Bud Powell - Tempus Fugue-It '2001

Tracks list

Tracklist

CD1:

01. You Talk A Little Trash [03:03]
02. Floogie Boo [02:38]
03. I Dont Know [03:12]
04. Gotta Do Some Work [03:04]
05. My Old Flame [03:14]
06. Sweet Lorraine [03:10]
07. Echoes Of Harlem [03:07]
08. Honeysuckle Rose [03:11]
09. Rollem [02:54]
10. Smack Me [03:07]
11. Blue Garden Blues [03:17]
12. The Man I Love [03:20]
13. Reverse The Charges [02:55]
14. September In The Rain [02:49]
15. Long Tall Dexter [03:05]
16. Dexter Rides Again [03:17]
17. I Cant Escape From You [03:18]
18. Dexter Digs In [03:00]
19. If You Could See Me Now [03:05]
20. I Can Make You Love Me If You Let Me [03:03]
21. Youre Not The Kind [03:01]
22. My Kinda Love [02:37]

CD2:

01. Jay Bird [03:00]
02. Jay Bird (Alternate Take) [03:01]
03. Coppin The Bop [03:00]
04. Jay Jay [03:06]
05. Mad Bebop [02:43]
06. Bebop In Pastel [02:58]
07. Fools Fancy [02:35]
08. Bombay [02:54]
09. Rays Idea [02:46]
10. Serenade To Square [02:35]
11. Good Kick [02:38]
12. Seven Up [02:29]
13. Blues In Bebop [02:44]
14. Boppin A Riff [05:35]
15. Fat Boy [05:44]
16. Everythings Cool [05:53]
17. Webb City [05:39]
18. Ill Remember April [02:47]
19. Indiana [02:38]
20. Somebody Loves Me [02:49]
21. I Should Care [02:55]
22. Buds Bubble [02:30]
23. Off Minor [02:18]

CD3:

01. Nice Work If You Can Get It [02:14]
02. Everything Happens To Me [02:36]
03. Donna Lee [03:03]
04. Chasin The Bird [02:57]
05. Cheryl [03:01]
06. Buzzy [03:02]
07. Tempus Fugit [02:28]
08. Celia [03:00]
09. Cherokee [03:40]
10. Ill Keep Loving You [02:43]
11. Strictly Confidential [03:09]
12. All Gods Chillun Got Rhythm [03:02]
13. Bouncing With Bud [03:08]
14. Wail [02:44]
15. Dance Of The Infidels [02:52]
16. 52nd Street Themes [02:52]
17. You Go To My Head [03:17]
18. Ornithology [02:24]
19. All Gods Chillun Got Rhythm [03:02]
20. Sonny Side [02:24]
21. Buds Blues [02:37]
22. Sunset [03:50]
23. Strike Up The Band [03:30]
24. I Want To Be Happy [03:13]

CD4:

01. Taking A Chance On Love [02:37]
02. Fine And Dandy [02:45]
03. Fine And Dandy (Alternate Take) [02:43]
04. So Sorry Please [03:16]
05. Get Happy [02:53]
06. Sometimes Im Happy [03:38]
07. Sweet Georgia Brown [02:50]
08. Yesterdays [02:51]
09. April In Paris [03:10]
10. Body And Soul [03:22]
11. Round Midnight [05:12]
12. The Street Beat [09:38]
13. Out Of Nowhere [06:26]
14. Ornithology [07:48]
15. Ill Remember April [08:00]
16. Hallelujah [03:00]
17. Tea For Two [03:47]

Recorded 1944-1950.
 Review by Thom Jurek
This is a fascinating, revelatory, deeply moving, and completely captivating
collection of Bud Powell material that hasnt readily seen the light of day
before, despite the fact that almost all of it has been commercially released at
one time or another. The material over these four discs ranges from pre-bebop
years, with Cootie Williams from 1944 and Frank Socolows quintet from 1945, to a
broadcast with the Charlie Parker Quintet (featuring Fats Navarro, Art Blakey,
and Curley Russell) in 1950 and the band Powell shared shortly with Sonny Stitt
during the same year. Proper did an impeccable job of organization -- if not
remastering, but the result is adequate if not stellar -- by placing the music
in tightly organized compartments not only chronologically, but also
thematically. For instance, in the pre-bop era song portrayed on disc one,
entitled Blue Garden Blues, Powells style with his large chords and limited
arpeggios is showcased against the swinging bands he was playing with. But if
one listens closely enough, such as on Gotta Do Some War Work, its easy to hear
the influence of Fats Waller and Art Taum on Powells construction of solos and
fills, as well as his architectural work in building harmonic bridges between
all the other instruments in the band. His trademark trills are already carved
in stone, however, and they slip out whenever they are allowed to. On disc two
Buds Bubble, when Powell played with J.J. Johnson and the Bebop Boys beginning
in 1946, when bop was first making its own noise on 52nd Street, the artist
offers more than a support for either Johnson or Stitt in the latter band, and
he fires up the rhythm section with an absolutely frightening intensity -- take
a listen to either Coppin the Bop, with Johnson, or Fat Boy, with Navarro and
Kenny Dorham having to tear each other up in order to keep up with Powell, Al
Hall, and Kenny Clarke. But its not until the first trio sides emerge in early
1947, with Max Roach and Curley Russell, that Powells harmonic genius gets heard
in full. His inside-out version of Ill Remember April is a case in point, but
the completely striated tonalities and legato right-handed runs in Off Minor is
nothing less than astonishing. Most of disc three, Ill Keep Loving You, is taken
up by trio material with Russell being replaced by Ray Brown. On the Roost and
Clef material, Powell is advancing a new kind of bop solo, one that considers
the elementary rhythms and then takes them apart at the same time the harmonics
are being reinvented. It works well in his own session, but leads to some
tension in the session with the Charlie Parker All-Stars on Savoy from May of
1947 with Miles Davis, Tommy Potter, and Roach. Roach was all about Powells
unique ideas, but they required a different melodic framework than merely using
12-bar blues and quick changes to be put across. its not until Powell put
together the Modernists with Navarro, Sonny Rollins, Potter, and drummer Roy
Haynes for Blue Note that this all comes together in an enlightening mass of
pedal points, interactive counterpoint soloing, and a shift from the ostinato
notions of the blues changes to the more eloquent and fiery glissandi
combinations that came later -- check out Dance of the Infidels with this band
or All Gods Chillun Got Rhythm from the Prestige sessions with Sonny Stitt in
1949. Finally, the last disc, So Sorry Please, with the aforementioned bands and
his final two Clef sides in July of 1950 with Brown and Buddy Rich, showcase
Powell as a man split between his visions and his passions. His playing is not
even human its so finessed and technically brilliant, but his place in both the
Stitt/Powell band and with Parker, and to some extent with that Clef trio, is
somehow as the outsider; his driving, steaming fire is still there, but its
distracted by other nuanced voiced. The chord changes, which were supplementary
and rhythm oriented for Powell, have become very large and open-ended sounding
boards for new harmonic ideas that move inside the tune instead of pushing it to
its limit. One can hear Richs frustration on Hallelujah as he tries to move the
beat ahead twice, only to be brought back to a more meandering tempo.
Nonetheless, this is an impressive document, one that paints, finally, a
well-rounded portrait of Powell at the height of his compositional and
instrumental genius. The essays are phenomenal, the package, while not
eye-poppingly beautiful, is desirable, and the sound quality leave little to be
desired. The discographical documentation is peerless. This is a necessity for
any bebop collector, as well as for any died-in-the-keys Powell fan.

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