Introduction:

Often referred to as the “spirit of bebop,” Earl “Bud” Powell embraced the piano as his vehicle to push the envelope on the definition of jazz and what it meant to be a jazz pianist. Writing and performing during a transitional point in jazz’s history, he was one of the few musicians to break away from more traditional styles such as New Orleans style, traditional jazz, and swing.

While other pianists brought much to the table in the way of technique and or a more smooth touch, Powell’s contributions took on on more avant garde characteristics (at the time), emphasizing spaces in the music, silence, and various rhythmic alterations (varying from 60 – 220 beats per minute). His lightning fast, and heavily emphasized right-hand lines were coupled with his more linear left-hand comping chords -often consisting of just 2 or 3-note chords – set himself apart from his predecessors and led jazz piano in new (and often controversial) directions.

Short Biography:

Born in New York City on September 27, 1924, Powell was raised in a musical family: father, William, played stride piano; brother William Jr. played violin and trumpet; younger brother Richie was a well-known jazz pianist. Bud’s early training on the piano emphasized the European cliassical tradition, but even before his 10th birthday Powell was drawn to the jazz styles of Fats Waller and Art Tatum. By age 15 he had left school to work asa professional musician, and before long, frequented several after-hours clubs of Harlem.

This is where Powell encountered most of what he came to know and embrace as bebop, also meeting a friend and mentor in Thelonious Monk. Monk played a very large role in Powell’s development as a jazz musician and artist, defending his ideas and giving him the opportunity to take part in local gigs and sit-ins. These favors, did not go unanswered, as Powell reciprocated this friendship by advocating for Monk, often allowing him to record some of his greatest works. Despite their differences in approach to music, their friendship continued for quite a long time, proving that is was not impossible to receive admiration from other contemporaries who play the same instrument.

In 1944 Powell recorded with Cootie Williams, a band leader whose style was heavily influenced by swing-era conventions. Their differences did not allow them to remain together long, as most quarrels resulted in Powell’s arrest and/or beatings. Many people speculate that while musical interests were conflicting between these two, some of the feuding could be attributed to Powell’s attitude and general disposition as a more reclusive and isolated musician.

Throughout the 1940’s, Powell battled through occasional visits to institutions and sanatoriums. Despite this, he still managed to live both lives – part-time patient and full-time jazz musician. In fact, some of his great works (Tempus Fugit, Cherokee, and All God’s Chillun Got Rhythm) were written and recorded in this time period. It is fantastic and amazing that he could achieve such success in the midst of psychological breakdowns.

1949 found Powell along side Buddy Rich, pushing the metronome to its limits on a thrilling version of Tea For Two. What was most amazing about this recording was that Powell and Rich managed to achieve an admirable balance, conveying a sense of mastery, yet also sounding as though they were on the brink of going out of control. This example is one of Powell’s finest work and truly reflects his role in the progression of jazz at the time. Jazz fans are encourage to check this track out!

Almost all of Powell’s most important recordings were completed the the time of this 30th birthday. Especially impressive were his late 1940’s and early 1950’s sessions for Norman Granz and Alfred Lion’s Blue Note label. In fact, Powell’s reputation as the leading keyboard voice of the bebop movement would be well established if only on the basis of his extraordinary output from the two-year period stretching from May 1949 to May 1951. They included seminal trio sessions with Max Roach (1949-1951), combo recordings for Blue Note in 1949 (under the name Bud Powell’s Modernists), quartet performances with Sonny Stitt (1949 & 1950), a trio session with Buddy Rich (1950), and a stunning (but seldom heard) solo piano outing in February of 1951.

Powell’s Later Years:

Powell’s later works (post 1951) were definitely the subject of debate. He was capable to occasional stellar performances – the best of which were in the company of other premier players: Charlie parker & Dizzy Gilespie (1953), Dexter Gordon (1963), and Johnny Griffin (1964); however they were, at best, reminders to listeners of his early success. He struggled through many of his later performances, seemingly unsure of his touch, wobbly on tempo, and lacking in anything new when it came to improvisation. Ted Gioia, author of The History of Jazz, puts it well by saying,

“[Powell's] early work had been distinguished by a
suppleness and gripping tension; his later work often
seemed clouded by malaise.”

Powell’s unstable health was increasingly matched by a deteriorating physical condition, having been hospitalized for a liver disorder and tuberculosis. The death of his broth Richie in 1956 may also have contributed toward his downward spiral, though he would eventually recover and return to the music scene in 1959, accompanied by his companion Buttercup and her son John.

He took on a 5-year venture in Paris, recording and proving that he was still capable, at times, of playing coherent and cohesive improvisations. Despite his inconsistent playing, which was in large contrast to his earlier performances, he was still welcomed and respected by audiences. This, combined with much support from friends and acquaintances, helped him stay on track, keeping him away from alcohol and maintaining his health.

Accompanied by good friend and guardian Francis Paudras, Powell returned to the states in 1964, where he would not be as fortunate. Often disappearing for days at a time, and evidently returning to the drink, his performances in New York were short-lived and not very well received. His reviews were mixed, and his diminished capacity at the keyboard was apparent. Playing minor gigs sporadically were his attempts to remain in the spot light, though is would not be more than 2 years following his return that he died, due to the combined effects of tuberculosis, alcoholism, and malnutrition. He was 41 years old.

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