Bud Powell's last recordings? (Ups 'n Downs)

[Gheorghe]

I'm also a big Bud fan, as evidenced by the avatar. The Xanadu is quite good although pre 64. Some of the Black Lions are very interesting also, if you can get your hands on those.

Hi Brad!

Always great to read from Bud Powell-fans!

About the Xandadu "Bud in Paris": The two tracks of duet between Bud and Griff, I really doubt it´s from 1960. This might be from 1964, since Griffin came to Paris at the end of 1962 to stay for quite a long time. I´m sure the two tracks "Idaho" and "Perdido" were done in Francis´home.

the rest is from late 1959 until october 1960 (for tracks "Oscar Pettiford memorial concert".

About the other Black Lions: One is titled "Bud at Home/Strictly Confidential" and has Bud with Francis playing brushes on newspaper on some tracks.

What followed was "The Invisible Cage", sometimes titled as "Blues for Bouffemont" , a trio recording from July 1964.

After that was "Hot House" (some issues titled as "Salt Peanuts") from Edenville, France, August 1964. It was done just before Bud returned to the States. The tracks with Griffin are the best.

I also have rare CDs (Mythic Sound) from that period: "Relaxin´at home", "Holidays in Edenville" with a 17 minutes runnig version of "Hot House" with Griffin.

[Gheorghe]

The late Raymond Ross told me he took photos at the recording with Holt and Ali. He said that Dizzy was in the studio, encouraging Bud.

I've never heard that record and never wanted to. I heard Bud when he cam back in 64 and must admit that it didn't get me, even though he was an idol of my jazz life and I knew some of his childhood friends thru my father.

Ornette used to invite me to come to his apartement to meet Bud, but I was too shy.

After all these years, soem of Bud's playing truly is 'Amazing.'

I saw three fotos on the site from ESP disk a few months ago. but that photo-gallery disappeared. I also saw the photo of Diz with Bud . First I thought it might be backstage on Carnegi Hall, since that date in march 1965 was a Parker Memorial.

Well, anyway. I was shocked how unwell Bud looks on those photos.

The last photos of Bud I saw where done at Kings County Hospital just a few days before he died. Buttercup (Mrs. Altevia Edwards, Bud´s "spouse" during the Paris days). Other photos where done by Daniel Berger, those, together with Don Schlitten´s photos from May 1th 1965 (TownHall) are the last photos of Bud.

[BluesFan]

Here's my observation and some thoughts:

7. 'Round Midnight

Solo piano. Bud plays pretty well. At the end it has a big applause in a big venue such as Carnegie Hall or Town Hall, but for me it sounds like a fake. I'm not sure this one is really from live recording.

I seriously disagree. I think Bud's playing is poor ranging to awful - it sounds positively tortured in places. It supports the decision ESP made to not release the tapes.

[Gheorghe]

Here's my observation and some thoughts:

7. 'Round Midnight

Solo piano. Bud plays pretty well. At the end it has a big applause in a big venue such as Carnegie Hall or Town Hall, but for me it sounds like a fake. I'm not sure this one is really from live recording.

I seriously disagree. I think Bud's playing is poor ranging to awful - it sounds positively tortured in places. It supports the decision ESP made to not release the tapes.

Well I couldn´t say the playing is "poor", listen to the great "new" voicings, especially on the bridge. The only flaws ar one or two misfingerings and that he plays it quite "out of time", more into a "rubato-style" or how you call it.

A very interesting inside-review about Bud´s very last performances comes from Ira Gitler´s book "Jazz masters of the 40´s " where he describes Bud´s set of music on a concert bill with New Thing artists like Albert Ayler and Milford Graves: Bud´s last piece, a ballad is described as being extremly moving and what seemed to be faltering time on faster pieces had become a "nearly Monkish deliberateness" ......... and though far from his peak, Bud hadn´t lost his marvelous touch....."

I think, the same words could be said about that "Round Midnite" on "Ups ´n Downs".....

[bmatt]

Is "Bud in Paris" still in print? Heard it years ago on the radio and thought that the interplay between Bud and Griff was some of the most inspired I had ever heard.

[ccex]

Thanks, everyone for all the opinions and sleuthing! This has been a great and informative thread.

Tonight I discovered another tidbit about "Ups 'n Downs". Mainstream gave the title of one track as "I Can't Believe That I'm In Love With You", which Bud fans recognize as his"Buttercup". (Most will agree with me that this 1966 version is much better than Bud's 1st recording of this tune in June of 1954 for Norman Granz).

"Buttercup" is simply Bud's version of an old song by Jimmy McHugh & Clarence McGaskill with the title that appears on the Mainstream LP. The chord changes are the same, and the melody is very similar to the version of "I Can't Believe That I'm In Love With You" as recorded by Coleman Hawkins on June 30, 1931, with Eddie Condon, Muggsy Spanier, & Jimmy Dorsey onboard.

The same tune also shows up on the "Bird" soundtrack with a Charlie Parker solo over a modern rhythm section.

Edited November 14, 2008 by ccex

[Gheorghe]

Thanks, everyone for all the opinions and sleuthing! This has been a great and informative thread.

Tonight I discovered another tidbit about "Ups 'n Downs". Mainstream gave the title of one track as "I Can't Believe That I'm In Love With You", which Bud fans recognize as his"Buttercup". (Most will agree with me that this 1966 version is much better than Bud's 1st recording of this tune in June of 1954 for Norman Granz).

"Buttercup" is simply Bud's version of an old song by Jimmy McHugh & Clarence McGaskill with the title that appears on the Mainstream LP. The chord changes are the same, and the melody is very similar to the version of "I Can't Believe That I'm In Love With You" as recorded by Coleman Hawkins on June 30, 1931, with Eddie Condon, Muggsy Spanier, & Jimmy Dorsey onboard.

The same tune also shows up on the "Bird" soundtrack with a Charlie Parker solo over a modern rhythm section.

I also was quite astonished when I first heard that album and after the first bar recognized "I Can´t Believe...." as Bud´s composition "Buttercup". Here it has a fine stride-section. Of course I know Bud´s 1st recording of the tune (on Bud Powell Moods from 1954). Later, during his Europe-stay, Bud played the tune very often. A very fine version is on the Xanadu album "Bud in Paris".

What do you think about the version of "Like Someone in Love" from "Ups ´n Downs". The intro is just like all versions of Bud playing that tune, but the stride is quite strange. Usually Bud played that tune with some really strong block-chords.

[ccex]

I also was quite astonished when I first heard that album and after the first bar recognized "I Can´t Believe...." as Bud´s composition "Buttercup". Here it has a fine stride-section. Of course I know Bud´s 1st recording of the tune (on Bud Powell Moods from 1954). Later, during his Europe-stay, Bud played the tune very often. A very fine version is on the Xanadu album "Bud in Paris".

What do you think about the version of "Like Someone in Love" from "Ups ´n Downs". The intro is just like all versions of Bud playing that tune, but the stride is quite strange. Usually Bud played that tune with some really strong block-chords.

I'm glad to hear that someone else hears merit in some of Bud's very last recordings. The version of "Like Someone In Love" on "Ups 'n Downs" has lots of flubs, especially in the left hand, and is nowhere as strong as the version made for the Dexter Gordon "Our Man In Paris" session. Bud enjoyed playing this as a mini-concerto in his Paris years. I dig the stride section, and feel this is much better than his first attempts at this tune, from December 1954, where he got lost.

[Gheorghe]

I'm glad to hear that someone else hears merit in some of Bud's very last recordings. The version of "Like Someone In Love" on "Ups 'n Downs" has lots of flubs, especially in the left hand, and is nowhere as strong as the version made for the Dexter Gordon "Our Man In Paris" session. Bud enjoyed playing this as a mini-concerto in his Paris years. I dig the stride section, and feel this is much better than his first attempts at this tune, from December 1954, where he got lost.

Yes, Bud liked that tune and played it very often in Europe, many recorded versions like those from Sweden, Denmark, France. Besides the mentioned 1963 version from the Dexter Gordon date he also recorded it in the studio in 1964 (Blues for Bouffemont is the title of the album, other issues "The Invisible Cage"). During his extended Birdland engagement he played it in the same manner, I especially love the version from "Award At Birdland"....

Sometimes I play the tune myself. My wife likes it, the way the tune sounds and I play it just for us two....

[Gheorghe]

A few days ago I purchased the CD, since until then I only had the original LP. The CD has two additional tracks: "unknown tune": Why is this titled "unknown" as everybody might recognize it as Horace Silver´s "No Smoking"? Even if Bud is not on his peak, he manages two play the theme much better then on his first attempt during his 1964 Birdland tenure. His solo, though sometimes hesitant is quite interesting. No one should seek out the "mistakes", this is not a lesson for students of classical piano, it´s a genius who is having troubles and is sick and he has my deepest respect for just being Bud Powell even when it became hard times for him. Considering the fact that this was just a few months before he died, he must be admired for managing to do this session and trying a tune which is quite a finger buster. I also think, the bass solo of Scotty Holt is great, and I wouldn´t say Rashied Ali´s solo is weak. It´s interesting to hear two players of the New Thing together with a bebop legend.

The last tune "I´m always Chasing Rainbows" is also full of surprises. It´s got a good part of humour in it. And it was the first time Bud played that tune.

The whole records shows us, that Bud, even at the very end of his career still was seeking new ways of expression and still was composing and adding new material to his repertoire (Trane´s "Moment´s Notice", the Horace Silver influenced "Up´s N Downs", the almost Monkish deliberateness on all tracks etc.

The CD has a cover foto which doesn´t fit to the CD, because it´s much earlier , from a french club with Chuck Israel on bass. But on the inner sleeve you got a lot of studio photos from the session, done by Raymond Ross. Dizzy Gillespie was there, young Bernard Stollman is there. Bud having conversation with them.

And I love that photo of Bud sitting astride and his head in that odd position with closed eyes. It was used for the painting on the cover of the 4 ESP albums of Bud at Birdland 1953 (Winter -, Spring - , Summer - and Autumnsessions".

[jostber]

Anyone heard this record from the 60's? Is this a good one?

[Caravan]

Anyone heard this record from the 60's? Is this a good one?

"Good"? It's outa sight.

[Brad]

Think I have it but have to look. I just reviewed this thread and noted that I said some of the Black Lions were "interesting," a eupehmism that doesn't say a whole lot. I haven't listened to them in a very long time but the term "painful" also comes to mind.

For those who haven't read the Paudras book, recommended. There's supposed to be a new one sometime in the distant future. Can't remember the name of the author right now but it's been discussed in this Forum before.

[jostber]

Seems like the new biography by Peter Pullman is a bit delayed:

Another interesting link:

http://www.npr.org/programs/jazzprofiles/archive/powell.html

[brownie]

Anyone heard this record from the 60's? Is this a good one?

"Good"? It's outa sight.

Fully agree! And much better than 'Ups 'n Downs' which is too disorganised to rate very high on a Budophile scale!

But I have not heard yet the latest issue with those additional titles!

Hope to be able to read Pullman's book while I am stll on Earth

[AllenLowe]

I think the best late Bud is Portrait of Thelonious, which came out originally (I think) as a Columbia LP with notes by Dan Morgenstgern.

[brownie]

I think the best late Bud is Portrait of Thelonious, which came out originally (I think) as a Columbia LP with notes by Dan Morgenstern.

and cover painting by Pannonica de Koenigswarter!

Wasn't the original LP released on CBS France?

[AllenLowe]

that sounds right. It's "live" and has very good, very focused Bud.

[John L]

and cover painting by Pannonica de Koenigswarter!

So is this one of Nica's cats?

Edited October 4, 2010 by John L

[brownie]

that sounds right. It's "live" and has very good, very focused Bud.

It's one of those fake 'live' recordings.

The audience reactions were dubbed in...

[mikeweil]

The Columbia Legacy CD reissue is without the fake applause and sounds a lot better - as does the companion session with Don Byas.

That Bud's playing declined due to the many problems and difficulties in his life is one of the great tragedies of all jazz history, IMHO - he was a talent of the caliber of Tatum, methinks. When I see those few filmed sequences, with his fingers barely touching the keyboard but eliciting such a powerful sound .... just magnificent.  

[AllenLowe]

beyond even Tatum, I would say; I would classify Bud as the most profound American musician of the 20th century.

I can only imagine what it was like to have heard him in person during his prime, but Al Haig was almost completely speechless when he tried to describe how they (literally) followed him around.

[JSngry]

[mikeweil]

Some more please, Jim, as I never had an opportunity to listen to that Delmark album. Who's on it, besides Bud?

[JSngry]

http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hxfixqrgldde

NHOP (not to be confused with IHOP) & one William Shiopffe. 4/26/62, club date. Bud is loose and focused at the same time,which means fun for all. I'd have to say that it's the one I'd take from the early 60s phase if I was only taking one, if only because three's a bit of true lightheartedness in it, a quality that agreed well with Bud when Bud agreed with it.