Bud Powell(1924 — 1966)

Bud Powell

États-Unis

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MusicCompositeur/trice20th CenturyMid-twentieth-century American jazz, during the birth and flowering of bebop in the clubs of New York (1940s–1950s).

Bud Powell was an American jazz pianist and composer, regarded as one of the greatest pianists of bebop. He transposed to the piano the harmonic and rhythmic language invented by Charlie Parker and Dizzy Gillespie, leaving a lasting influence on the piano playing of modern jazz.

Frequently asked questions

Bud Powell est le pianiste qui a inventé le langage du piano bebop dans les années 1940. Ce qu'il faut retenir, c'est qu'il a transposé au clavier les phrases rapides et bondissantes que Charlie Parker jouait au saxophone, créant un style où la main droite déroule de longues mélodies virtuoses tandis que la main gauche frappe de brefs accords secs. Contrairement aux pianistes swing qui accompagnaient en accords lourds, Powell a libéré le piano pour en faire un instrument soliste à part entière, influençant durablement Bill Evans, Herbie Hancock et presque tous les pianistes de jazz moderne.

Key Facts

  • Born on September 27, 1924, in New York (Harlem) into a family of musicians
  • In the early 1940s, becomes one of the architects of bebop piano alongside Charlie Parker, Dizzy Gillespie, and Thelonious Monk
  • Records major albums for Blue Note and Verve in the late 1940s and the 1950s (compositions such as “Un Poco Loco” and “Tempus Fugit”)
  • Settles in Paris in 1959, where he plays regularly and inspires the film “Round Midnight”
  • Dies on July 31, 1966, in New York, after a life marked by illness and psychiatric confinement

Works & Achievements

Bouncing with Bud (1949)

Emblematic composition of his trio, which became a classic covered by countless jazz musicians.

Dance of the Infidels (1949)

A lively, angular theme typical of bebop, recorded for Blue Note; its title would later give its name to the memoirs of Francis Paudras.

Tempus Fugit (1949)

A piece with a sinuous melody showcasing Powell's virtuosity and harmonic inventiveness.

Un Poco Loco (1951)

A masterpiece recorded with Max Roach, hailed as one of the pinnacles of jazz piano.

Parisian Thoroughfare (1951)

A composition evoking the bustle of a Parisian avenue, foreshadowing his future exile in France.

Glass Enclosure (1953)

A singular, anxious piece, mirroring the confinement and psychological ordeals he was going through.

The Amazing Bud Powell, Vol. 1 (1951)

A founding album for the Blue Note label that cemented his influence over all of modern jazz piano.

Anecdotes

As a teenager, Bud Powell hung around Minton's Playhouse in Harlem, the club where bebop was being born. The pianist Thelonious Monk, his elder, took him under his wing and gladly let him take over the keyboard. Powell improved so quickly that, it is said, the other pianists dreaded having to play after him.

In 1945, during an arrest in Philadelphia, Bud Powell was violently struck on the head. This injury left him with persistent headaches and marked the onset of serious mental troubles. Hospitalized repeatedly and subjected to electroshock therapy, he nonetheless kept on composing and playing.

On May 15, 1953, at Massey Hall in Toronto, Bud Powell shared the stage with Charlie Parker, Dizzy Gillespie, Charles Mingus and Max Roach. Recorded by Mingus, this concert has remained famous as “the greatest jazz concert of all time,” for it brought the five giants of bebop together one single time.

Settled in Paris from 1959 onward, Powell, ill and frail, was taken in by a French graphic artist with a passion for jazz, Francis Paudras, who watched over him for years. Their friendship inspired Bertrand Tavernier's film “Round Midnight” (1986), whose score by Herbie Hancock won an Oscar.

Bud Powell transposed onto the piano the fast, leaping phrases that Charlie Parker played on the saxophone. His right hand unfurled long, virtuosic melodies while his left hand laid down short, dry chords. Almost every modern jazz pianist, from Bill Evans to Herbie Hancock, owes him something.

Primary Sources

Francis Paudras, Dance of the Infidels (memoir) (1986)
Paudras recounts his meeting with Powell in Paris, the state of neglect in which he found him, and his decision to care for the pianist he admired above all others.
The Amazing Bud Powell, Vol. 1 (Blue Note, liner notes) (1951)
The album presents Powell as the pianist who brought the language of bebop to the keyboard, with sessions bringing together the likes of Fats Navarro, Sonny Rollins, and Max Roach.
Jazz at Massey Hall (Debut Records, produced by Charles Mingus) (1953)
The record immortalizes the Toronto concert and was released on the label Mingus had just founded; the musicians are billed as the cream of modern jazz.
Miles Davis & Quincy Troupe, Miles: The Autobiography (1989)
Miles Davis recalls Powell's dazzling virtuosity and his decisive role for an entire generation of bebop pianists.

Key Places

Harlem, New York

African-American neighborhood where Powell was born in 1924 and grew up, at the heart of the musical scene that would give rise to bebop.

Minton's Playhouse, Harlem

Legendary club where, during late-night jam sessions, Powell learned alongside Thelonious Monk and took part in the invention of bebop.

Philadelphia

City where Powell was violently struck on the head during an arrest in 1945, an event that triggered his health problems.

Massey Hall, Toronto

Venue where the legendary 1953 concert took place, bringing together the five giants of bebop, including Powell on piano.

Paris

Capital where Powell lived from 1959 to 1964, playing at the Blue Note and finding faithful support in Francis Paudras.

New York (Brooklyn)

City where Powell died in 1966, after returning to the United States, weakened by illness.

See also