Tempus Fugue-It

Editorial Reviews

All Music Guide - Thom Jurek
This is a fascinating, revelatory, deeply moving, and completely captivating collection of Bud Powell material that hasn't 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 Socolow's 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 ...
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Editorial Reviews

All Music Guide - Thom Jurek
This is a fascinating, revelatory, deeply moving, and completely captivating collection of Bud Powell material that hasn't 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 Socolow's 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," Powell's 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," it's easy to hear the influence of Fats Waller and Art Taum on Powell's 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 "Bud's 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 it's not until the first trio sides emerge in early 1947, with Max Roach and Curley Russell, that Powell's harmonic genius gets heard in full. His inside-out version of "I'll 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, I'll 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 Powell's unique ideas, but they required a different melodic framework than merely using 12-bar blues and quick changes to be put across. it's 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 God's 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 it's 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 it's 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 Rich's 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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Product Details

  • Release Date: 5/8/2001
  • Label: Proper Box Uk
  • UPC: 604988992229
  • Catalog Number: 22
  • Sales rank: 255,992

Tracks

Disc 1
  1. 1 You Talk a Little Trash (3:03)
  2. 2 Floogie Boo (2:38)
  3. 3 I Don't Know (3:12)
  4. 4 Gotta Do Some War Work (3:04)
  5. 5 My Old Flame (3:14)
  6. 6 Sweet Lorraine (3:10)
  7. 7 Echoes of Harlem (3:07)
  8. 8 Honeysuckle Rose (3:11)
  9. 9 Roll 'Em (2:54)
  10. 10 Smack Me (3:07)
  11. 11 Blue Garden Blues (3:17)
  12. 12 The Man I Love (3:20)
  13. 13 Reverse the Charges (2:55)
  14. 14 September in the Rain (2:49)
  15. 15 Long Tall Dexter (3:05)
  16. 16 Dexter Rides Again (3:17)
  17. 17 I Can't Escape from You (3:18)
  18. 18 Dexter Digs In (3:00)
  19. 19 If You Could See Me Now (3:05)
  20. 20 I Can Make You Love Me If You Let Me (3:03)
  21. 21 You're Not the Kind (3:01)
  22. 22 My Kinda Love (2:37)
Disc 2
  1. 1 Jay Bird (3:00)
  2. 2 Jay Bird (3:01)
  3. 3 Coppin' the Bop (3:00)
  4. 4 Jay Jay (3:06)
  5. 5 Mad Bebop (2:43)
  6. 6 Bebop in Pastel (2:58)
  7. 7 Fool's Fancy (2:35)
  8. 8 Bombay (2:54)
  9. 9 Ray's Idea (2:46)
  10. 10 Serenade to a Square (2:35)
  11. 11 Good Kick (2:38)
  12. 12 Seven Up (2:29)
  13. 13 Blues in Bebop (2:44)
  14. 14 Boppin' a Riff (5:35)
  15. 15 Fat Boy (5:44)
  16. 16 Everything's Cool (5:53)
  17. 17 Webb City (5:39)
  18. 18 I'll Remember April (2:47)
  19. 19 (Back Home Again In) Indiana (2:38)
  20. 20 Somebody Loves Me (2:49)
  21. 21 I Should Care (2:55)
  22. 22 Bud's Bubble (2:30)
  23. 23 Off Minor (2:18)
Disc 3
  1. 1 Nice Work If You Can Get It (2:14)
  2. 2 Everything Happens to Me (2:36)
  3. 3 Donna Lee (3:03)
  4. 4 Chasin' the Bird (2:57)
  5. 5 Cheryl (3:01)
  6. 6 Buzzy (3:02)
  7. 7 Tempus Fugit (2:28)
  8. 8 Celia (3:00)
  9. 9 Cherokee (3:40)
  10. 10 I'll Keep Loving You (2:43)
  11. 11 Strictly Confidential (3:09)
  12. 12 All God's Chillun Got Rhythm (3:02)
  13. 13 Bouncing With Bud (3:08)
  14. 14 Wail (2:44)
  15. 15 Dance of the Infidels (2:52)
  16. 16 52nd Street Theme (2:52)
  17. 17 You Go to My Head (3:17)
  18. 18 Ornithology (2:24)
  19. 19 All God's Chillun Got Rhythm (3:02)
  20. 20 Sonny Side (2:24)
  21. 21 Bud's Blues (2:37)
  22. 22 Sunset (3:50)
  23. 23 Strike Up the Band (3:30)
  24. 24 I Want to Be Happy (3:13)
Disc 4
  1. 1 Taking a Chance on Love (2:37)
  2. 2 Fine and Dandy (2:45)
  3. 3 Fine and Dandy (2:43)
  4. 4 So Sorry, Please (3:16)
  5. 5 Get Happy (2:53)
  6. 6 Sometimes I'm Happy (3:38)
  7. 7 Sweet Georgia Brown (2:50)
  8. 8 Yesterdays (2:51)
  9. 9 April in Paris (3:10)
  10. 10 Body and Soul (3:22)
  11. 11 'Round Midnight (5:12)
  12. 12 The Street Beat (9:38)
  13. 13 Out of Nowhere (6:26)
  14. 14 Ornithology (7:48)
  15. 15 I'll Remember April (8:00)
  16. 16 Hallelujah (3:00)
  17. 17 Tea for Two (3:47)
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Album Credits

Performance Credits
Bud Powell Primary Artist, Piano
Miles Davis Trumpet
Kenny Dorham Trumpet
Dexter Gordon Tenor Saxophone
Fats Navarro Trumpet
Leo Parker Bass Saxophone
Cecil Payne Alto Saxophone
Buddy Rich Drums
Max Roach Drums
Sonny Rollins Tenor Saxophone
Cootie Williams Trumpet, Vocals
Leonard Gaskin Bass
Tommy Potter Bass
Sam "The Man" Taylor Tenor Saxophone
Freddy Webster Trumpet
Wallace Bishop Drums
Art Blakey Drums
Ray Brown Bass
Edward Burke Trombone
Kenny Clarke Drums
Eddie "Lockjaw" Davis Tenor Saxophone
Eddie de Verteuill Bass Saxophone
Al Hall Bass
Roy Haynes Drums
J.J. Johnson Trombone
Norman Keenan Bass
Irv Kluger Drums
Morris Lane Tenor Saxophone
Leroy Kirkland Guitar
Charlie Parker Alto Saxophone
Carl Pruitt Bass
Curly Russell Bass
Sarah Vaughan Vocals
Frank Socolow Tenor Saxophone
Tommy Stevenson Trumpet
Ted Sturgis Bass
Eddie "Cleanhead" Vinson Alto Saxophone, Vocals
Lammar Wright Sr. Trumpet
Lee Pope Tenor Saxophone
George Treadwell Trumpet
Sylvester Payne Drums
Leonard Hawkins Trumpet
Frank Powell Alto Saxophone
Bob Horton Trombone
Ed Glover Trombone
Sonny Sitt Alto Saxophone
Technical Credits
Paul James Composer
George Gershwin Composer
Tadd Dameron Composer
Kenny Dorham Composer
Gil Fuller Composer
Dexter Gordon Composer
Bud Powell Composer
Max Roach Composer
Sonny Stitt Composer
Cootie Williams Composer
Matt Dennis Composer
Vincent Youmans Composer
Mary Lou Williams Composer
Ben Bernie Composer
Ray Brown Composer
Irving Caesar Composer
J. Fred Coots Composer
Peter DeRose Composer
Ira Gershwin Composer
Haven Gillespie Composer
Ira Gitler References
Benny Harris Composer
J.J. Johnson Composer
Charlie Parker Composer
Leo Robin Composer
Bob Russell Composer
Carl Sigman Composer
Eddie "Cleanhead" Vinson Composer
Paul Francis Webster Composer
Kay Swift Composer
Maceo Pinkard Composer
Tom Adair Composer
Kenneth Casey Composer
Clifford Grey Composer
Joop Visser Producer, Text
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