harmonic planing. Claude Debussy made use of diatonic planing in the opening theme of his composition La Cathédrale Engloutie as see in figure 2.6. Figure 2.6. La Cathédrale Engloutie. Claude Debussy (1910). Powell’s use of diatonic planing can be seen at m. 48 (figure 2.7.) when “The Glass Enclosure” modulates to the new key center of Gb Major. Powell’s voicings ascend diatonically in Gb Major, bringing in what I argue to be gospel “overtones” that could be a result of his musical experiences in the church as a youth (Ramsey Jr. 2013, 48). The progression from IV to # IV diminished 7th in beats 3- 4 of this measure attests to my assertions of a gospel-like tinge. 57 Figure 2.7. m.48.” The Glass Enclosure.” Section B of the “Glass Enclosure” has a distinctive feel of musical parallel motion (counterpoint) between both voices. Powell displays the contrapuntal device of contrary motion in m. 15 and similar motion in mm. 15, 19, and 21. In Section C, there is a key change that brings in a pastoral change in mood and thematic material. For example, Powell begins to write in a gospel style—voice leading simple structures such as the tonic functioning chord moving up the scale diatonically. When he reaches the IV chord, Powell includes a #IV diminished seventh chord, leading to the tonic (m. 48). Figure 2.8. m.17. Parallel motion counterpoint. I argue that this section (C) of the song sounds as if Powell the composer is portraying that the “battle” is over for now— to which he finds solace within himself, perhaps channeling religious experiences he had as a youth participating in church bands, giving this movement a pastoral and somber mood. 58 Figure 2.9. Measure 48-51. “Gospel” inflictions. Powell seems to have reached an inner peace and salvation (for now), only until the next erratic episode in his life becomes realized—section D of this composition. Powell then must do “battle” once again with his inner “demons,” in section A2, the recapitulation. Therefore, in keeping with the classical paradigm in which Powell was educated, I argue that “The Glass Enclosure” should also be considered in some ways as coming from the compliance class10_of a classical composition (Fantasia) and with gospel “overtones.” In Section D, mm. 60-66 are harmonically deceptive in that Powell voice leads from an Abm6 to an Fmin7b5, then to a tritone substitution for Bb7b9 (E7b9). Instead of resolving to the expected Eb minor 6, Powell resolves to a D Major7. Powell once again adds another deceptive cadence by immediately playing a Db7. I posit that Powell is actually treating the DMajor7 as a secondary dominant (with a major 7 th) moving to Db7. At m. 64, Powell uses bi-tonality to create more tension by juxtaposing two key centers, B major against Bb major, in the rhythm akin to a “hunting horn,” only to once again (mis)lead the listener into a new key center, a semitone above from the original, stating the same thematic material that voice leads downwards as in the opening stanza. 10 See Nelson Goodman’s Languages of Art (1968). 59 Figure 3.0. Hunting Horns:” measures 62-64. Bb over a B pedal point. Finally, section A2 is a recapitulation of the original A1 section, leaving the listener to process the altered German 6 th that sounds somewhat incomplete. Figure 3.1.“The Glass Enclosure” (Sarzin 2000). B. de Lima analysis. 60 61 62 To summarize, the importance of “The Glass Enclosure” to this study is to exemplify not only how Powell’s early childhood gospel and classical training may have had an influential mark on certain harmonic ambiguities, but more importantly, it is also a window into the diachronic progression of an erratic and mentally troubled “genius” that manifested his turbulent life into his music. It is also my belief that The Glass Enclosure’s real “inner” meaning is denoted as a result of Powell being locked up in the apartment by his manager Oscar Goodstein and this might have forced Powell to face any “inner-demons” that he had developed throughout his turbulent life—now facing and battling them within the music. What we are left with is a poignant and earnest offering of Powell facing and denoting these “demons” within the compositions jagged bi-tonalities. The metaphor for pain and suffering that he endured as a result of racial beatings, shock therapies, and chronic illnesses_ becomes the new blueprint in shaping his harmonic palette. I also believe that since certain sections of “The Glass Enclosure” are written in a march feel, it denotes Powell as the “soldier” going into battle to fight the many injustices, addictions and sicknesses he endured. A striking “battle field” scenario in the “The Glass Enclosure” takes place in Section ‘D’ with the “hunting horn” call at measures 62- 64 played over a B pedal-point, then modulating down a semitone to a Bb pedal-point. “The Glass Enclosure” denotes not only the many “moods” of Powell’s turbulent life, but also exemplifies how Powell channeled these experiences into an advanced harmonic “literature.” The march feel within the composition gives the listener a sense of a military theme with Powell the “soldier” battling his “enemies” that were not just a failing health due to electro shock therapies, or economical hardships_ but rather his own “inner demons” that he faced daily, 63 such as alcoholism, drug addiction, tuberculosis and a misdiagnosed bi-polar disorder (Ramsey 2013, 114). “The Glass Enclosure” should not be looked upon only as a struggle between Powell and his failing faculties, but also as an exemplification of a triumphant battle won between the many “inner demons” that are manifested within the music. The harmonies and techniques used throughout the composition are compliant with certain classical and gospel repertoire, yet they are offered through a “filter” of Powell’s turbulent life experiences. The brilliant yet darker “corners” manifested by his turbulent life experiences and battle with his “inner demons” becomes the fodder for the many performances and compositions that I believe the critics and public misunderstood. Favourable Criticisms by a Few Even though Powell’s brilliant downward spirals may have been misunderstood by the majority, it is worth acknowledging the few critics who did see through the possible distortions generally promulgated by the media and public. For example, eMusic contributor Charles Farrell’s review of Powell’s 1954 recording, Moods, seems to be quite favourable and refreshing, compared to the criticism Powell was receiving at this time. I posit this recording to be Powell’s creative midpoint. As such, it is in some ways one of his greatest recordings. It is very dark but at the same time poised, heartbreakingly beautiful, as well as harmonically challenging. In the words of Farrell: What strikes most about Powell’s interpretations is how thoroughly invested he is in melody. He often makes a stately double octave thematic introduction with chords between and in the movement of internal harmonic voicings. He is less concerned than in his youth with linear exposition. The pianist seems to have travelled back a full era from Bird to Art Tatum as a primary source. I am very taken by the small secondary lines that Bud plays on “Moonlight in Vermont.” They serve as connectors between phrases. “Spring is Here” is cut from the 64 same cloth, played with great respect to the melody, but with an added understanding of harmonic implications; Powell emphasizes the minor major 7th opening chord in a way that makes it poignant. “Buttercup,” a Bud original dedicated to his wife, is more boppish than the rest of the set. It shows that, when he chose, the pianist was still entirely capable of stringing together inspiring single note lines. “Fantasy in Blue” reinforces this impression. Played simply, evoking profound melancholy, “It Never Entered My Mind” is a masterpiece of concision. The man playing it is unmistakable. He was often billed as “The Amazing Bud Powell.” “Amazing” doesn’t begin to cover it (Farrell 2010). Powell’s guardian Francis Paudras, who knew Powell well toward the last stage of his life, states: To express himself in music, as in life, all his powers were failing him. To overcome this debilitating state, he found another music, excessively slow but even more poignant than the familiar one (Paudras 1986, 72). Author Carl Smith describes in more detail what I believe to be an extension of Paudras’s argument: For many years, the conventional wisdom has been that Powell’s musicianship skills had severely declined by the early fifties due to the ravages of alcohol, the effects of a head injury inflicted on him by racist police officers, and the electroshock treatments he received at psychiatric hospitals. However, while his technical skills did decline, they did sometimes miraculously reappear in almost full force in times of better health, and the depth richness and expressiveness of his harmonic language, the quintessence of his art, continued to grow until the end (Smith 1997, 3). Conclusion In realizing the romanticism that some of the greatest art has been born from “suffering,” one is led to conclude that illness sometimes enriches the artist and thereby humankind, for posterity. But in the case of Earl Powell, I truly believe that this “romanticism” may in fact be a reality. The musical laments crafted by Powell offered an inspired inner poetry that was cruelly beautiful. Misunderstood by his counsel, medical staff, critics and fans, a downward spiral was eminent and inevitable. More importantly, the relationship between Powell’s neurosis and genius, 65 the juxtaposition between his emotional turbulences and his artistic expression, became what I posit to be the blueprint for him to build a new harmonic architecture—forming aggregates that make up an unsettled relationship between “the will to survive” and “the will to self-destruct,” giving rise to elements not found in his earlier works. Although some of his later recordings and performances may have revealed the ravages of drug and alcohol abuse (especially in terms of technical execution), the creative treatments and dissonances within his playing, which most have criticized as flawed, were more likely a diachronic evolution of an artist trying to evolve whilst expressing the journey and experiences of his turbulent life. It is here, after physical and psychological abuses have greatly affected a young, prodigious mind, that an elderly, physically diminished Powell offers in his music an earnest transparency, a wrath of passion and a lucid imagination. It is our responsibility as a public to see beyond the glass enclosure and invisible cage. If we remain honest and see the trajectory of Powell’s diachronic evolution, accepting the instability in his harmonic treatments, then notes begin to piece together in the mind as a puzzle nearing completion, revealing its gestalt. In so doing, we may finally begin to see with our ears, what so many have overlooked, a brilliant downward spiral. Future Goals of this Study It is the future goal of this study to publish the data gathered from the various qualitative sources cited here, showing Powell in a new light. Having already worked with medical doctors such as Dr. David Rosen, M.D. (a general practitioner at Trillium Hospital in Mississauga, Ontario) and Dr. Andre Douen, M.D. (head of neurology at Trillium), I hope in the future to bring a more scientific and medically supported account of Powell’s musical development, stemming from his medical 66 traumas, thereby contributing to the literature on this great but widely misunderstood musician. 67 References Aggregate. Dictionary.com. The American Heritage® Stedman's Medical Dictionary. Houghton Mifflin Company. http://dictionary.reference.com/browse/aggregate (accessed: March 15, 2014). Berliner, Paul F. 1994. Thinking In Jazz: the infinite art of improvisation. Chicago: The University of Chicago. Burns, Ken. 2001. Jazz: PBS Home Studio. ASIN: B00004XQOU. DVD. Citizens Commission on Human Rights. Mental health abuse: exposing the crimes of mental health practitioners. http://www.mentalhealthabuse.org/harmingArtists.shtml (accessed February 20, 2012). Cook, Richard, and Brian Morton. 1994. The Penguin Guide To Jazz. New York: Penguin Group. De Lima, Brian. 2011. Trauma of the brain and heart affects a musician's creative output: An autobiographical and historical account. Masters Thesis. York University. De Lima, Brian. 2012. Interview with author Peter Pullman via Skype (March 15 2012). DeVeaux, Scott. 1997. The Birth of Bebop: A Social and Musical History. Los Angeles: University of California Press. Doidge, Norman. 2007. The Brain That Changes Itself. New York, Penguin Group. Deutsch, Diana. 2010. Radio-Lab. http://www.radiolab.org/story/91512musical-language/ Dyer, Geoff. 1997. But Beautiful: A Book about Jazz. San Francisco: North Point Press. Farrell, Charles. 2011. Emusic. Review of Bud Powell’s Moods. http://www.emusic.com/listen/#/music-news/review/album/bud-powell-budpowells-moods/ [accessed February 21, 2012]. Floyd, Jr., Samuel A. 1991. “Ring Shout.” Black Music Research Journal, vol. 11, no. 2. Gitler, Ira. 1996. Jazz Masters of the Forties. New York: Oxford. Gridley, Mark C. 1994. Jazz Styles : History And Analysis. New Jersey: Prentice Hall. Groves, Allan, and Alyn Shipton. 2001. The Glass Enclosure: The Life of Bud Powell. New York, N.Y.: The Continuum International Publishing Group Inc. 68 Haydon, Geoffrey. 2002. Quintet Of The Year. Toronto: Macfarlane, Walter and Ross Jablow, Paul. 2010. The Creative Leadership Forum. Study of artists’ brain injuries hints at roots of creativity. http://www.emusic.com/listen/#/musicnews/review/album/bud-powell-bud-powells-moods/ (accessed February 16, 2012). Kelley, Robin. 2009. Thelonious Monk: the life and times of an American Original. New York: Free Press. Levitin, Daniel. 2007. This is your Brain on Music. New York, New York: The Penguin Group. Megil, Donald. 1993. Introduction to Jazz History. Englewood Cliffs, New Jersey: Prentice-Hall Inc. Panken, Ted. 2004. For Bud Powell’s 87th birthday, a 2004 Bud Powell homage in Jazziz. Today is the question: Ted Panken on music, politics, and the arts, http://tedpanken.wordpress.com/2011/09/27for-bud-powells-87th-birthday-a2004-bud-powell-homage-in-jazziz/ (accessed February 21, 2012). Paudras, Francis. 1986. Dance of the Infidels: A Portrait of Bud Powell. Edited by Warren Bernhardt. Translated by Rubye Monet. Cambridge, Massachusetts: De Capo Press. Pullman, Peter. 2012. Wail: The Life of Bud Powell. 1st edition. New York: Peter Pullman, LLC. Ramsey, JR, Guthrie P. 2013. The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop . Berkley, Calafornia: University of California Press. Sandblom, Philip. 1999. Creativity and Disease: How Illness Affects Literature, Art and Music. New York: Marion Boyers Publishers. Sarzin, Evan. 2000. Bud Powell: Mostly Bud, Original Voicings. Brooklyn, N.Y.: Gerard & Sarzin Publishing Co. Shepherd, John, Phil Virden, Graham Vulliamy, and Trevor Wishart, Eds. 1977. Whose Music? Sociology of Musical Languages. New Brunswick, N.J. Transaction Smith, Carl. 1997. Bouncing Bud. Brunswick, Maine: Biddle Publishing Company. Stumpf, Carl. The Origins of Music. Ed. and trans. David Trippett. Oxford University Press, 2012 Tesser, Neil. 1978. The Genius of Bud Powell, vol. 2. (liner notes). Verve (Norgran) VE2-2526. Record. 69 The All Music Guide Series. 1994. All Music Guide To Jazz. San Francisco: Miller Freeman Books. Zausner, Tobi. 2006. When Walls Become Doorways: Creativity and the Transforming Illness. New York: Harmony Books. 70 Discography Powell, Bud. 1953. Bud Powell Trio.Vol.2. Roost Records. RLP 412 Powell, Bud. 1954. Moods. Verve POCJ-2740. Record. Powell, Bud. 1955. Bud Powell - The Lonely One. Verve MGV 8301. Record. Powell, Bud. 1955. The Complete Bud Powell On Verve. Verve 314 521 669-2. Record. Powell, Bud. 1955. The Genius Of Bud Powell, vol. 2. Verve VE2 2526. Record. Powell, Bud. 1957. Bud Plays Bird. Roulette 7243 8 37137 2 NYC, December 2, 1957 Powell, Bud. 1963. Bud Powell - Inner Fires. Elektra/Musician E1 60030. Record. Powell, Bud. 1964. Bud Powell - The Invisible Cage. Black Lion (E) BLP 30120, BLCD 760135. Record. Powell, Bud. 1964. Bud Powell - Ups'n Downs. Mainstream MRL 385, MDCD 724. Record. 71 Appendix Bud Powell Complete Discography To understand Bud Powell’s diachronic trajectory as a musician, I believe it is only fair for the critics and the public to be acquainted with this whole body of work known to date. By bringing to light Powell’s full discography (courtesy of jazzdisco.org), listeners will get a chance to listen to how Powell was already adventurous as a young musician, and the traumatic and turbulent lifestyle he experienced after his young adulthood became exponential influences in his already adventuresome musical palette. Cootie Williams Sextet (1944 Powell is 20 Years old) Cootie Williams (trumpet, vocals) Eddie "Cleanhead" Vinson (alto saxophone, vocals) Eddie "Lockjaw" Davis (tenor saxophone) Bud Powell (piano) Norman Keenan (bass) Sylvester "Vess" Payne (drums) NYC, January 4, 1944 CR345 You Talk A Little Trash Hit 8089; Phoenix LP 1; Storyville (E) SLP 803 CR346 Floogie Boo (Sweet Lorraine) Hit 8089; Royale 331; Phoenix LP 1; Storyville (E) SLP 803 CR347 I Don't Know (Now I Know) Hit 8090; Royale 331; Phoenix LP 1; Storyville (E) SLP 803 CR348 Gotta Do Some War Work, Baby Hit 8090; Phoenix LP 1; Storyville (E) SLP 803 * Phoenix LP 1 Cootie Williams Sextet And Orchestra * Storyville (E) SLP 803 Cootie Williams And His Orchestra * Hit 8089 Cootie Williams - You Talk A Little Trash / Floogie Boo * Royale 331 Cootie Williams - Sweet Lorraine / Now I Know * Hit 8090 Cootie Williams - I Don't Know / Gotta Do Some War Work, Baby Cootie Williams Sextet Same personnel NYC, January 6, 1944 CR349 My Old Flame Hit 8087; Phoenix LP 1; Storyville (E) SLP 803 CR350 Sweet Lorraine Hit 8088; Phoenix LP 1; Storyville (E) SLP 803 CR351 Echoes Of Harlem Hit 8087; Royale 18128; Phoenix LP 1; Storyville (E) SLP 803 CR352 Honeysuckle Rose Hit 8088; Phoenix LP 1; Storyville (E) SLP 803 * Phoenix LP 1 Cootie Williams Sextet And Orchestra * Storyville (E) SLP 803 Cootie Williams And His Orchestra * Hit 8087 Cootie Williams - My Old Flame / Echoes Of Harlem * Hit 8088 Cootie Williams - Sweet Lorraine / Honeysuckle Rose 72 * Royale 18128 Cootie Williams - Echoes Of Harlem /??? Cootie Williams And His Orchestra Harold "Money" Johnson, Ermit V. Perry, George Treadwell, Cootie Williams (trumpet) Ed Burke, Bob Horton, George Stevenson (trombone) Charles Holmes (alto saxophone) Eddie "Cleanhead" Vinson (alto saxophone, vocals) Eddie "Lockjaw" Davis, Lee Pope (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) Norman Keenan (bass) Sylvester "Vess" Payne (drums) Pearl Bailey (vocals -1,2) NYC, January 6, 1944 1. CR353 Now I Know Hit 7075; Phoenix LP 1; Storyville (E) SLP 803 2. CR354 Tess's Torch Song (I Had A Man) 3. CR355 Cherry Red Blues Hit 7084; Phoenix LP 1; Storyville (E) SLP 803 4. CR356 Things Ain't What They Used To Be * Phoenix LP 1 Cootie Williams Sextet And Orchestra * Storyville (E) SLP 803 Cootie Williams And His Orchestra * Hit 7075 Cootie Williams - Now I Know / Tess's Torch Song * Hit 7084 Cootie Williams - Cherry Red Blues / Things Ain't What They Used To Be Cootie Williams And His Orchestra Ermit V. Perry, Tommy Stevenson, George Treadwell, Cootie Williams, Lammar Wright (trumpet) Ed Burke, Ed Glover, Bob Horton (trombone) Frank Powell (alto saxophone) Eddie "Cleanhead" Vinson (alto saxophone, vocals) Lee Pope, Sam "The Man" Taylor (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) Leroy Kirkland (guitar) Carl Pruitt (bass) Sylvester "Vess" Payne (drums) unknown (announcer) Radio broadcast, "Apollo Theater", NYC or "Savoy Ballroom", NYC, January-May, 1944 Perdido (incomplete) Mythic Sound MS 6001-1 When My Baby Left Me (incomplete) Royal Garden Blues * Mythic Sound MS 6001-1, MS 6001-2 Earl Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 Cootie Williams And His Orchestra Ermit V. Perry, Tommy Stevenson, George Treadwell, Cootie Williams, Lammar Wright (trumpet) Ed Burke, Ed Glover, Bob Horton (trombone) Frank Powell (alto saxophone) Eddie "Cleanhead" Vinson (alto saxophone, vocals) Lee Pope, Sam "The Man" Taylor (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) Leroy Kirkland (guitar) Carl Pruitt (bass) Sylvester "Vess" Payne (drums) Ella Fitzgerald (vocals -3,4) Ernie "Bubbles" Whitman (announcer) AFRS Jubilee, NBC Studios, Hollywood, CA, May 1, 1944 1. One O’clock Jump (incomplete) Mythic Sound MS 6001-1 2. Roll 'Em Mythic Sound MS 6001-1; Connoisseur Rarities (It) CR 522 3. A-Tisket, A-Tasket Mythic Sound MS 6001-1 73 4. 5. Do Nothin' Till You Hear From Me Air Mail Special Mythic Sound MS 6001-1; Connoisseur Rarities (It) CR 522 6. One O'Clock Jump (incomplete) Mythic Sound MS 6001-1 * Mythic Sound MS 6001-1, MS 6001-2 Earl Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 * Connoisseur Rarities (It) CR 522 Cootie Williams - Dancing At The Savoy Cootie Williams Sextet Cootie Williams (trumpet) Eddie "Cleanhead" Vinson (alto saxophone) Eddie "Lockjaw" Davis (tenor saxophone) Bud Powell (piano) Norman Keenan (bass) Sylvester "Vess" Payne (drums) Ernie "Bubbles" Whitman (announcer) AFRS Jubilee, NBC Studios, Hollywood, CA, May 1, 1944 You Talk A Little Trash (Smack Me) (The Boppers)Mythic Sound MS 60011; Connoisseur Rarities (It) CR 522 * Mythic Sound MS 6001-1, MS 6001-2 Earl Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 * Connoisseur Rarities (It) CR 522 Cootie Williams - Dancing At The Savoy Cootie Williams Trio Cootie Williams (trumpet) Bud Powell (piano) unknown (bass) Canada Lee (announcer) Television broadcast, "Canada Lee Show", War Loan Drive Transcription, NYC, July 4, 1944 Introduction Mythic Sound MS 6001-1 West End Blues * Mythic Sound MS 6001-1, MS 6001-2 Earl Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 Cootie Williams And His Orchestra Ermit V. Perry, Tommy Stevenson, George Treadwell, Cootie Williams, Lammar Wright (trumpet) Ed Burke, Ed Glover, Bob Horton (trombone) Frank Powell (alto saxophone) Eddie "Cleanhead" Vinson (alto saxophone, vocals) Lee Pope, Sam "The Man" Taylor (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) Leroy Kirkland (guitar) Carl Pruitt (bass) Sylvester "Vess" Payne (drums) NYC, August 22, 1944 T448-2 Is You Is Or Is You Ain't My Baby Hit 7108; Phoenix LP 1; Storyville (E) SLP 803 T449 Somebody's Gotta Go Hit 7119; Majestic 7148; Phoenix LP 1; Storyville (E) SLP 803 T450 'Round Midnight Hit 7119; Phoenix LP 1; Storyville (E) SLP 803 T451-2 Royal Garden Blues (Blue Garden Blues) Hit 7108; Majestic 7148; Phoenix LP 1; Storyville (E) SLP 803 * Phoenix LP 1 Cootie Williams Sextet And Orchestra * Storyville (E) SLP 803 Cootie Williams And His Orchestra * Hit 7108; Majestic 7108 Cootie Williams - Is You Is Or Is You Ain't My Baby / Blue Garden Blues 74 * Hit 7119; Majestic 7119 Cootie Williams - Somebody's Gotta Go / 'Round Midnight * Majestic 7148 Cootie Williams - Somebody's Gotta Go / Blue Garden Blues 1945 Frank Socolow's Duke Quintet Freddie Webster (trumpet) Frank Socolow (tenor saxophone) Bud Powell (piano) Leonard Gaskin (bass) Irv Kluger (drums) NYC, May 2, 1945 The Man I Love Duke 112; Xanadu 208 Reverse The Changes Blue Fantasy unissued September In The Rain Duke 115; Xanadu 208 * Xanadu 208 Various Artists - Bebop Revisited, Vol. 6 * Duke 112 Frank Socolow - The Man I Love / Reverse The Changes * Duke 115 Frank Socolow - September In The Rain / (blank) Dexter Gordon Quintet Leonard Hawkins (trumpet -1/3,6/8) Dexter Gordon (tenor saxophone) Bud Powell (piano) Curly Russell (bass) Max Roach (drums) NYC, January 29, 1946 1. S5878-1 Long Tall Dexter (alt. take) Savoy SJL 2211; Masters Of Jazz MJCD 128 2. S5878-2 Long Tall Dexter Savoy 603, MG 9023, MG 12130, SJL 2211; Masters Of Jazz MJCD 128 3. S5879-1 Dexter Rides Again Savoy 623, XP 8080, MG 9016, MG 12130, SJL 2211; Masters Of Jazz MJCD 128 4. S5880-3 I Can't Escape From You (alt. take) Savoy SJL 2211; Masters Of Jazz MJCD 128 5. S5880-7 I Can't Escape From You Savoy 595, MG 12130, SJL 2211; Masters Of Jazz MJCD 128 6. S5881 Dexter Digs In (alt. take 2) Savoy SVY 17027; Masters Of Jazz MJCD 128 7. S5881-2 Dexter Digs In (alt. take) Savoy SJL 2211; Masters Of Jazz MJCD 128 8. S5881-3 Dexter Digs In Savoy 595, 603, MG 9025, MG 12130, SJL 2211; Masters Of Jazz MJCD 128 * Savoy SJL 2211 Dexter Gordon - Long Tall Dexter * Savoy MG 12130 Dexter Gordon - Dexter Rides Again * Masters Of Jazz MJCD 128 Dexter Gordon, Vol. 2 Young Dex 1944-1946 * Savoy SVY 17027 Dexter Gordon - Settin' The Pace * Savoy MG 9023 Various Artists - Birth Of The Bop, Vol. 2 * Savoy MG 9016 Dexter Gordon - New Sound In Modern Music, Vol. 3 * Savoy MG 9025 Various Artists - Birth Of The Bop, Vol. 4 * Savoy XP 8080 Dexter Gordon - New Sounds In Modern Music, Vol. 2 * Savoy 603, 923 Dexter Gordon - Long Tall Dexter / Dexter Digs In * Savoy 623 Charlie Kennedy - I Can't Give You Anything But Love / Dexter Gordon - Dexter Rides Again * Savoy 595 Dexter Gordon - I Can't Escape From You / Dexter Digs In 75 Sarah Vaughan With Tadd Dameron Orchestra Freddy Webster (trumpet) Hank Ross (bass clarinet) Leroy Harris (alto saxophone) Leo Parker (baritone saxophone) Bud Powell (piano) Tadd Dameron (piano, arranger) Ted Sturgis (bass) Kenny Clarke (drums) Sarah Vaughan (vocals) 9 strings NYC, May 7, 1946 5485 If You Could See Me Now Musicraft 380, MVS 504, MVSCD 55; Everest FS 250 5486 I Can Make You Love Me Musicraft 398, MVS 504, MVSCD 61; Everest FS 325 5487 You're Not The Kind Musicraft 380, MVS 504, MVSCD 57; Everest FS 250 5488 My Kinda Love Musicraft 398, MVS 504, MVSCD 61; Everest FS 250 My Kinda Love (alt. take) unissued * Musicraft MVS 504 Sarah Vaughan - The Early Years "The Divine Sarah" * Everest FS 325 Sarah Vaughan, Vol. 3 * Musicraft MVSCD 55 Various Artists - It's You Or No One * Musicraft MVSCD 61 Various Artists - Time And Again * Musicraft MVSCD 57 Various Artists - Tenderly * Musicraft 380 Tadd Dameron - You're Not The Kind / Tadd Dameron/Sarah Vaughan - If You Could See Me Now * Musicraft 398 Tadd Dameron - My Kinda Love / Tadd Dameron/Sarah Vaughan I Can Make You Love Me * Everest FS 250 Sarah Vaughan With Tadd Dameron Orchestra (no details) J.J. Johnson's Beboppers J.J. Johnson (trombone) Cecil Payne (baritone saxophone) Bud Powell (piano) Leonard Gaskin (bass) Max Roach (drums) NYC, June 26, 1946 S3309-1 Jay Bird Savoy SJL 2232 S3309-9 S3309-11 Jay Bird (Fly Jay) Savoy 975, XP 8047, MG 9022, MG 12106, SJL 2232 S3310-1 Coppin' The Bop Savoy 615, XP 8047, MG 9025, MG 12106, SJL 2232 S3311-1 Hey Jay Jay Savoy SJL 2232 S3311-2 Savoy 615, XP 8047, MG 9023, MG 12106, SJL 2232 S3311-4 Savoy SJL 2232 S3312-1 Mad Bebop Savoy 930, XP 8047, MG 9024, SJL 2232 * Savoy SJL 2232 J.J. Johnson - Mad Be Bop * Savoy MG 12106 J.J. Johnson's Jazz Quintets * Savoy MG 9022 Various Artists - Birth Of The Bop, Vol. 1 * Savoy MG 9025 Various Artists - Birth Of The Bop, Vol. 4 * Savoy MG 9023 Various Artists - Birth Of The Bop, Vol. 2 * Savoy MG 9024 Various Artists - Birth Of The Bop, Vol. 3 * Savoy XP 8047 J.J. Johnson - New Trends In Jazz, Vol. 11 76 * Savoy 975 J.J. Johnson - Jay Bird / Teddy Reig - Mr. Dues * Savoy 615, 926 J.J. Johnson - Coppin' The Bop / Hey Jay Jay * Savoy 930 J.J. Johnson - Mad Bebop / Sonny Stitt - Seven Up Sonny Stitt Quintet / Kenny Dorham Quintet / The Be Bop Boys Kenny Dorham (trumpet) Sonny Stitt (alto saxophone) Bud Powell (piano) Al Hall (bass) Wallace Bishop (drums) NYC, August 23, 1946 S3338 Bebop In Pastel (Bouncing With Bud) Savoy XP 8045, MG 9014, MG 12114, SJL 2225 S3338-2 Bebop In Pastel Savoy SVY 17028 S3338-3 S3338-4 Bebop In Pastel (alt. take) Savoy SJL 2247, SVY 17028 S3339 Fool's Fancy (Wail) Savoy XP 8044, MG 9014, MG 12114, SJL 2225, SVY 17028 S3340 Bombay S3341A Ray's Idea Savoy 619, XP 8045, MG 9014, MG 12114, SJL 2225, SVY 17028 * Savoy MG 12114 Various Artists - Opus De Bop * Savoy SJL 2225 Various Artists - The Be Bop Boys * Savoy SJL 2247 Various Artists - The Modern Jazz Piano Album * Savoy SVY 17028 Kenny Dorham - Blues In Bebop * Savoy MG 9014 Sonny Stitt - New Sound In Modern Music, Vol. 1 * Savoy XP 8045 Sonny Stitt - New Trends In Jazz, Vol. 9 * Savoy XP 8044 Sonny Stitt - New Trends In Jazz, Vol. 8 * Savoy 619, 927 The Be Bop Boys - Ray's Idea / Good Kick Sonny Stitt Quintet / The Be Bop Boys Kenny Dorham (trumpet) Sonny Stitt (alto saxophone) Bud Powell (piano) Al Hall (bass) Kenny Clarke (drums) NYC, September 4, 1946 S3342 Serenade To A Square Savoy 940, XP 8046, MG 9006, MG 12011, SJL 2225, SVY 17028 S3343A Good Kick Savoy 619, XP 8046, MG 9006, MG 12011, SJL 2225, SVY 17028 S3344 Seven Up Savoy 930, XP 8046, MG 9006, MG 12011, SJL 2225, SVY 17028 S3344-? Seven Up (alt. take) Savoy SJL 2247 S3345 Blues In Bebop Savoy 978, XP 8046, MG 12011, SJL 2225, SVY 17028 S3345-? Blues In Bebop (alt. take) (Blues A La Bud) Savoy XP 8097, MG 9034, SJL 2247 Diz-Iz Savoy XP 8098, MG 9034 * Savoy MG 12011 Fats Navarro Memorial - Fats - Bud - Klook - Sonny - Kinney * Savoy SJL 2225 Various Artists - The Be Bop Boys * Savoy SJL 2247 Various Artists - The Modern Jazz Piano Album * Savoy SVY 17028 Kenny Dorham - Blues In Bebop * Savoy MG 9006 Sonny Stitt * Savoy MG 9034 Various Artists - Bird - Diz - Bud - Max 77 * Savoy XP 8046 Sonny Stitt - New Trends In Jazz, Vol. 10 * Savoy XP 8097 Various Artists - Bird - Diz - Bud - Max, Vol. 1 * Savoy XP 8098 Various Artists - Bird - Diz - Bud - Max, Vol. 2 * Savoy 940 Sonny Stitt - Serenade To A Square / Boppin' The Blues * Savoy 619, 927 The Be Bop Boys - Ray's Idea / Good Kick * Savoy 930 J.J. Johnson - Mad Bebop / Sonny Stitt - Seven Up * Savoy 978 Serge Chaloff - Gabardine And Serge / Sonny Stitt - Blues In Bebop Kenny Clarke And His 52nd Street Boys Kenny Dorham, Fats Navarro (trumpet) Sonny Stitt (alto saxophone) Ray Abrams (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) John Collins (guitar) Al Hall (bass) Kenny Clarke (drums) NYC, September 5, 1946 D6VB2792-1 Epistrophy Swing (F) SW 224; RCA Victor 20-3144, LPV 519 D6VB2793-1 52nd Street Theme Swing (F) SW 244; RCA Victor LPV 519 D6VB2794-1 Oop Bop Sh'bam Swing (F) SW 224; RCA Victor LPV 519 D6VB2795-1 Rue Chaptal (Royal Roost) Swing (F) SW 244; RCA Victor 203144, LPV 519 * RCA Victor LPV 519 Various Artists - The Be-Bop Era * Swing (F) SW 224 Kenny Clarke - Epistrophy / Oop Bop Sh'bam * RCA Victor 20-3144 Kenny Clarke - Epistrophy / Royal Roost * Swing (F) SW 244 Kenny Clarke - 52nd Street Theme / Rue Chaptal Fats Navarro / Gil Fuller's Modernists / The Be Bop Boys Kenny Dorham, Fats Navarro (trumpet) Sonny Stitt (alto saxophone) Morris Lane (tenor saxophone) Eddie DeVerteuil (baritone saxophone) Bud Powell (piano) Al Hall (bass) Kenny Clarke (drums) Gil Fuller (arranger) NYC, September 6, 1946 S3346 Boppin' A Riff, Part 1 Savoy 588, MG 9012, MG 12011, SJL 2216 S3347 Boppin' A Riff, Part 2 S3348 Fat Boy, Part 1 Savoy 587, XP 8024, MG 9005, MG 12011, SJL 2216 S3349 Fat Boy, Part 2 S3350 Everything's Cool, Part 1 Savoy 586, XP 8044, MG 9006, MG 12011, SJL 2216 S3351 Everything's Cool, Part 2 S3352 Webb City, Part 1 Savoy 585, XP 8045, MG 9014, MG 12011, SJL 2216 S3353 Webb City, Part 2 Boppin' A Riff, Part 2 (alt. take) Mythic Sound MS 6002-2 Fat Boy, Part 1 (alt. take) * Savoy MG 12011 Fats Navarro Memorial - Fats - Bud - Klook - Sonny - Kinney * Savoy SJL 2216 Fats Navarro - Fat Girl * Mythic Sound MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 * Savoy MG 9012 Various Artists - New Sound In Modern Music * Savoy MG 9005 Fats Navarro * Savoy MG 9006 Sonny Stitt * Savoy MG 9014 Sonny Stitt - New Sound In Modern Music, Vol. 1 * Savoy XP 8024 Fats Navarro - New Trends In Jazz, Vol. 5 * Savoy XP 8044 Sonny Stitt - New Trends In Jazz, Vol. 8 78 * Savoy XP 8045 Sonny Stitt - New Trends In Jazz, Vol. 9 * Savoy 588 The Be Bop Boys - Boppin' A Riff, Part 1&2 * Savoy 587, 901 The Be Bop Boys - Fat Boy, Part 1&2 * Savoy 586 The Be Bop Boys - Everything's Cool, Part 1&2 = Savoy 941 Fats Navarro - Everything's Cool, Part 1&2 * Savoy 585, 900 The Be Bop Boys - Webb City, Part 1&2 1947 Bud Powell Trio Bud Powell (piano) Curly Russell (bass) Max Roach (drums) NYC, January 10, 1947 2991 I'll Remember April Roost 513, RLP 401, RLP 2224 2992 IndianaRoost 518, RLP 401, RLP 2224 2993 Somebody Loves Me Roost 509, RLP 401, RLP 2224 2994 I Should Care Roost 521, RLP 401, RLP 2224 2995 Bud's Bubble Roost 509, RLP 401, RLP 2224 2996 Off Minor Roost 513, RLP 401, RLP 2224 2997 Nice Work If You Can Get It Roost 521, RLP 401, RLP 2224 2998 Everything Happens To Me Roost 518, RLP 401, RLP 2224 * Roost RLP 2224 The Bud Powell Trio * Roost RLP 401; Vogue (E) LDE 010, (F) LD 010 Bud Powell Trio * Roost 513; Jazz Selection (F) 692 Bud Powell - I'll Remember April / Off Minor * Roost 518; Vogue (E) V 2240; Jazz Selection (F) 687 Bud Powell - Indiana / Everything Happens To Me * Roost 509; Vogue (E) V 2236; Jazz Selection (F) 755 Bud Powell - Somebody Loves Me / Bud's Bubble * Roost 521; Vogue (E) V 2298; Jazz Selection (F) 699 Bud Powell - I Should Care / Nice Work If You Can Get It Charlie Parker All Stars Miles Davis (trumpet) Charlie Parker (alto saxophone) Bud Powell (piano) Tommy Potter (bass) Max Roach (drums) Harry Smith Studios, NYC, May 8, 1947 S3420-1 Donna Lee (new-take 1) Savoy SJL 1107, SJL 5500 S3420-2 Donna Lee (new-take 2) Savoy MG 12001, SJL 5500 S3420-3 Donna Lee (new-take 3) S3420-4 Donna Lee (new-take 4) Savoy 45-312, MG 12009, SJL 5500 S3420-5 Donna Lee (orig.-take 3) Savoy 652, XP 8001, MG 9000, MG 12014, SJL 2201, SJL 5500 S3421-1 Chasin' The Bird (new-take 1) Savoy MG 12001, SJL 5500 S3421-2 Chasin' The Bird (short-take 2) Savoy SJL 1107, SJL 5500 S3421-3 Chasin' The Bird (new-take 3) Savoy 45-301, MG 12009, SJL 5500 S3421-4 Chasin' The Bird (short-take 4) Savoy 977, XP 8002, MG 9000, MG 12014, SJL 2201, SJL 5500 S3422-1 Cheryl (short-take 1) Savoy 952, MG 12001, SJL 1107, SJL 5500 S3422-2 Cheryl (orig.-take 2) Savoy 45-301, XP 8003, MG 9001, MG 12001, SJL 2201, SJL 5500 S3423-1 Buzzy (new-take 1) Savoy MG 12009, SJL 5500 S3423-2 Buzzy (short-take 2) Savoy MG 12001, SJL 1107, SJL 5500 79 S3423-3 Buzzy (new-take 3) Savoy MG 12001, SJL 5500 S3423-4 Buzzy (short-take 4) Savoy MG 12000, SJL 5500 S3423-5 Buzzy (orig.-take) Savoy 652, 45-302, XP 8002, MG 9001, MG 12000, SJL 2201, SJL 5500 * Savoy SJL 1107 Charlie Parker - Encores * Savoy SJL 5500 Charlie Parker - The Complete Savoy Studio Sessions * Savoy MG 12001 The Immortal Charlie Parker * Savoy MG 12009 Charlie Parker Memorial, Vol. 2 * Savoy MG 12014 The Genius Of Charlie Parker * Savoy SJL 2201 Charlie Parker - Bird: Master Takes * Savoy MG 12000 Charlie Parker Memorial, Vol. 1 * Savoy MG 9000 The Charlie Parker Quintet, Vol. 1 * Savoy MG 9001 The Charlie Parker Quintet, Vol. 2 * Savoy XP 8001 Charlie Parker, Vol. 2 * Savoy XP 8002 Charlie Parker, Vol. 3 * Savoy XP 8003 Charlie Parker, Vol. 4 * Savoy 45-312 Charlie Parker - Donna Lee / Steeplechase * Savoy 45-301 Charlie Parker - Chasin' The Bird / Cheryl * Savoy 45-302 Charlie Parker - Warming Up A Riff / Buzzy * Savoy 652, 928 Charlie Parker - Donna Lee / Buzzy * Savoy 977 Charlie Parker - Chasin' The Bird / Miles Davis - Little Willie Leaps * Savoy 952 Charlie Parker - Bird Gets The Worm / Cheryl The Lost Milton H. Green Home Recordings Allen Eager (alto saxophone -1, tenor saxophone -2,3) Charlie Parker (tenor saxophone -1, alto saxophone -2,3) Bud Powell (piano) Specs Goldberg (bass) Max Roach (drums -1) Morty Yoss (drums -2) unknown (drums -3) "Milton H. Greene's photography studio", 480 Lexington Ave., NYC, late 1947 1. Swapping Horns Uptown UPCD 27.49 2. All The Things You Are 3. Original Horns * Uptown UPCD 27.49 Allen Eager - In The Land Of Oo-Bla-Dee 1947-1953 1948 Not All Star Jam Session Benny Harris (trumpet) J.J. Johnson (trombone) Buddy DeFranco (clarinet) Lee Konitz (alto saxophone) Budd Johnson (tenor saxophone) Cecil Payne (baritone saxophone) Bud Powell (piano) Chuck Wayne (guitar) Nelson Boyd (bass) Max Roach (drums) Leonard Feather (announcer) Radio broadcast, "Royal Roost", NYC, December 19, 1948 Jumpin' With Symphony Sid Beppo (E) BEP 503; Jung Cat RBD 948; Mythic Sound MS 6001-2 I'll Be Seeing You 52nd Street Theme Ornithology Introduction Mythic Sound MS 6001-1 Perdido - 80 Indiana* Beppo (E) BEP 503 Various Artists - Tadd Dameron Big 10 And Royal Roost Jam * Jung Cat RBD 948 Various Artists - The Great Jazz Concerts At The Original "Royal Roost" * Mythic Sound MS 6001-1, MS 6001-2 Earl Bud Powell, Vol. 1 - Early Years Of A Genius, 44-48 1949 Bud Powell Trio Bud Powell (piano) Ray Brown (bass) Max Roach (drums) NYC, January-February, 1949 2174-5 | 242-5 Tempus Fugit Mercury 11045, MG 35012; Norgran MGN 1063; Verve VE2 2506, VSP 34 2175-3 | 243-3 Celia Mercury 11046, MG 35012; Norgran MGN 1063; Verve VE2 2506, VSP 37 * Norgran MGN 1063; Verve MGV 8153 Bud Powell - Jazz Giant * Verve VE2 2506 The Genius Of Bud Powell * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve VSP 37 This Was Bud Powell * Mercury MG 35012, MGC 102, MGC 502; Clef MGC 102, MGC 502; Universal (J) UCCV 9042 Bud Powell - Piano Solos * Mercury 11045, 11045x45; Clef 11045, 11045x45 Bud Powell - Tempus Fugit / I'll Keep Loving You * Mercury 11046, 11046x45; Clef 11046, 11046x45 Bud Powell - Celia / All God's Chillun Got Rhythm Bud Powell Trio Bud Powell (piano) Ray Brown (bass -2,3) Max Roach (drums -2,3) NYC, February-May, 1949 1. 2406-1 | 245-1 I'll Keep Loving You Mercury 11045, MG 35012; Norgran MGN 1063; Verve VE2 2506, VSP 34 2. 2407-4 | 246-4 Strictly Confidential Mercury 11047, MG 35012; Norgran MGN 1063; Verve VE2 2506 3. 2408-3 | 247-3 All God's Chillun Got Rhythm Mercury 11046, MG 35012; Norgran MGN 1063; Verve VE2 2506, VSP 37 * Norgran MGN 1063; Verve MGV 8153 Bud Powell - Jazz Giant * Verve VE2 2506 The Genius Of Bud Powell * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve VSP 37 This Was Bud Powell * Mercury MG 35012, MGC 102, MGC 502; Clef MGC 102, MGC 502; Universal (J) UCCV 9042 Bud Powell - Piano Solos * Mercury 11045, 11045x45; Clef 11045, 11045x45 Bud Powell - Tempus Fugit / I'll Keep Loving You * Mercury 11047, 11047x45; Clef 11047, 11047x45 Bud Powell - Strictly Confidential / Yesterdays * Mercury 11046, 11046x45; Clef 11046, 11046x45 Bud Powell - Celia / All God's Chillun Got Rhythm 81 Bud Powell Trio Bud Powell (piano) Ray Brown (bass) Max Roach (drums) NYC, circa February 1949 2199-1 | 244-1 | 62VK234 Cherokee Mercury Jazz Scene; Clef MGC 4007; Norgran MGN 1063; Verve VK 117, VE2 2506, VSP 13 * Clef MGC 4007, MGC 674; Verve MGV 8060; ARS G 419 Various Artists - The Jazz Scene * Norgran MGN 1063; Verve MGV 8153 Bud Powell - Jazz Giant * Verve VE2 2506 The Genius Of Bud Powell * Verve VSP 13 Various Artists - Piano Modern * Mercury Jazz Scene; Clef MG VOL.1 Various Artists - The Jazz Scene * Verve VK 117 Bud Powell - Cherokee / It Never Entered My Mind Bud Powell's Modernists Fats Navarro (trumpet -1/8) Sonny Rollins (tenor saxophone -1/8) Bud Powell (piano) Tommy Potter (bass) Roy Haynes (drums) WOR Studios, NYC, August 9, 1949 1. BN360-0 Bouncing With Bud (alt. take 1) Blue Note BLP 1532, BST 84430, BN-LA507-H2 2. BN360-1 Bouncing With Bud (alt. take 2) Blue Note BLP 1531, BST 84430, BN-LA507-H2 3. BN360-2 Bouncing With Bud Blue Note 1567, BLP 5003, BLP 1503, BNLA507-H2 4. BN361-0 Wail (alt. take) Blue Note BLP 1531, BST 84430, BN-LA507H2 5. BN361-3 Wail Blue Note 1567, BLP 5003, BLP 1503, BN-LA507-H2 6. BN362-0 Dance Of The Infidels (alt. take) Blue Note BLP 1532, BST 84430, BN-LA507-H2 7. BN362-1 Dance Of The Infidels Blue Note 1568, BLP 1503, BN-LA507-H2 8. BN363-1 52nd Street Theme Blue Note 1568, BLP 5004, BLP 1503, BNLA507-H2 9. BN364-0 You Go To My Head Blue Note 1566, BLP 5003, BLP 1504 10. BN365-0 Ornithology Blue Note 1566, BLP 5003, BLP 1503 11. BN365-1 Ornithology (alt. take) Blue Note BLP 1504 * Blue Note BLP 1532 The Fabulous Fats Navarro, Vol. 2 * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note BN-LA507-H2 Fats Navarro - Prime Source * Blue Note BLP 1531 The Fabulous Fats Navarro, Vol. 1 * Blue Note BLP 1503, BST 81503 (pseudo stereo) The Amazing Bud Powell, Vol. 1 * Blue Note BLP 1504, BST 81504 (pseudo stereo) The Amazing Bud Powell, Vol. 2 * Blue Note BLP 5003 The Amazing Bud Powell * Blue Note BLP 5004 Fats Navarro Memorial Album * Blue Note 1567 Bud Powell - Bouncing With Bud / Wail * Blue Note 1568 Bud Powell - Dance Of The Infidels / 52nd Street Theme * Blue Note 1566 Bud Powell - You Go To My Head / Ornithology Sonny Stitt Quartet Sonny Stitt (tenor saxophone) Bud Powell (piano) Curly Russell (bass) Max Roach (drums) 82 NYC, December 11, 1949 JRC1000A All God's Chillun Got Rhythm Prestige 9001, PRLP 103, PRLP 7024, P 24044 JRC1001 Sonny Side Prestige 722, PRLP 103, PRLP 7024, P 24044 JRC1002B Bud's Blues Prestige 9002, PRLP 103, PRLP 7024, P 24044 JRC1003A Sunset Prestige 9001, PRLP 103, PRLP 7024, P 24044 * Prestige PRLP 7024; Original Jazz Classics OJC 009, OJCCD 009-2 Sonny Stitt With Bud Powell And J.J. Johnson = Prestige PRLP 7248 Sonny Stitt - All God's Children Got Rhythm = Prestige PR 7839 Sonny Stitt - Bud's Blues * Prestige P 24044 Sonny Stitt - Genesis * Prestige PRLP 103 Sonny Stitt And Bud Powell * Prestige 9001, 705 Sonny Stitt - All God's Chillun Got Rhythm / Sunset * Prestige 722 Sonny Stitt - Sonny Side / Taking A Chance On Love * Prestige 9002, 706 Sonny Stitt - Fine And Dandy / Bud's Blues The Stars Of Modern Jazz Miles Davis (trumpet -1/4) Bennie Green (trombone -1/4) Sonny Stitt (alto saxophone -1/4) Serge Chaloff (baritone saxophone -1/4) Bud Powell (piano) Curly Russell (bass) Max Roach (drums) "The Stars Of Modern Jazz", "Carnegie Hall", NYC, December 25, 1949 1. Symphony Sid's Remarks IAJRC 20 2. Move IAJRC 20; Jass JCD 16 3. Hot House 4. Ornithology (incomplete) 5. All God's Chillun Got Rhythm IAJRC 20 * IAJRC 20 Various Artists - Stars Of Modern Jazz Concert At Carnegie Hall * Jass JCD 16 Various Artists - Carnegie Hall X-Mas '49: Charlie Parker And The Stars Of Modern Jazz At Carnegie Hall 1950 Sonny Stitt Quartet Sonny Stitt (tenor saxophone) Bud Powell (piano) Curly Russell (bass) Max Roach (drums) NYC, January 26, 1950 JRC1004D Strike Up The Band Prestige 758, PRLP 103, PRLP 7024, P 24044 JRC1005B I Want To Be Happy JRC1006D Taking A Chance On Love Prestige 722, PRLP 103, PRLP 7024, P 24044 JRC1007A Fine And Dandy Prestige 9002, PRLP 103, PRLP 7024, P 24044 JRC1007B Fine And Dandy (alt. take) Prestige PRLP 7024, P 24081 * Prestige PRLP 7024; Original Jazz Classics OJC 009, OJCCD 009-2 Sonny Stitt With Bud Powell And J.J. Johnson = Prestige PRLP 7248 Sonny Stitt - All God's Children Got Rhythm = Prestige PR 7839 Sonny Stitt - Bud's Blues * Prestige P 24044 Sonny Stitt - Genesis * Prestige P 24081 Various Artists - Fisrt Sessions 1949-50 * Prestige PRLP 103 Sonny Stitt And Bud Powell * Prestige 758 Sonny Stitt - I Want To Be Happy / Strike Up The Band * Prestige 722 Sonny Stitt - Sonny Side / Taking A Chance On Love 83 * Prestige 9002, 706 Sonny Stitt - Fine And Dandy / Bud's Blues Bud Powell Trio Bud Powell (piano) Curly Russell (bass -1/4,6,7) Max Roach (drums -1/4,6,7) NYC, February, 1950 1. 341-2 So Sorry Please Mercury 11060, MGC 507; Norgran MGN 1063; Verve 314 521 669-2 2. 342-2 Get Happy Mercury 11061, MGC 507; Norgran MGN 1063; Verve VSP 37, 314 521 669-2 3. 343-1 Sometimes I'm Happy Mercury 11061, MGC 507; Norgran MGN 1063; Verve 314 521 669-2 4. 344-2 Sweet Georgia Brown Mercury 11059, MGC 507; Norgran MGN 1063; Verve VSP 37, 314 521 669-2 5. 345-1 Yesterdays Mercury 11047, MG 35012; Norgran MGN 1063; Verve 314 521 669-2 6. 346-1 April In Paris Mercury 11060, MGC 507; Norgran MGN 1063; Verve 314 521 669-2 7. 347-1 Body And Soul Mercury 11059, MGC 507; Norgran MGN 1063; Verve 314 521 669-2 * Norgran MGN 1063; Verve MGV 8153 Bud Powell - Jazz Giant * Verve VSP 37 This Was Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve * Mercury MGC 507; Clef MGC 507; Universal (J) UCCV 9113 Bud Powell Piano Solos #2 * Mercury MG 35012, MGC 102, MGC 502; Clef MGC 102, MGC 502; Universal (J) UCCV 9042 Bud Powell - Piano Solos * Mercury 11060, 11060x45; Clef 11060, 11060x45 Bud Powell - So Sorry Please / April In Paris * Mercury 11061, 11061x45; Clef 11061, 11061x45 Bud Powell - Get Happy / Sometimes I'm Happy * Mercury 11059, 11059x45; Clef 11059, 11059x45 Bud Powell - Sweet Georgia Brown / Body And Soul * Mercury 11047, 11047x45; Clef 11047, 11047x45 Bud Powell - Strictly Confidential / Yesterdays Charlie Parker Quintet Fats Navarro (trumpet -1,2,5/15) Charlie Parker (alto saxophone -1/5,7/15) Bud Powell (piano) Curly Russell (bass) Art Blakey (drums) Radio broadcast, "Birdland", NYC, May 15 & 16, 1950 1. 52nd Street Theme I Ozone 4 2. Perdido (Wahoo) Columbia JG 34808; Alamac QSR 2430 3. 'Round Midnight (incomplete) 4. This Time The Dream's On Me Columbia JG 34808 5. Dizzy Atmosphere - 84 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. A Night In Tunisia Move (into) Ozone 9; Columbia JG 34808; Alamac QSR 2430 52nd Street Theme II (incomplete) Ozone 9; Alamac QSR 2430 Rifftide (The Street Beat) Columbia JG 34808; Alamac QSR 2430 Out Of Nowhere Columbia JG 34808 Little Willie Leaps (into) 52nd Street Theme III Ornithology (into) I'll Remember April (into) 52nd Street Theme IV - * Ozone 4 Charlie Parker - Fats Navarro - Bud Powell * Columbia JG 34808 Charlie Parker - One Night In Birdland * Alamac QSR 2430 Charlie Parker's All Stars 1950 * Ozone 9 Charlie Parker - Bud Powell - Fats Navarro Bud Powell Trio Bud Powell (piano) Ray Brown (bass) Buddy Rich (drums) NYC, July 1, 1950 435-6 Hallelujah! Mercury 11069, MGC 507, MGC 610; Norgran MGN 1036; Verve VE2 2506, 314 521 669-2 436-5 Tea For Two Norgran MGN 1036; Verve 314 521 669-2 436-6 Mercury MGC 610; Verve 314 521 669-2 436-10 Mercury 11069, MGC 507; Verve VE2 2506, 314 521 669-2 * Mercury MGC 610; Clef MGC 610 Bud Powell's Moods = Clef MGC 739; Verve MGV 8115 The Genius Of Bud Powell * Norgran MGN 1036; Verve MGV 8127 Various Artists - Piano Interpretations * Verve VE2 2506 The Genius Of Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve * Mercury MGC 507; Clef MGC 507; Universal (J) UCCV 9113 Bud Powell - Piano Solos #2 * Mercury 11069, 11069x45; Clef 11069, 11069x45 Bud Powell - Hallelujah! / Tea For Two Sarah Vaughan With Norman Leyden Orchestra Chris Griffin, Jimmy Maxwell, Red Solomon (trumpet) Will Bradley, Buddy Morrow, Jack Satterfield (trombone) Jimmy Abato, Russell Banser, Al Klink, Jimmy Odrick, Bill Versacci (reeds, woodwinds) Bud Powell (piano) Mundell Lowe (guitar) Frank Carroll (bass) Terry Snyder (drums) Sarah Vaughan (vocals) Norman Leyden (arranger, conductor) NYC, July 20, 1950 Thinking Of You Columbia CL 660 I Love The Guy * Columbia CL 660 Sarah Vaughan - After Hours 1951 85 Bud Powell Solo Bud Powell (piano) NYC, February 1951 571-1 Parisian Thoroughfare (Parisienne Thorofare) Mercury MGC 610; Verve VE2 2506, VSP 34, 314 521 669-2 572-1 Oblivion Mercury MGC 610; Verve VE2 2506, 314 521 669-2 573-1 Dusky 'N' Sandy (Dusk In Sandi) 574-5 Hallucinations (Budo) Mercury MGC 610; Verve VE2 2506, VSP 37, 314 521 669-2 575-2 The Fruit Mercury MGC 610; Verve VE2 2506, 314 521 669-2 576-1 A Nightingale Sang In Berkeley Square 577-2 Just One Of Those Things Mercury 11083, MGC 610; Verve VE2 2506, 314 521 669-2 578-1 The Last Time I Saw Paris * Mercury MGC 610; Clef MGC 610 Bud Powell's Moods = Clef MGC 739; Verve MGV 8115 The Genius Of Bud Powell * Verve VE2 2506 The Genius Of Bud Powell * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve VSP 37 This Was Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve * Mercury 11083, 11083x45; Clef 11083, 11083x45 Bud Powell - Just One Of Those Things / The Last Time I Saw Paris Dizzy Gillespie - Charlie Parker Quintet Dizzy Gillespie (trumpet) Charlie Parker (alto saxophone) Bud Powell (piano) Tommy Potter (bass) Roy Haynes (drums) "Birdland", NYC, March 31, 1951 Blue 'N' Boogie Columbia JC 34831 Anthropology 'Round Midnight A Night In Tunisia Jumpin' With Symphony Sid * Columbia JC 34831 Charlie Parker - Summit Meeting At Birdland Bud Powell Trio Bud Powell (piano) Curly Russell (bass -1/3,5,6,9) Max Roach (drums -1/3,5,6,9) WOR Studios, NYC, May 1, 1951 1. BN382-1 Un Poco Loco (alt. take 1) Blue Note BLP 1503 2. BN382-2 Un Poco Loco (alt. take 2) 3. BN382-4 Un Poco Loco Blue Note 1577, BLP 5003, BLP 1503, BST2 84429 4. BN383-0 Over The Rainbow Blue Note 1576, BLP 5003, BLP 1504 5. BN384-0 A Night In Tunisia Blue Note 1576, BLP 5003, BLP 1503, BLP 1001, BST 89903 86 6. BN384-1 A Night In Tunisia (alt. take) Blue Note BLP 1503 7. BN385-0 It Could Happen To You (alt. take) 8. BN385-1 It Could Happen To You Blue Note 1577, BLP 5003, BLP 1504 9. Parisian Thoroughfare Blue Note BLP 1503 * Blue Note BLP 1503, BST 81503 (pseudo stereo) The Amazing Bud Powell, Vol. 1 * Blue Note BST2 84429 Various Artists - The Best Of Blue Note, Vol. 1 * Blue Note BLP 1504, BST 81504 (pseudo stereo) The Amazing Bud Powell, Vol. 2 * Blue Note BLP 1001 Various Artists - 25 Years Blue Note: Anniversary Album = Blue Note BLP 2001, BST 82001 Various Artists - Blue Note Gems Of Jazz * Blue Note BST 89903 Various Artists - Blue Note's Three Decades Of Jazz 19491959 = Blue Note BN-LA159-G2 Various Artists - Decades Of Jazz, Vol. 2 * Blue Note BLP 5003 The Amazing Bud Powell * Blue Note 1577 Bud Powell - Un Poco Loco / It Could Happen To You * Blue Note 1576 Bud Powell - A Night In Tunisia / Over The Rainbow 1953 Bud Powell Trio Bud Powell (piano) Oscar Pettiford (bass) Roy Haynes (drums) WJZ radio broadcast, "Birdland", NYC, February 7, 1953 Tea For Two ESP-Disk' ESP 3021; Alto AL 715 It Could Happen To You Lover Come Back To Me Lullaby Of Birdland Mythic Sound MS 6002-1 * ESP-Disk' ESP 3021, ESPCD 3021 Bud Powell - Winter Broadcasts 1953 * Alto AL 715 Bud Powell - First And Foremost * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 Bud Powell Trio Same personnel WJZ radio broadcast, "Birdland", NYC, February 14, 1953 Lullaby Of Birdland ESP-Disk' ESP 3021; Alto AL 715 I Want To Be Happy Embraceable You I've Got You Under My Skin Ornithology Lullaby Of Birdland (incomplete) Mythic Sound MS 6002-1 * ESP-Disk' ESP 3021, ESPCD 3021 Bud Powell - Winter Broadcasts 1953 * Alto AL 715 Bud Powell - First And Foremost * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 Bud Powell Trio Same personnel WJZ radio broadcast, "Birdland", NYC, March 21, 1953 87 How High The Moon ESP-Disk' ESP 3022; Alto AL 715 Budo Hallelujah I've Got You Under My Skin ESP-Disk' ESP 3022 Embraceable You Lullaby Of Birdland Mythic Sound MS 6002-1 * ESP-Disk' ESP 3022, ESPCD 3022 Bud Powell - Spring Broadcasts 1953 * Alto AL 715 Bud Powell - First And Foremost * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 Bud Powell Trio Bud Powell (piano) Charles Mingus (bass) Roy Haynes (drums) WJZ radio broadcast, "Birdland", NYC, March 23, 1953 I Want To Be Happy ESP-Disk' ESP 3022; Session Disc 109 I've Got You Under My Skin Sure Thing Embraceable You Woody'n You Salt Peanuts Lullaby Of Birdland (incomplete) Session Disc 109 * ESP-Disk' ESP 3022, ESPCD 3022 Bud Powell - Spring Broadcasts 1953 * Session Disc 109 The Bud Powell Trio Bud Powell Trio Same personnel "Club Kavakos", Washington, DC, April 5, 1953 I Want To Be Happy Elektra/Musician E1-60030 Somebody Loves Me Nice Work If You Can Get It Salt Peanuts Conception Lullaby Of Birdland Little Willie Leaps Hallelujah Lullaby Of Birdland (alt. take) Sure Thing Woody'n You * Elektra/Musician E1-60030 Bud Powell - Inner Fires Bud Powell Trio With Joe Timer Big Band Bob Carey, Jon Eardley, Ed Leddy, Irving "Marky" Markowitz, Charlie Walp (trumpet) Don Spiker, Bob Swope, Earl Swope (trombone) Jim Riley (alto saxophone) Ben Lary, Angelo Tompros (tenor saxophone) Jack Nimitz (baritone saxophone) Bud Powell (piano) Charles Mingus (bass) Roy Haynes (drums) Joe Timer (leader) Bill Potts (arranger) "Club Kavakos", Washington, DC, April 5, 1953 Tiny's Blues (Big Band Blues) Mythic Sound MS 6002-1 88 * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 The Quintet Dizzy Gillespie (trumpet, vocals) Charlie Parker as Charlie Chan (alto saxophone) Bud Powell (piano) Charles Mingus (bass) Max Roach (drums) "Massey Hall", Toronto, Canada, May 15, 1953 Perdido (undubbed version) Debut 12DCD 4402-2 Perdido Debut DLP 2, (D) DEP 31 Debut DEB 124; Prestige PR 24024; Debut 12DCD 4402-2 Salt Peanuts (undubbed version) Debut 12DCD 4402-2 Salt Peanuts #1&2 Debut DLP 2, DEB 124, (D) DEP 31; Prestige PR 24024; Debut 12DCD 4402-2 All The Things You Are (undubbed version) Debut DLP 2, (D) DEP 32, 12DCD 4402-2 52nd Street Theme (undubbed version) All The Things You Are Debut DEB 124; Prestige PR 24024; Debut 12DCD 4402-2 52nd Street Theme • Debut DEB 124; Fantasy LP 6003, LP 86003; Original Jazz Classics OJC 044, • OJCCD 044-2 The Quintet - Jazz At Massey Hall = America (F) 30 AM 6053 Charlie Parker - Jazz At Massey Hall * Prestige PR 24024 Various Artists - The Greatest Jazz Concert Ever * Debut 12DCD 4402-2 Charles Mingus - The Complete Debut Recordings * Debut DLP 2 The Quintet - Jazz At Massey Hall, Vol. 1 = Vogue (E) LDE 040; Disques Swing (F) M 33312 The Quintet Of The Year - Jazz At Massey Hall, Vol. 1 * Debut (D) DEP 31 The Quintet - Jazz At Nassey Hall, Vol. 1 * Debut (D) DEP 32 The Quintet - Jazz At Nassey Hall, Vol. 2 Bud Powell Trio Bud Powell (piano) Charles Mingus (bass) Max Roach (drums) "Massey Hall", Toronto, Canada, May 15, 1953 I've Got You Under My Skin Debut DEB 198, (J) DEB 198; Fantasy LP 6006; Original Jazz Classics OJCCD 111-2; Prestige PR 24024; Debut 12DCD 4402-2 Embraceable You Debut DLP 3, (D) DEP 49; Fantasy LP 6006; Original Jazz Classics OJC 111; Prestige PR 24024; Debut 12DCD 4402-2 Sure Thing Cherokee Debut DLP 3, (D) DEP 34; Fantasy LP 6006; Original Jazz Classics OJC 111; Prestige PR 24024; Debut 12DCD 4402-2 Hallelujah (Jubilee) Debut DLP 3, (D) DEP 49; Fantasy LP 6006; Original Jazz Classics OJC 111; Prestige PR 24024, P 24052; Debut 12DCD 4402-2 Lullaby Of Birdland Debut DLP 3, (D) DEP 33; Fantasy LP 6006; Original Jazz Classics OJC 111; Prestige PR 24024; Debut 12DCD 4402-2 89 * Debut DEB 198 Jazz Workshop - Autobiography In Jazz * Debut (J) DEB 198; Original Jazz Classics OJC 115 Jazz Workshop Autobiography In Jazz * Fantasy LP 6006, LP 86006 The Bud Powell Trio = America (F) 30 AM 6056 Bud Powell - Charlie Mingus - Max Roach * Prestige PR 24024 Various Artists - The Greatest Jazz Concert Ever * Original Jazz Classics OJC 111, OJCCD 111-2 Bud Powell Trio - Jazz At Massey Hall, Vol. 2 * Prestige P 24052 Various Artists - Piano Giants * Debut 12DCD 4402-2 Charles Mingus - The Complete Debut Recordings * Debut DLP 3; Vogue (E) LDE 053; Disques Swing (F) M 33313 Bud Powell Trio - Jazz At Massey Hall, Vol. 2 * Debut (D) DEP 49 The Bud Powell Trio At Massey Hall * Debut (D) DEP 34 The Quintet/Bud Powell - Jazz At Nassey Hall, Vol. 4 * Debut (D) DEP 33 The Quintet/Bud Powell - Jazz At Nassey Hall, Vol. 3 The Quintet Dizzy Gillespie (trumpet) Charlie Parker as Charlie Chan (alto saxophone) Bud Powell (piano) Charles Mingus (bass) Max Roach (drums) "Massey Hall", Toronto, Canada, May 15, 1953 Allen's Alley (Wee) (undubbed version) Debut 12DCD 4402-2 Allen's Alley (Wee) Debut DLP 4, DEB 124, (D) DEP 32; Prestige PR 24024; Debut 12DCD 4402-2 Hot House (undubbed version) Debut 12DCD 4402-2 Hot House #1&2 Debut DLP 4, DEB 124, (D) DEP 33; Prestige PR 24024; Debut 12DCD 4402-2 A Night In Tunisia (undubbed version) Debut 12DCD 4402-2 A Night In Tunisia Debut DLP 4, DEB 124, (D) DEP 34; Prestige PR 24024; Debut 12DCD 4402-2 * Debut DEB 124; Fantasy LP 6003, LP 86003; Original Jazz Classics OJC 044, OJCCD 044-2 The Quintet - Jazz At Massey Hall = America (F) 30 AM 6053 Charlie Parker - Jazz At Massey Hall * Prestige PR 24024 Various Artists - The Greatest Jazz Concert Ever * Debut 12DCD 4402-2 Charles Mingus - The Complete Debut Recordings * Debut DLP 4 The Quintet - Jazz At Massey Hall, Vol. 3 = Vogue (E) LDE 087; Disques Swing (F) M 33318 The Quintet Of The Year - Jazz At Massey Hall, Vol. 3 * Debut (D) DEP 32 The Quintet - Jazz At Nassey Hall, Vol. 2 * Debut (D) DEP 33 The Quintet/Bud Powell - Jazz At Nassey Hall, Vol. 3 * Debut (D) DEP 34 The Quintet/Bud Powell - Jazz At Nassey Hall, Vol. 4 Charlie Parker Quartet 90 Charlie Parker (alto saxophone) Bud Powell (piano) Charles Mingus (bass) Art Taylor (drums) WJZ radio broadcast, "Birdland", NYC, May 22, 1953 Cool Blues unissued All The Things You Are Lullaby Of Birdland Bud Powell Trio Bud Powell (piano) Charles Mingus (bass) Art Taylor (drums) WJZ radio broadcast, "Birdland", NYC, May 30, 1953 I've Got You Under My Skin ESP-Disk' ESP 3023 Autumn In New York ESP-Disk' ESP 3023; Alto AL 715 I Want To Be Happy * ESP-Disk' ESP 3023, ESPCD 3023 Bud Powell - Summer Broadcasts 1953 * Alto AL 715 Bud Powell - First And Foremost Charlie Parker Quintet Charlie Parker (alto saxophone) Bud Powell (piano) Charles Mingus (bass) Art Taylor (drums) Candido (congas) WJZ radio broadcast, "Birdland", NYC, May 30, 1953 Moose The Mooche ESP-Disk' ESP 3023; Stash STCD 10 Cheryl Lullaby Of Birdland Stash STCD 10 * ESP-Disk' ESP 3023, ESPCD 3023 Bud Powell - Summer Broadcasts 1953 * Stash STCD 10 Charlie Parker - The Bird You Never Heard Dizzy Gillespie Quartet Dizzy Gillespie (trumpet, vocals) Bud Powell (piano) Charles Mingus (bass) Max Roach (drums) "Birdland", NYC ???, circa late May, 1953 Woody'n You Mythic Sound MS 6002-1 Salt Peanuts * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 Charlie Parker Quartet Charlie Parker (alto saxophone) Bud Powell (piano) Charles Mingus (bass) Art Taylor (drums) WJZ radiobroadcast, NYC, May 1953 Dance Of The Infidels S.C.A.M. JPG 1; Queen-disc (It) Q-002 * S.C.A.M. JPG 1 Charlie Parker - Dance Of The Infidels * Queen-disc (It) Q-002 Charlie Parker/Miles Davis/Dizzy Gillespie - Bird With Miles And Dizzy Bud Powell Trio Bud Powell (piano) Charles Mingus (bass) Art Taylor (drums) 91 WJZ radio broadcast, "Birdland", NYC, June 20, 1953 Budo ESP-Disk' ESP 3023 My Heart Stood Still Dance Of The Infidels ESP-Disk' ESP 3023; Session Disc 109 * ESP-Disk' ESP 3023, ESPCD 3023 Bud Powell - Summer Broadcasts 1953 * Session Disc 109 The Bud Powell Trio Bud Powell Trio Same personnel WJZ radio broadcast, "Birdland", NYC, July 11, 1953 Budo unissued My Heart Stood Still Dance Of The Infidels ESP-Disk' ESP 3023 * ESP-Disk' ESP 3023, ESPCD 3023 Bud Powell - Summer Broadcasts 1953 Bud Powell Trio Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) WOR Studios, NYC, August 14, 1953 BN510-6 tk.8 Autumn In New York Blue Note BLP 5041, BLP 1504 BN509-1 tk.9 Reets And I BN509-2 tk.10 Reets And I (alt. take) Blue Note (J) BNJ-61008/10, BST 84430 BN511-2 tk.17 Sure Thing Blue Note 1629, BLP 5041, BLP 1504 BN512-0 tk.18 Collard Greens And Black-Eyed Peas (alt. take) Blue Note (J) BNJ-61008/10, BST 84430 BN512-2 tk.20 Collard Greens And Black-Eyed Peas Blue Note 1629, BLP 5041, BLP 1504, BST2 84433 BN513-0 tk.21 Polka Dots And Moonbeams Blue Note BLP 5041, BLP 1504 BN514-1 tk.23 I Want To Be Happy Blue Note 1628, BLP 5041, BLP 1504 BN515-0 tk.25 AudreyBlue Note BLP 5041, BLP 1504 BN516-0 tk.27 The Glass Enclosure Blue Note 1628, BLP 5041, BLP 1504 BN517-0 I've Got You Under My Skin rejected * Blue Note BLP 1504, BST 81504 (pseudo stereo) The Amazing Bud Powell, Vol. 2 * Blue Note (J) BNJ-61008/10 Various Artists - The Other Side Of Blue Note 1500 Series * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note BST2 84433 Various Artists - The Best Of Blue Note, Vol. 2 * Blue Note BLP 5041 The Amazing Bud Powell, Vol. 2 * Blue Note 1629 Bud Powell - Sure Thing / Collard Greens And Black-Eyed Peas * Blue Note 1628 Bud Powell - I Want To Be Happy / The Glass Enclosure Bud Powell Trio Same personnel 92 WJZ radio broadcast, "Birdland", NYC, September 5, 1953 My Heart Stood Still ESP-Disk' ESP 3024 Un Poco Loco Parisian Thoroughfare Dance Of The Infidels Glass Enclosure * ESP-Disk' ESP 3024, ESPCD 3024 Bud Powell - Autumn Broadcasts 1953 Bud Powell Trio Bud Powell (piano) Curly Russell (bass) Art Taylor (drums) WJZ radio broadcast, "Birdland", NYC, September 9, 1953 Parisian Thoroughfare ESP-Disk' ESP 3024 Dance Of The Infidels Un Poco Loco Oblivion * ESP-Disk' ESP 3024, ESPCD 3024 Bud Powell - Autumn Broadcasts 1953 Bud Powell Trio Same personnel WJZ radio broadcast, "Birdland", NYC, September 26, 1953 Parisian Thoroughfare ESP-Disk' ESP 3024 Dance Of The Infidels Embraceable You Un Poco Loco Oblivion * ESP-Disk' ESP 3024, ESPCD 3024 Bud Powell - Autumn Broadcasts 1953 Bud Powell Trio Bud Powell (piano) George Duvivier (bass -1/6,8) Art Taylor (drums -1/6,8) NYC, September 1953 1. Embraceable You Roost RLP 412, RLP 2224 2. Burt Covers Bud 3. My Heart Stood Still 4. You'd Be So Nice To Come Home To 5. Bugs' Groove 6. My Devotion 7. Stella By Starlight 8. Woody'n You Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) My Devotion Fantasy LP 6006; Original Jazz Classics OJC 111; Prestige PR 24024 Polka Dots And Moonbeams My Heart Stood Still I Want To Be Happy * Roost RLP 2224 The Bud Powell Trio * Fantasy LP 6006, LP 86006 The Bud Powell Trio = America (F) 30 AM 6056 Bud Powell - Charlie Mingus - Max Roach * Original Jazz Classics OJC 111, OJCCD 111-2 Bud Powell Trio - Jazz At Massey Hall, Vol. 2 93 * Prestige PR 24024 Various Artists - The Greatest Jazz Concert Ever * Roost RLP 412 Bud Powell Trio, Vol. 2 Bud Powell Trio Bud Powell (piano) Oscar Pettiford (bass) Art Blakey (drums) Steve Allen (announcer) Television broadcast, "Tonight Show With Steve Allen", CBS Studios, NYC, 1953 Bud's Bubble Mythic Sound MS 6002-1 * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 Charlie Parker Charlie Parker (alto saxophone) Bud Powell (piano) and others probably NYC, 1953? 'Round Midnight unissued 1954 (age 30) Bud Powell Trio Bud Powell (piano) Percy Heath (bass) Art Taylor (drums) Fine Sound Studios, NYC, June 2, 1954 1726-2 Moonlight In Vermont Norgran MGN 23, MGN 1064; Verve VE2 2526, 314 521 669-2 1727-1 Spring Is Here 1728-1 Buttercup Norgran MGN 23, MGN 1064; Verve VE2 2526, VSP 34, 314 521 669-2 1729-3 Fantasy In Blue Norgran MGN 23, MGN 1064; Verve VSP 34, 314 521 669-2 * Norgran MGN 1064; Verve MGV 8154 Bud Powell's Moods * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve * Norgran MGN 23 The Artistry Of Bud Powell Bud Powell Trio Same personnel Fine Sound Studios, NYC, June 4, 1954 1760-1 | 62VK235 It Never Entered My Mind Norgran MGN 23, MGN 1064; Verve VK 117, VE2 2526, 314 521 669-2 1761-3 A Foggy Day Norgran MGN 23, MGN 1064; Verve VE2 2526, 314 521 6692 1762-1 Time Was 1763-1 My Funny Valentine Norgran MGN 23, MGN 1064; Verve 314 521 669-2 * Norgran MGN 1064; Verve MGV 8154 Bud Powell's Moods * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve 314 521 669-2 The Complete Bud Powell On Verve 94 * Norgran MGN 23 The Artistry Of Bud Powell * Verve VK 117 Bud Powell - Cherokee / It Never Entered My Mind Bud Powell Trio Bud Powell (piano) Percy Heath (bass -1,3/8) Max Roach (drums -1,3/8) Fine Sound Studios, NYC, December 16, 1954 1. 2138-1,2 Like Someone In Love (incomplete) Verve 314 521 669-2 2. 2138-3 Like Someone In Love Norgran MGN 1017; Verve 314 521 669-2 3. 2139-1 Deep Night 4. 2140-1,2 That Old Black Magic (incomplete) Verve 314 521 669-2 5. 2140-3 That Old Black Magic (alt. take 1) Verve VE2 2526, 314 521 669-2 6. 2140-4 That Old Black Magic Norgran MGN 1017; Verve 314 521 669-2 7. 2140-5 That Old Black Magic (alt. take 2) Verve 314 521 669-2 8. 2141-1 'Round Midnight Norgran MGN 1017; Verve VE2 2526, VSP 34, 314 521 669-2 * Norgran MGN 1017 Bud Powell - Jazz Original = Norgran MGN 1098; Verve MGV 8185 Bud Powell '57 * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve 1955 Bud Powell Trio Bud Powell (piano) Lloyd Trotman (bass) Art Blakey (drums) Fine Sound Studios, NYC, January 11, 1955 2154-1 Thou Swell (alt. take) Verve 314 521 669-2 2154-2 Thou Swell Norgran MGN 1017; Verve VE2 2526, 314 521 669-2 2155-2 Someone To Watch Over Me 2156-1 Bean And The Boys (Lover Come Back To Me) Norgran MGN 1017; Verve 314 521 669-2 2157-1 Tenderly (incomplete) Verve 314 521 669-2 2157-2 Tenderly Norgran MGN 1017; Verve VE2 2526, 314 521 669-2 * Norgran MGN 1017 Bud Powell - Jazz Original = Norgran MGN 1098; Verve MGV 8185 Bud Powell '57 * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Same personnel Fine Sound Studios, NYC, January 12, 1955 95 2158-1 How High The Moon Norgran MGN 1017; Verve 314 521 669-2 2159-1 I Get A Kick Out Of You (incomplete) Verve 314 521 669-2 2159-2 I Get A Kick Out Of You Norgran MGN 1064; Verve 314 521 669-2 2159-3 I Get A Kick Out Of You (alt. take) Verve VE2 2526, 314 521 669-2 2160-1 The Best (The Best Thing For You) Norgran MGN 1064; Verve 314 521 669-2 The Best Thing For You (incomplete) Verve 314 521 669-2 2161-1 You Go To My Head Norgran MGN 1064; Verve 314 521 669-2 * Norgran MGN 1017 Bud Powell - Jazz Original = Norgran MGN 1098; Verve MGV 8185 Bud Powell '57 * Norgran MGN 1064; Verve MGV 8154 Bud Powell's Moods * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Bud Powell (piano) Percy Heath (bass) Kenny Clarke (drums) Fine Sound Studios, NYC, January 13, 1955 2162-1 Mediocre Verve MGV 8301, VE2 2526, VSP 34, 314 521 669-2 2163-1 All The Things You Are Verve MGV 8301, 314 521 669-2 2164-2 Epistrophy Verve MGV 8301, VE2 2526, 314 521 669-2 2165-1 Dance Of The Infidels 2166-3 Salt Peanuts Verve MGV 8301, 314 521 669-2 2167-1 Sweet Georgia Brown (Hey George) * Verve MGV 8301 Bud Powell - The Lonely One... * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) Fine Sound Studios, NYC, April 25, 1955 2332-1 Conception (incomplete) Verve 314 521 669-2 2332-2 Conception Norgran MGN 1077; Verve VE2 2514, 314 521 669-2 2333-1,2,3 Bean And The Boys (incomplete) Verve 314 521 669-2 2333-4 Bean And The Boys Verve VE2 2526, 314 521 669-2 2334-1 Heart And Soul (alt. take 1) Verve 314 521 669-2 2334-2 Heart And Soul (alt. take 2) 2334-3 Heart And Soul Norgran MGN 1077; Verve VE2 2514, 314 521 669-2 2335-1 Willow Grove (Willow Groove) (alt. take) Verve 314 521 669-2 2335-2 Willow Grove (Willow Groove) Norgran MGN 1077; Verve VE2 2514, VSP 37, 314 521 669-2 2336-1 Crazy Rhythm Norgran MGN 1077; Verve VSP 34, 314 521 669-2 2337-1 Willow Weep For Me Norgran MGN 1036, MGN 1077; Verve MGV 8301, 314 521 669-2 * Norgran MGN 1077; Verve MGV 8167 Piano Interpretations By Bud Powell * Verve VE2 2514 Various Artists - Masters Of The Modern Piano 96 * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 37 This Was Bud Powell * Verve VSP 34 The Jazz Legacy Of Bud Powell * Norgran MGN 1036; Verve MGV 8127 Various Artists - Piano Interpretations * Verve MGV 8301 Bud Powell - The Lonely One... * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Same personnel Fine Sound Studios, NYC, April 27, 1955 2333-1 Bean And The Boys Norgran MGN 1077; Verve VE2 2514, 314 521 669-2 2338-1 East Of The Sun (alt. take) Verve VE2 2526, 314 521 669-2 2338-2,3 East Of The Sun (incomplete)Verve 314 521 669-2 2338-4 East Of The Sun Norgran MGN 1077; Verve VE2 2514, 314 521 669-2 2339-1 Lady Bird (alt. take 1) Verve 314 521 669-2 2339-2 Lady Bird (incomplete) 2339-3 Lady Bird (alt. take 2) Verve VE2 2526, 314 521 669-2 2339-4 Lady Bird Norgran MGN 1077; Verve 314 521 669-2 Stairway To The Stars (incomplete) Verve 314 521 669-2 2340-1 Stairway To The Stars Norgran MGN 1077; Verve VE2 2514, VSP 37, 314 521 669-2 2341-1,2,3 Lullaby In Rhythm (incomplete) Verve 314 521 669-2 2341-4 Lullaby In Rhythm Verve MGV 8301, VE2 2526, 314 521 669-2 2342-1,2,3 Star Eyes (alt. take 1) Verve 314 521 669-2 2342-4 Star Eyes (alt. take 2) 2342-5 Star Eyes (alt. take 3) 2342-6 Star Eyes (incomplete) 2342-8 Star Eyes (alt. take 4) 2342-9 Star Eyes Verve MGV 8301, VE2 2526, 314 521 669-2 2343-1 Confirmation * Norgran MGN 1077; Verve MGV 8167 Piano Interpretations By Bud Powell * Verve VE2 2514 Various Artists - Masters Of The Modern Piano * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 37 This Was Bud Powell * Verve MGV 8301 Bud Powell - The Lonely One... * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Bud Powell (piano) Oscar Pettiford (bass) Art Blakey (drums) "Birdland", NYC, September 1955 Intro And That Old Black Magic Mythic Sound MS 6002-1 Star Eyes Blues In The Closet Hallucinations (Budo) * Mythic Sound MS 6002-1, MS 6002-2 Earl Bud Powell, Vol. 2 - Burning In U.S.A., 53-55 97 Bud Powell Trio1956 Bud Powell (piano) Ray Brown (bass) Osie Johnson (drums) Fine Sound Studios, NYC, September 13, 1956 4000-4 When I Fall In Love Verve MGV 8218, 314 521 669-2 4001-1 My Heart Stood Still Verve MGV 8218, VE2 2526, 314 521 669-2 4002-1B Blues In The Closet 4003-4 Swingin' Till The Girls Come Home Verve MGV 8218, 314 521 669-2 4004-4 I Know That You Know Verve MGV 8218, VE2 2526, 314 521 669-2 4005-1 Elegie (Elogie) Verve MGV 8218, 314 521 669-2 4006-2 Woody'n You Verve MGV 8218, VE2 2526, VSP 34, 314 521 669-2 4007-2 I Should Care Verve MGV 8218, VE2 2526, 314 521 669-2 4008-1 Now's The Time 4009-1 I Didn't Know What Time It Was Verve MGV 8218, VE2 2526, VSP 37, 314 521 669-2 4010-1 Be-Bop Verve MGV 8218, VSP 34, 314 521 669-2 4011-1 52nd Street Theme Verve MGV 8218, VSP 37, 314 521 669-2 * Verve MGV 8218 Bud Powell - Blues In The Closet * Verve VE2 2526 The Genius Of Bud Powell, Vol. 2 * Verve VSP 34 The Jazz Legacy Of Bud Powell * Verve VSP 37 This Was Bud Powell * Verve 314 521 669-2 The Complete Bud Powell On Verve Bud Powell Trio Bud Powell (piano) George Duvivier (bass -1/11) Art Taylor (drums -1/11) NYC, October 5, 1956 1. There'll Never Be Another You RCA Victor LPM 1423 2. They Didn't Believe Me 3. Lush Life 4. Over The Rainbow 5. I Cover The Waterfront 6. Time Was 7. Topsy Turvy 8. Elegie 9. Coscrane 10. Jump City 11. Blues For Bessie 12. Lullaby To A Believer unissued * RCA Victor LPM 1423, LSP 1423 Bud Powell - Strictly Powell 1957 Bud Powell Trio Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) "Birdland", NYC, January 1957 Embraceable You Queen-disc (It) Q-024 Un Poco Loco Lullaby Of Birdland - 98 I've Got You Under My Skin Hallelujah * Queen-disc (It) Q-024 Bud Powell - Live At Birdland Bud Powell Trio Same personnel NYC, February 11, 1957 Salt Peanuts RCA Victor LPM 1507 Swedish Pastry Like Someone In Love Shaw 'Nuff Midway Oblivion Get It Another Dozen She In The Blue Of The Evening Birdland Blues * RCA Victor LPM 1507, LSP 1507 Bud Powell - Swingin' With Bud Bud Powell Quintet Curtis Fuller (trombone -7/9) Bud Powell (piano) Paul Chambers (bass -1/5,7/9) Art Taylor (drums -1/5,7/9) Rudy Van Gelder Studio, Hackensack, NJ, August 3, 1957 1. Tk.1 Blue Pearl Blue Note BLP 1571, (J) BNJ-27002 2. Tk.2 Blue Pearl (alt. take) Blue Note (J) BNJ-27002, BST 84430, (J) BNJ61008/10, (J) TOCJ-1601 3. Tk.4 Keepin' In The Groove Blue Note BLP 1571 4. Tk.5 Some Soul 5. Tk.6 Frantic Fancies 6. Tk.7 Bud On Bach 7. Tk.9 Idaho 8. Tk.11 Don't Blame Me 9. Tk.18 Moose The Mooche * Blue Note BLP 1571, BST 81571, CDP 7 81571 2 The Amazing Bud Powell, Vol. 3 - Bud! * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note (J) BNJ-61008/10 Various Artists - The Other Side Of Blue Note 1500 Series * Blue Note (J) TOCJ-1601 Various Artists - Blue Trails: The Rare Tracks * Blue Note (J) BNJ-27002 Bud Powell - Blue Pearl Bud Powell Trio Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) NYC, October 14, 1957 12450-3 Shaw 'Nuff Roulette 7243 8 37137 2 99 12451-1 Yardbird Suite 12452-1 Confirmation 12453 Billie's Bounce rejected 12454-1 Moose The Mooche Roulette 7243 8 37137 2 12455-1 Salt Peanuts 12456 Groovin' High rejected 12457-4 Ko Ko Roulette 7243 8 37137 2 12458-1 Buzzy * Roulette 7243 8 37137 2 Bud Powell - Bud Plays Bird Bud Powell Trio Same personnel NYC, December 2, 1957 12522-4 Billie's Bounce Roulette 7243 8 37137 2 12523-3 Ornithology 12524 Ko Ko (incomplete) rejected * Roulette 7243 8 37137 2 Bud Powell - Bud Plays Bird The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Club St. Germain", Paris, France, 1957 Bud On Bach Mythic Sound MS 6003-1 Yesterdays Be-Bop * Mythic Sound MS 6003-1, MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At SaintGermain, 57-59 Dizzy Gillespie - Bud Powell Quintet Dizzy Gillespie (trumpet) Barney Wilen (tenor saxophone) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Paris, France, 1957 How High The Moon Mythic Sound MS 6005-1 * Mythic Sound MS 6005-1, MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 1958 Bud Powell Trio Bud Powell (piano) George Duvivier (bass) Art Taylor (drums) NYC, January 30, 1958 12580-1 Relaxin' At Camarillo Roulette 7243 8 37137 2 12581-4 Big Foot (long version) 12581-5 Big Foot (short version) 12582-1 Barbados 12583-1 Dewey Square 12662-4 Scrapple From The Apple * Roulette 7243 8 37137 2 Bud Powell - Bud Plays Bird Bud Powell Trio Bud Powell (piano) Sam Jones (bass) Philly Joe Jones (drums) Rudy Van Gelder Studio, Hackensack, NJ, May 24, 1958 Tk.4 John's Abbey (alt. take) Blue Note (J) BNJ-61008/10, BST 84430, CDP 7 46820 2 100 Tk.5 Sub City (alt. take) Blue Note BLP 1598 Tk.8 Sub City Tk.9 John's Abbey Tk.10 Buster Rides Again Blue Note 45-1712, BLP 1598 Tk.11 Dry Soul Tk.12 Marmalade Blue Note BLP 1598 Tk.14 Monopoly Tk.16 Time Waits * Blue Note (J) BNJ-61008/10 Various Artists - The Other Side Of Blue Note 1500 Series * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note BLP 1598, BST 81598, CDP 7 46820 2 The Amazing Bud Powell, Vol. 4 - Time Waits * Blue Note 45-1712 Bud Powell - Buster Rides Again / Dry Soul Bud Powell Trio Bud Powell (piano) Paul Chambers (bass) Art Taylor (drums) Rudy Van Gelder Studio, Hackensack, NJ, December 29, 1958 Tk.1 The Scene Changes Blue Note BLP 4009, (J) NP-2009 Tk.3 Down With It Blue Note BLP 4009 Tk.4 Comin' Up (alt. take) Blue Note BST 84430, CDP 7 46529 2, (J) TOCJ5941/44 Tk.6 Comin' Up Blue Note BLP 4009 Tk.9 Duid Deed Tk.10 Cleopatra's Dream Blue Note BLP 4009, (J) NP-2009, (J) NP-9020C, (J) BNJ-27002 Tk.12 Gettin' There Blue Note BLP 4009 Tk.14 Crossin' The Channel Tk.16 Danceland Tk.17 Borderick * Blue Note BLP 4009, BST 84009, CDP 7 46529 2 The Amazing Bud Powell, Vol. 5 - The Scene Changes * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note (J) NP-9020C Various Artists - Blue Note Jazz * Blue Note (J) TOCJ-5941/44 Various Artists - The Other Side Of Blue Note 4000 Series * Blue Note (J) BNJ-27002 Bud Powell - Blue Pearl * Blue Note (J) NP-2009 Bud Powell - Cleopatra's Dream / The Scene Changes 1959 The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Club St. Germain", Paris, France, November 6, 1959 Crossin' The Channel Bud 851125; Mythic Sound MS 6003-2 Blues In The Closet Mythic Sound MS 6011-1 * Bud 851125 Bud Powell Trio * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 101 * Mythic Sound MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At Saint-Germain, 57-59 The Three Bosses With Clark Terry Clark Terry (trumpet -1/4) Barney Wilen (tenor saxophone -1/3,5) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Club St. Germain", Paris, France, November 7, 1959 1. Miguel's Party Mythic Sound MS 6003-1; Europa Jazz (It) EJ 1007 2. Miguel's Party (incomplete) Mythic Sound MS 6003-2 3. No Problem Mythic Sound MS 6003-1; Europa Jazz (It) EJ 1007 4. Pie Eye Mythic Sound MS 6003-2 5. 52nd Street Theme Mythic Sound MS 6003-1 * Mythic Sound MS 6003-1, MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At Saint-Germain, 57-59 * Europa Jazz (It) EJ 1007 Bud Powell - Europa Jazz Barney Wilen - Bud Powell Quartet Barney Wilen (tenor saxophone -1,3) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Paris, France, December 12, 1959 1. Autumn In New York Xanadu 102 2. John's Abbey 3. Oleo 4. Shaw 'Nuff * Xanadu 102 Bud Powell - Bud In Paris Art Blakey And The Jazz Messengers With Guests Lee Morgan (trumpet) Barney Wilen (alto saxophone) Wayne Shorter (tenor saxophone) Bud Powell (piano) Jymie Merritt (bass) Art Blakey (drums) "Theatre Des Champs-Elysees", Paris, France, December 18, 1959 Dance Of The Infidels Fontana (F) 680 207 TL Bouncing With Bud * Fontana (F) 680 207 TL Art Blakey/Bud Powell/Barney Wilen/Wayne Shorter/Lee Morgan - Paris Jam Session = Epic LA 16017, BA 17017 Art Blakey In Paris Featuring Bud Powell And Lee Morgan Barney Wilen - Bud Powell Quartet Barney Wilen (tenor saxophone) Bud Powell (piano) Eric Peter (bass) Daniel Humair (drums) "Club St. Germain", Paris, France, 1959 Omicron Mythic Sound MS 6003-1 * Mythic Sound MS 6003-1, MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At Saint-Germain, 57-59 The Three Bosses 102 Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Club St. Germain", Paris, France, 1959 John's Abbey Mythic Sound MS 6003-1 Shaw 'Nuff Just One Of Those Things Mythic Sound MS 6003-1; Bud 851125 * Mythic Sound MS 6003-1, MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At Saint-Germain, 57-59 * Bud 851125 Bud Powell Trio The Three Bosses With Guests Peanuts Holland (trumpet) Barney Wilen (tenor saxophone) Bud Powell (piano) Rene Thomas (guitar) Pierre Michelot (bass) Kenny Clarke (drums) "Club St. Germain", Paris, France, 1959 Buzzy Mythic Sound MS 6003-1 * Mythic Sound MS 6003-1, MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At SaintGermain, 57-59 1960 Johnny Griffin - Bud Powell Duo Johnny Griffin (tenor saxophone) Bud Powell (piano) Paris, France, February 14, 1960 Idaho Xanadu 102 Perdido * Xanadu 102 Bud Powell - Bud In Paris The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Blue Note Cafe", Paris, France, March 12, 1960 Now's The Time Mythic Sound MS 6011-1 Confirmation * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 The Three Bosses Same personnel Paris, France, March 12, 1960 Confirmation Xanadu 102 * Xanadu 102 Bud Powell - Bud In Paris Oscar Pettiford's Essen Jazz Festival All Stars Coleman Hawkins (tenor saxophone) Bud Powell (piano) Oscar Pettiford (bass) Kenny Clarke (drums) "Essen Jazz Festival", "Grugahalle", Essen, West Germany, April 2, 1960 All The Things You Are Debut (D) DEB 131 Yesterdays Stuffy Just You, Just Me Black Lion (E) BLP 30125; Freedom (F) BLP 30125; Black Lion (G) BLCD 760105 omit Hawkins Shaw 'Nuff Debut (D) DEB 131; Duke (It) D 1012 Willow Weep For Me Debut (D) DEB 131 103 John's Abbey Salt Peanuts Blues In The Closet Debut (D) DEB 131; Duke (It) D 1012 * Debut (D) DEB 131; Fantasy LP 6015, LP 86015 Coleman Hawkins/Bud Powell/Oscar Pettiford/Kenny Clarke - The Essen Jazz Festival All Stars = Black Lion (E) BL 159, (G) BLCD 760105 Bud Powell - The Essen Jazz Festival Concert = Black Lion (E) BLP 30125; Freedom (F) BLP 30125 Coleman Hawkins/Bud Powell - Hawk In Germany * Duke (It) D 1012 Bud Powell In Europe The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Blue Note Cafe", Paris, France, May 8, 1960 Anthropology Mythic Sound MS 6005-1 * Mythic Sound MS 6005-1, MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 The Three Bosses Same personnel "Blue Note Cafe", Paris, France, June 15, 1960 Get Happy Xanadu 102; Mythic Sound MS 6005-1 John's Abbey * Xanadu 102 Bud Powell - Bud In Paris * Mythic Sound MS 6005-1, MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 Charles Mingus Quintet + Bud Powell Ted Curson (trumpet) Eric Dolphy (alto saxophone, bass clarinet) Booker Ervin (tenor saxophone) Bud Powell (piano) Charles Mingus (bass) Dannie Richmond (drums) "Juan-les-Pins Jazz Festival", Antibes, France, July 13, 1960 5265 | 37624 I'll Remember April Atlantic SD 2-3001 * Atlantic SD 2-3001 Charles Mingus - Mingus At Antibes = Affinity (E) CDAFF 778 Charles Mingus - Live = Rhino R2 72871 Charles Mingus - Passions Of A Man: The Complete Atlantic Recordings 1956-1961 The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Theatre Des Champs-Elysees", Paris, France, October 14, 1960 Buttercup Vogue (F) EPL 7942, LD 523-30; Xanadu 102 John's Abbey Vogue (F) EPL 7942, LD 523-30, DP 64; Xanadu 102 Sweet And Lovely Vogue (F) EPL 7942, LD 523-30; Mode (F) MDINT 9144; Xanadu 102 Crossin' The Channel Vogue (F) EPL 7942, LD 523-30, CLVLX 342; Xanadu 102 * Vogue (F) LD 523-30 Bud Powell/Lucky Thompson - Memorial Oscar Pettiford: 10eme Anniversaire Des Disques Vogue, Vol. 16 * Xanadu 102 Bud Powell - Bud In Paris 104 * Vogue (F) DP 64 Various Artists - 25 Geants Du Piano Jazz * Mode (F) MDINT 9144 Various Artists - Les Geants Du Jazz Moderne * Vogue (F) CLVLX 342 Various Artists - Une Histoire Des Geants Du Jazz * Vogue (F) EPL 7942 Bud Powell - Memorial Oscar Pettiford Concert Bud Powell Trio Bud Powell (piano) Jean-Marie Ingrand (bass) Kenny Clarke (drums) "Blue Note Cafe", Paris, France, 1960 I Want To Be Happy Mythic Sound MS 6005-1 * Mythic Sound MS 6005-1, MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 1961 The Three Bosses With Zoot Sims Zoot Sims (tenor saxophone) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Blue Note Cafe", Paris, France, January 1961 Groovin' High Mythic Sound MS 6005-1 Taking A Chance On Love Blue Bud Blues / 52nd Street Theme * Mythic Sound MS 6005-1, MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 Barney Wilen - Bud Powell Quartet Barney Wilen (tenor, soprano saxophone -4/6) Bud Powell (piano) Jacques Hess (bass) Art Taylor (drums) Milan, Italy, April 21, 1961 1. John's Abbey Moon (It) MCD 055-2 2. I Remember Clifford 3. Dance Of The Infidels 4. Barney's Blues 5. Yesterdays 6. Move * Moon (It) MCD 055-2 Bud Powell/Thelonious Monk – Pianology Bud Powell Trio Bud Powell (piano) Benoit Quersin (bass) Jose Bourguignon (drums) "Annual Jazz Festival", Comblain-la-Tour, Belgium, July 1961 I Remember Clifford RCA (It) LPM 10317 * RCA (It) LPM 10317 Various Artists - More Jazz At Comblain La Tour! Don Byas - Bud Powell Quintet Idrees Sulieman (trumpet -1/4) Cannonball Adderley (alto saxophone -10) Don Byas (tenor saxophone) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Studio Charlot, Paris, France, December 15, 1961 1. Good Bait Columbia JC 35755 2. Jeannine 3. All The Things You Are 4. Myth 5. Just One Of Those Things 6. Jackie My Little Cat - 105 7. Cherokee 8. I Remember Clifford 9. Jackie My Little Cat (alt. take) 10. Cherokee (alt. take) Columbia/Legacy CK 65186 * Columbia JC 35755; Columbia/Legacy CK 65186 Don Byas/Bud Powell - A Tribute To Cannonball The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Paris, France, December 17, 1961 CO75895 Thelonious Columbia CL 2292, KG 32355 CO75896 Ruby, My Dear Columbia CL 2292, CL 1970 CO75897 There Will Never Be Another You Columbia CL 2292 CO75898 Off Minor CO75899 I Ain't Foolin' CO75900 No Name Blues CO75901 Squatty Squatty (alt. take 1) Mythic Sound MS 6005-2 Squatty (alt. take 2) Squatty (incomplete) (Anthropology) Mythic Sound MS 6003-2 CO75902 Monk's Mood Columbia CL 2292 Cherokee Columbia unissued * Columbia CL 2292, CS 9092, PC 36805 Bud Powell - A Portrait Of Thelonious * Columbia KG 32355 Various Artists - A Jazz Piano Anthology * Columbia CL 1970, CS 8770 Various Artists - The Giants Of Jazz * Mythic Sound MS 6005-2 Earl Bud Powell, Vol. 5 - Groovin' At The Blue Note, 59-61 * Mythic Sound MS 6003-2 Earl Bud Powell, Vol. 3 - Cookin' At Saint-Germain, 57-59 Bud Powell - Francis Paudras Duo Bud Powell (piano, vocals) Francis Paudras (brushes -2) Francis Paudras' home, Rue De Boursault, Paris, France, 1961 1. Christmas Song Mythic Sound MS 6004-1 2. Groovin' High 3. Yeheadeadeadee 4. La Marseillaise 5. Let's Go Away Mythic Sound MS 6011-1 6. Little Willie Leaps * Mythic Sound MS 6004-1, MS 6004-2 Earl Bud Powell, Vol. 4 - Relaxin' At Home, 61-64 * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 1962 Bud Powell Trio Bud Powell (piano) Bob Jacquillard (bass) Mike Stevenot (drums) Radio broadcast, Lausanne, Switzerland, January 31, 1962 Anthropology After Hours AHL 210 I Remember Clifford Stretch Archives SCD 9038-2 Confirmation After Hours AHL 210 106 Just One Of Those Things Woody'n You Stretch Archives SCD 9038-2 All God's Chillun Got Rhythm After Hours AHL 210 How High The Moon / Ornithology 'Round Midnight Lover Come Back To Me Billie's Bounce Just You, Just Me unissued Evidence Stretch Archives SCD 9038-2 Blues In The Closet * After Hours AHL 210 Bud Powell - Lausanne '62 = Stretch Archives SCD 9038-2 Bud Powell - Live In Lausanne 1962 Bud Powell Trio Bud Powell (piano) unknown (bass) Jackie Cavussin (drums) Radio broadcast, Geneva, Switzerland, February 1, 1962 Ornithology (incomplete) Norma/Vantage (J) NOCD 5661 Swedish Pastry (incomplete) Hot House I Remember Clifford Just One Of Those Things Anthropology 'Round Midnight Jor-Du I Know That You Know Blues In The Closet (incomplete) * Norma/Vantage (J) NOCD 5661 Bud Powell - Live In Geneva Bud Powell Trio Bud Powell (piano) Torbjorn Hultcrantz (bass) Sune Spangberg (drums) "Gyllene Cirkeln", Stockholm, Sweden, April 19, 1962 Swedish Pastry SteepleChase (D) SCCD 36001, SCCD 37045/46 There'll Never Be Another You Move SteepleChase (D) SCC 6001, SCCD 36001 Just A Gigolo Relaxin' At Camarillo I Remember Clifford Reets And I Same session Hackensack SteepleChase (D) SCC 6001, SCCD 36002 Like Someone In Love SteepleChase (D) SCC 6002, SCCD 36002 I Hear Music Moose The Mooche Blues In The Closet Star Eyes Same session Swedish Pastry SteepleChase (D) SCC 6009 I Remember Clifford I Hear Music - 107 * SteepleChase (D) SCC 6001 Bud Powell Trio At The Golden Circle, Vol. 1 = SteepleChase (D) SCCD 37045/46 Bud Powell - Swedish Pastry * SteepleChase (D) SCC 6002 Bud Powell Trio At The Golden Circle, Vol. 2 = SteepleChase (D) SCCD 37045/46 Bud Powell - Swedish Pastry * SteepleChase (D) SCC 6009, SCCD 36009 Bud Powell Trio At The Golden Circle, Vol. 3 * SteepleChase (D) SCCD 36001 Bud Powell Trio At The Golden Circle, Vol. 1 * SteepleChase (D) SCCD 36002 Bud Powell Trio At The Golden Circle, Vol. 2 Bud Powell Trio Same personnel "Gyllene Cirkeln", Stockholm, Sweden, April 23, 1962 Moose The Mooche SteepleChase (D) SCC 6014 Star Eyes Blues In The Closet Reets And I John's Abbey That Old Devil Moon Same session Hot House SteepleChase (D) SCC 6017 This Is No Laughing Matter 52nd Street Theme Straight, No Chaser Thanks By Bud Powell * SteepleChase (D) SCC 6014, SCCD 36014 Bud Powell Trio At The Golden Circle, Vol. 4 * SteepleChase (D) SCC 6017, SCCD 36017 Bud Powell Trio At The Golden Circle, Vol. 5 Bud Powell Trio Bud Powell (piano) Niels-Henning Orsted Pedersen (bass) William Schiopffe (drums) Copenhagen, Denmark, April 26, 1962 The Best Thing For You Sonet (Swd) SLP 31 Bouncing With Bud 52nd Street Theme Hot House I Remember Clifford Move Rifftide Ruby, My Dear Straight, No Chaser - 108 * Sonet (Swd) SLP 31 Bud Powell - Bouncing With Bud Bud Powell Trio Bud Powell (piano) Torbjorn Hultcrantz (bass) Sune Spangberg (drums) "Gyllene Cirkeln", Stockholm, Sweden, April or September 1962 I Hear Music SteepleChase (D) SCCD 30007/9 Relaxin' At Camarillo It Could Happen To You 52nd Street Theme Blues In The Closet The Best Thing For You I Should Care 52nd Street Theme Off Minor Polkadots And Moonbeams Buttercup Epistrophy Confirmation Same session Moose The Mooche If You Were Here I Hear Music The Best Thing For You Is Me Blues In The Closet That Old Devil Moon Straight, No Chaser Like Someone In Love Confirmation Same session Relaxin' At Camarillo Conception I Should Care I Hear Music Dance Of The Infidels Swedish Pastry Reets And I Buttercup Groovin' High 52nd Street Theme Blues In The Closet * SteepleChase (D) SCCD 30007/9 Bud Powell Trio - Budism Bud Powell Trio Bud Powell (piano) unknown (bass) unknown (drums) Oslo, Norway, September 1962 Dance Of The Infidels (incomplete) unissued I Remembder Clifford Hot House - 109 52nd Street Theme (incomplete) Dance Of The Infidels - - The Three Bosses Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) "Blue Note Cafe", Paris, France, 1962 There Will Never Be Another You ESP-Disk' ESP 1066 Thelonious 'Round Midnight Night In Tunisia Monk's Mood (Ah Moore) Shaw 'Nuff (Dance Of The Infidels) Lover Man 52nd Street Theme * ESP-Disk' ESP 1066, ESPCD 1066 Earl Bud Powell 1924-1966 - Blue Note Cafe Paris 1961 Bud Powell - Francis Paudras Duo Bud Powell (piano) Francis Paudras (brushes) Paris, France, 1962 In The Stage Door Canteen Mythic Sound MS 6004-1 Monopoly * Mythic Sound MS 6004-1, MS 6004-2 Earl Bud Powell, Vol. 4 - Relaxin' At Home, 61-64 Bud Powell - Francis Paudras Duo Bud Powell (piano) Francis Paudras (brushes -1/9) Paris, France, 1962-1964 1. Cherokee Fontana (F) 688 318 TL 2. My Devotion 3. Idaho 4. Conception 5. All God's Chillun Got Rhythm 6. Strictly Confidential 7. Deep Night 8. Thou Swell 9. Wahoo 10. Ruby, My Dear 11. It Could Happen To You * Fontana (F) 688 318 TL Bud Powell At Home - Strictly Confidential 1963 Idrees Sulieman Quartet Idrees Sulieman (trumpet) Bud Powell (piano) Jimmy Woode (bass) Joe Harris (drums) Koblenz, West Germany, January 3, 1963 I Can't Get Started Impulse! A 36 * Impulse! A 36 Various Artists - Americans In Europe, Vol. 1 110 Bud Powell Trio Bud Powell (piano) Jimmy Woode (bass) Joe Harris (drums) Koblenz, West Germany, January 3, 1963 'Round Midnight Impulse! A 36 * Impulse! A 36 Various Artists - Americans In Europe, Vol. 1 Don Byas Quintet Idrees Sulieman (trumpet -1) Don Byas (tenor saxophone) Bud Powell (piano) Jimmy Woode (bass) Joe Harris (drums) Koblenz, West Germany, January 3, 1963 1. All The Things You Are Impulse! A 37, ASH 9253-3 2. I Remember Clifford Impulse! A 37 * Impulse! A 37 Various Artists - Americans In Europe, Vol. 2 * Impulse! ASH 9253-3 Various Artists - The Saxophone Bud Powell Interview Bud Powell (interviewee) Paris, France, January 15, May 6, 1963 Bud Powell Interview Elektra/Musician E1-60030 * Elektra/Musician E1-60030 Bud Powell - Inner Fires Bud Powell Trio Bud Powell (piano) Gilbert Rovere (bass) Carl Donnell "Kansas" Fields (drums) Paris, France, February 1963 2439 How High The Moon / Ornithology Reprise R 6098 2440 Dear Old Stockholm Reprise R 6098; Mythic Sound MS 6006-1 Dear Old Stockholm (incomplete) Mythic Sound MS 6006-2 2441 Body And Soul Reprise R 6098 2442 Jor-Du 2443 Reets And I 2444 Satin Doll Satin Doll (alt. take) Mythic Sound MS 6006-1 2445 Parisian Thoroughfare Reprise R 6098 2446 I Can't Get Started 2447 Little Benny (Crazeology) I Got It Bad Mythic Sound MS 6006-1 IndianaMythic Sound MS 6006-1; Reprise 9 45817-2 Bud's Blue Bossa (B-Flat Blues) Tune For Duke Mythic Sound MS 6006-1 For My Friends Get It Back Free Trapped Perdido Rue De Clichy Tune For Duke (alt. take) Mythic Sound MS 6006-2 * Reprise R 6098, RS 6098, 9 45817-2; Discovery DS 830, DSCD 830 Bud Powell In Paris 111 * Mythic Sound MS 6006-1, MS 6006-2 Earl Bud Powell, Vol. 6 - Writin' For Duke, 63 Dexter Gordon With The Three Bosses Dexter Gordon (tenor saxophone -1/6) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Francis Wolff (producer) CBS Studios, Paris, France, May 23, 1963 1. (Tk.3) Our Love Is Here To Stay Blue Note BST 84430, CDP 7 46394 2 2. (Tk.4) Broadway Blue Note BLP 4146 3. (Tk.5) Stairway To The Stars 4. (Tk.1) A Night In Tunisia 5. (Tk.8) Willow Weep For Me 6. (Tk.3) Scrapple From The Apple 7. (Tk.2) Like Someone In Love Blue Note BST 84430, CDP 7 46394 2 * Blue Note BST 84430 Bud Powell - Alternate Takes * Blue Note BLP 4146, BST 84146, CDP 7 46394 2 Dexter Gordon - Our Man In Paris Dizzy Gillespie Quartet And The Double Six Of Paris Dizzy Gillespie (trumpet) Bud Powell (piano) Pierre Michelot (bass) Kenny Clarke (drums) Claudine Barge, Jean-Claude Briodin, Christiane Legrand, Eddy Louiss, Mimi Perrin, Robert Smart, Ward Swingle (vocals) Europasonor Studios, Paris, France, July 8, 1963 29173 One Bass Hit Philips (US) PHM 200-106 29174 Two Bass Hit 29175 Emanon 29176 Blue 'N' Boogie 29177 The Champ 29178 Tin Tin Deo 29179 Groovin' High Philips (US) 40176, (US) PHM 200-106 29180 Ow! 29181 Hot House Philips (US) PHM 200-106 29182 Anthropology * Philips (US) PHM 200-106, (US) PHS 600-106 Dizzy Gillespie And The Double Six Of Paris * Philips (US) 40176 Dizzy Gillespie - Groovin' High / Ow! Bud Powell - Francis Paudras Duo Bud Powell (piano, vocals -1,4,5,9,11/13, piano -2,3,6/8,10) Francis Paudras (brushes -2,3,6/8,10) Francis Paudras' home, Rue De Clichy, Paris, France, 1963 1. Darn That Dream Mythic Sound MS 6004-1 2. Crossin' The Channel 3. Lady Bird 4. To Nicole And Francis / When I Fall In Love Mythic Sound MS 6011-1 5. When I Fall In Love - 112 6. 7. 8. 9. 10. 11. 12. 13. Reets And I Be-Bop Thou Swell Everything Happens To Me Like Someone In Love Little Benny Tempus Fugit I Can't Get Started - * Mythic Sound MS 6004-1, MS 6004-2 Earl Bud Powell, Vol. 4 - Relaxin' At Home, 61-64 * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 1964 (age 40) Bud Powell - Francis Paudras Duo Bud Powell (piano, vocals -1/7, piano -8/12) Michel Gaudry (bass -10/12) Francis Paudras (brushes -1/7,10/12) Francis Paudras' home, Rue De Clichy, Paris, France, early 1964 1. Lady Bird (alt. take 1) Mythic Sound MS 6004-2 2. Conception Mythic Sound MS 6004-1 3. Relaxin' At Camarillo 4. Celia 5. Gone With The Wind 6. Lady Bird (alt. take 2) Mythic Sound MS 6004-2 7. Be-Bop 8. I Know That You Know Mythic Sound MS 6004-1 9. How High The Moon / Ornithology 10. Una Noche Con Francis 11. In The Mood For A Classic 12. I Wanna Blow Now * Mythic Sound MS 6004-1, MS 6004-2 Earl Bud Powell, Vol. 4 - Relaxin' At Home, 61-64 Bud Powell - Francis Paudras Duo Bud Powell (piano) Francis Paudras (brushes -1) Francis Paudras' home, Rue De Clichy, Paris, France, February 16, 1964 1. Stuffy Turkey Mythic Sound MS 6007-1 2. Thelonious 3. Dialogues / Monk's Mood 4. Ruby, My Dear 5. I Mean You 6. 'Round Midnight 7. Off Minor * Mythic Sound MS 6007-1, MS 6007-2 Earl Bud Powell, Vol. 7 - Tribute To Thelonious, 64 Bud Powell Trio Bud Powell (piano) Michel Gaudry (bass) Art Taylor (drums) 113 Paris, France, July 31, 1964 In The Mood For A Classic Fontana (F) 683 901 ZL Like Someone In Love Una Noche Con Francis Blues For BouffemontRelaxin' At Camarillo Little Willie Leaps My Old Flame Moose The Mooche * Fontana (F) 683 901 ZL, (F) 883 901 ZY Bud Powell - Blues For Bouffemont = Black Lion (E) BLP 30120, (G) BLCD 760135 Bud Powell - The Invisible Cage Bud Powell Trio With Johnny Griffin Johnny Griffin (tenor saxophone -5/9,14,15) Bud Powell (piano) Guy Hayat (bass) Jacques Gervais (drums) "Hotel-Restaurant La Belle Escale", Edenville, France, August 8-14, 1964 1. Salt Peanuts Fontana (F) 683 903 ZL 2. Move 3. Bean And The Boys 4. 52nd Street Theme 5. Straight, No Chaser 6. Wee 7. Hot House 8. Body And Soul Duke (It) D 1012 9. Wee Dot (Blues) 10. I Know That You Know Black Lion (G) BLCD 760135 11. Star Eyes 12. There Will Never Be Another You 13. F. Chopin: Prelude N 20 Opus XXVIII Mythic Sound MS 6008-1 14. Talking / Hot House 15. Body And Soul 16. Nice Work If You Can Get It 17. Salt Peanuts 18. If I Loved You 19. Lady Bird 20. Well, You Needn't Mythic Sound MS 6008-2 21. Crazy Rhythm 22. I Remember Clifford Mythic Sound MS 6008-1 * Fontana (F) 683 903 ZL, (F) 883 903 ZY Bud Powell - Hot House = Black Lion (G) BLCD 760121 Bud Powell - Salt Peanuts * Duke (It) D 1012 Bud Powell In Europe * Mythic Sound MS 6008-1, MS 6008-2 Earl Bud Powell, Vol. 8 - Holidays In Edenville, 64 * Black Lion (G) BLCD 760135 Bud Powell - The Invisible Cage Bud Powell Trio Bud Powell (piano) John Ore (bass) J.C. Moses (drums) NYC, September 18, 1964 114 I Know That You Know Roulette R 52115 18237 Someone To Watch Over Me 18236 The Best Thing For You 18230 On Green Dolphin Street Just One Of Those Things 18235 I Remember Clifford Hallucinations (Budo) If I Loved You I Hear Music Toshiba EMI (J) TOCJ-9346 Autumn In New York * Roulette R 52115, SR 52115 The Return Of Bud Powell * Toshiba EMI (J) TOCJ-9346 The Return Of Bud Powell Bud Powell Trio Same personnel "Birdland", NYC, September 29-October 1, 1964 Off Minor Mythic Sound MS 6007-1 Well, You Needn't Straight, No Chaser Bemsha Swing I Mean You Mythic Sound MS 6007-2 Straight, No Chaser (alt. take)Hackensack Mythic Sound MS 6007-1 * Mythic Sound MS 6007-1, MS 6007-2 Earl Bud Powell, Vol. 7 - Tribute To Thelonious, 64 Bud Powell Trio Same personnel "Birdland", NYC, September 30, 1964 The Best Thing For You Mythic Sound MS 6009-1 'Round Midnight I Want To Be Happy Polka Dots And Moonbeams Wee Body And Soul That Old Black Magic Hallucinations (Budo) It Could Happen To You Lullaby Of Birdland Buttercup Mythic Sound MS 6009-2 Conception Hallelujah Mythic Sound MS 6011-1 * Mythic Sound MS 6009-1, MS 6009-2 Earl Bud Powell, Vol. 9 - Return To Birdland, 64 * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 115 Bud Powell Trio Same personnel "Birdland", NYC, October 1, 1964 Shaeffer Award Mythic Sound MS 6010-1 The Best Thing For You Like Someone In Love Off Minor Star Eyes IndianaI Should Care Nice Work If You Can Get It Monopoly All God's Chillun Got Rhythm Lullaby Of Birdland All The Things You Are Mythic Sound MS 6010-2 Embraceable You * Mythic Sound MS 6010-1, MS 6010-2 Earl Bud Powell, Vol. 10 - Award At Birdland, 64 Bud Powell Trio Same personnel "Birdland", NYC, 1964 IndianaMythic Sound MS 6011-1 * Mythic Sound MS 6011-1, MS 6011-2 Earl Bud Powell, Vol. 11 - Gift For The Friends, 60-64 Bud Powell Trio/Solo Bud Powell (piano) unknown (bass) J.C. Moses (drums) probably NYC, circa 1964 Caravan Riffs (Ups'n Downs) Mainstream MRL 385, MDCD 720 Earl's Impro Mainstream MRL 385 Thelonious A Moment's Notice Caravan Riffs Jazz Black/White March To Paris Bud Powell (piano) Like Someone In Love Buttercup (I Can't Believe That You're In Love With Me) No Smokin' (Untitled) Mainstream MDCD 724 I'm Always Chasing Rainbows * Mainstream MRL 385, MDCD 724 Bud Powell - Ups'n Downs * Mainstream MDCD 720 Various Artists - Highstream: The Best Of Mainstream Jazz 116 Bud Powell Solo 1965 Bud Powell (piano) "Charlie Parker Memorial Concert", "Carnegie Hall", NYC, March 27, 1965 'Round Midnight Mainstream MRL 385 * Mainstream MRL 385, MDCD 724 Bud Powell - Ups'n Downs Bud Powell Bud Powell (piano) and others "Town Hall", NYC, May 1, 1965 Unknown titles ESP-Disk' unissued Bud Powell Solo Bud Powell (piano) NYC, late 1965 Unknown titles ESP-Disk' unissued Bud Powell Trio. 1966 (aged 41) Bud Powell (piano) Scotty Holt (bass) Rashied Ali (drums) NYC, January 1966 Unknown titles ESP-Disk' unissued Highstream: The Best Of Mainstream Jazz Bob Brookmeyer, Art Farmer, Leonard Feather, Maynard Ferguson, Morgana King, Harold Land, Shelly Manne, Charles McPherson, Carmen McRae, Blue Mitchell, Bud Powell, Max Roach, Clark Terry, Sarah Vaughan Released 1990 Airegin Mainstream MDCD 720 Life Is Just A Bowl Of Cherries In The Back, In The Corner, In The Dark Inner City Blues (Make Me Wanna Holler) Homecoming Green Stamps All Blues Scavenger * Mainstream MDCD 720 Various Artists - Highstream: The Best Of Mainstream Jazz Bud Powell's Bebop Bud Powell (piano) Nelson Boyd, Kenny Clarke, Buddy DeFranco, Jacques Gervais, Johnny Griffin, Benny Harris, Guy Hayat, Budd Johnson, J.J. Johnson, Lee Konitz, Pierre Michelot, Cecil Payne, Max Roach, and Chuck Wayne NYC, Paris, and Edenville, France, between 1948-1964 Introduction By Leonard Feather Pablo PACD 2310-978-2 Perdido (Back Home Again In) Indiana Jumpin' With Symphony Sid I'll Be Seeing You 52nd Street Theme - 117 Ornithology Blues In The Closet Now's The Time Confirmation Hot House Salt Peanuts Lady Bird I Remember Clifford * Pablo PACD 2310-978-2 Bud Powell – Bebop Bud Powell's Parisian Thoroughfares Bud Powell (piano) Kenny Clarke, Peanuts Holland, Daniel Humair, Pierre Michelot, Eric Peter, Zoot Sims, Clark Terry, Barney Wilen Paris, France, between 1957-1961 Yesterdays Pablo PACD 2310-976-2 Omicron Anthropology (incomplete) John's Abbey Shaw 'Nuff Buzzy Just One Of Those Things No Problem Pie Eye 52nd Street Theme Miguel's Party Groovin' High Blue Bud Blues / 52nd Street Theme * Pablo PACD 2310-976-2 Bud Powell - Parisian Thoroughfares Bud Powell's Paris Sessions Bud Powell (piano) Kenny Clarke, Kansas Fields, Jacques Gervais, Dizzy Gillespie, Johnny Griffin, Guy Hayat, Pierre Michelot, Gilbert Rovere, Zoot Sims, Barney Wilen Paris, France, between 1957-1964 Tune For Duke Pablo PACD 2310-972-2 I Got It Bad (And That Ain't Good) Satin Doll For My Friends Perdido Rue De Clichy Taking A Chance On Love Get Happy How High The Moon John's Abbey Bud On Bach Be Bop Crossing The Channel Body And Soul -