Bud Powell - Dance of The Infidels (1949)

01 - Tea for two                play
02 - Lover come back to me      play
03 - I want to be happy 
04 - Woodin' you 
05 - Salt peanuts 
06 - Budo 
07 - Dance of the infidels 
08 - Un poco loco 
09 - Parisian thoroughfare 
10 - Glass enclosure 
11 - Embraceable you 
12 – Oblivion

Musicians:
Oscar Pettiford, Charlie Mingus, George Duvivier, Curley Russell - bass 
Roy Haynes, Art Taylor, Max Roach - drums 
Bud Powell – piano

One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left-hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird").

Tragically, Bud Powell was a seriously ill genius. After being encouraged and tutored to an extent by his friend Thelonious Monk at jam sessions in the early '40s, Powell was with Cootie Williams' orchestra during 1943-1945. In a racial incident, he was beaten on the head by police; Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Despite this, he recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing with Bud," and "Tempus Fugit." Even early on, his erratic behavior resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous.

A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. His warm welcome and lengthy stay in Paris (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital. He returned to New York in 1964, disappeared after a few concerts, and did not live through 1966.

In later years, Bud Powell's recordings and performances could be so intense as to be scary, but other times he sounded quite sad. However, his influence on jazz (particularly up until the rise of McCoy Tyner and Bill Evans in the 1960s) was very strong and he remains one of the greatest jazz pianists of all time. --Scott Yanow, Rovi

Earl Rudolph "Bud" Powell (ur. 27 września 1924, zm. 31 lipca 1966) – amerykański pianista jazzowy. Wraz z Theloniusem Monkiem, Charlie'em Parkerem i Dizzym Gillespie'em, Powell był kluczowym muzykiem w historii bebopu, a jego wirtuozeria sprawiła, że był nazywany "Birdem fortepianu jazzowego". W początkach lat 40. XX wieku Powell grał w wielu zespołach, włączając zespół Cootie'ego Williamsa, który został opiekunem Powella ze względu na jego młody wiek. Z tym zespołem dokonał swoich pierwszych nagrań w 1944. W czasie tej sesji po raz pierwszy nagrano kompozycję Monka "'Round Midnight". Monk wprowadził także Powella do kręgu muzyków bebopowych, tworzącego się wtedy w Minton's Playhouse.

W latach 50. Powell nagrywał dla Blue Note i Verve, z przerwą na kolejny długi pobyt w szpitalu w okresie 1951–1953, który nastąpił po aresztowaniu za posiadanie marihuany. Gra Powella po opuszczeniu szpitala nie była już tak błyskotliwa. Po kilku kolejnych pobytach w szpitalach Powell przeniósł się w 1959 do Paryża wraz ze swoją przyjaciółką z dzieciństwa Altevią "Buttercup" Edwards. W Paryżu grał razem z Pierrem Michelotem i Kennym Clarke'em. W 1963 Powell zachorował na gruźlicę i w następnym roku wrócił do Nowego Jorku. Powell zmarł w szpitalu w 1966.

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