Dexter Gordon himself was precociously creative. Mentored as a teenager by Long Tall Dexter - Various - The Original Masters Of Be Bop (CD) same African-American music teacher who taught Frank Morgan, Art Farmer, Marshal Royal and Don Cherry, among others, he proved to be so gifted on the tenor saxophone that he was offered a chair in the Lionel Hampton Orchestra while still in high school. Gordon entered a world that, like many spheres of popular music in every era, was populated by scores of young artists entertaining other young people with work that spoke pointedly to their age and time.
When he joined the Hampton group, at 17, Gordon began playing with Joe Newman and Ernie Royal, both nearly as young as he was. He quit for an opportunity to join a radical group of Long Tall Dexter - Various - The Original Masters Of Be Bop (CD) players in the Billy Eckstine Orchestra who were inventing a new music not yet called bebop.
It was that we young guys wanted to play some new music. With Eckstine, surrounded by itchy, bursting, brilliant adventurers, all African-American and nearly all young — Gene Ammons, Leo Parker, Sonny Stitt, Sarah Vaughan, Fats Navarro — Gordon found his musical voice and broke out as a must-hear jazz phenomenon. He began to play in the style that would define him until his late years: saxophone jazz as a firestorm of melodic invention, harmonic surprise and charismatic energy.
With the introduction of Trinity to the mix, Daniel Licht has created a menacing soundtrack for this arc in the series. From the themes created specifically for Trinity to the other gorgeous masterpieces and redux of previous songs Daniel Licht is proving that he gets better as he goes.
Sign In Don't have an account? Start a Wiki. Contents [ show ]. The Parker session aside, Powell performed on only two other records and seldom appeared at nightclubs in Long Tall Dexter - Various - The Original Masters Of Be Bop (CD) November, he had an altercation with another customer at a Harlem bar.
In the ensuing fight, Powell was hit over his eye with a bottle. When Harlem Hospital found him incoherent and rambunctious, it sent him to Bellevue, which had the record of his previous confinement there and in another psychiatric hospital. It chose to institutionalize him again, though this time at Creedmoor State Hospital, a facility much closer to Manhattan.
He was kept there for eleven months. Powell eventually adjusted to the conditions in the institution, though in psychiatric interviews he expressed feelings of persecution founded in racism. From February to Aprilhe received electroconvulsive therapy,  first administered after an outburst deemed to be uncontrollable. It might have been prompted by his learning, after a visit by his girlfriend, that she was pregnant with their child. He was eventually released, in October  — though from these early and subsequent hospitalizations, he was emotionally unstable for the rest of his career.
After another though brief hospitalization in early Powell made several recordings, most of which were for Alfred Lion of Blue Note Records  and for Norman Granz of Mercury, Norgran and Clef. The second Blue Note session in was a trio with Curley Russell and Max Roach, and includes "Parisian Thoroughfare" and "Un Poco Loco";  the latter was selected by literary critic Harold Bloom for inclusion on his short list of the greatest works of twentieth-century American art. Powell's continued rivalry with Parker was also the subject of disruptive feuding and bitterness on the bandstand,  as a result of Powell's troubled mental and physical condition.
Powell recorded for both Blue Note and Granz throughout the s, interrupted by another long stay in a mental hospital from late to earlyfollowing arrest for possession of marijuana, after which he was released into the guardianship of Oscar Goodstein, owner of the Birdland nightclub.
A trio session for Blue Note with Duvivier and Taylor included Powell's composition "Glass Enclosure", inspired by his near-imprisonment in Goodstein's apartment. His playing after his release from hospital began to be seriously affected by Largactil, taken for the treatment of schizophrenia, and by the late s his talent was in eclipse.
After several further spells in hospital, Powell moved to Paris inin the company of Altevia "Buttercup" Edwards, whom he had met after an incarceration in The live recording of the Essen jazz festival performance with Clarke, Oscar Pettiford and, on some numbers, Coleman Hawkins is particularly notable.
The first album with overdubbed audience noise was released shortly after Powell's death, and the second was released in the late s. Eventually, Powell was befriended by Francis Paudras, a commercial artist and amateur pianist, and Powell moved into Paudras's home in Powell was a last-minute substitute for Kenny Drew, and the album of standards—Powell could not by then learn new material—showed him to be still capable of playing with some proficiency.
InPowell contracted tuberculosis, and the following year returned to New York with Paudras for a return engagement at Birdland accompanied by drummer Horace Arnold and bassist John Ore.
Arnold called it "the Ultimate Performance experience of my life". InPowell played only two concerts: one a disastrous performance at Carnegie Hall, the other a tribute to Charlie Parker on May 1 with other performers on the bill, including Albert Ayler. Little else was seen of him in public. During these two years, Powell's life started to fall apart, and his reliance on alcohol led to performances that were ruined after just one drink, his emotional state becoming significantly imbalanced.
On July 31,he died of tuberculosis, malnutrition, and alcoholism. Several thousand people viewed his Harlem funeral procession. He was really the first guy; before Bud Powell, pianists were playing boom, chuck in the left hand and a lot of melodic figures in the right hand that tended to be arpeggios. So Bud was the first pianist to take Charlie Parker's language and Long Tall Dexter - Various - The Original Masters Of Be Bop (CD) it successfully to the piano.
That's why he is the most important pianist in music today because everybody plays like that now. His playing of melodic lines owed greatly to Billy Kyle,  and his accompaniments to horn solos owed most to the style of Earl Hines. At other times, Powell's accompanying recalled stride and, on occasion, the graceful approach of pianist Teddy Wilson. He also used voicings of the root and the tenth, or the root with the minor seventh.
Powell was greatly influenced by Art Tatum early in his career and more so by Thelonious Monk later on. It has been said that Powell is the linchpin between Tatum and the bebop pianists, Long Tall Dexter - Various - The Original Masters Of Be Bop (CD). Where his solos could be heard to emulate the horn players' attack—with the use of frequent arpeggios punctuated by chromaticism  —this was, in part, because of his determination to see that the pianist get the adulation usually reserved for the saxophonist or trumpeter.
But his generally rough-edged execution was the price that his music paid for his virtuosic striving. Many later pianists, nonetheless, copied his daring attack, looking to attain that rarefied status, of the fearless improviser.
They also emulated his lush melodicism on ballads. Powell freed the right hand for continuous linear exploration at the expense of developing the left. Legend has it that one night Art Tatum criticized him as he came off the bandstand after playing a set.
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