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Bud Powell - The Amazing Bud Powell Vol 2 [24 bit FLAC] vinyl

Genre: Jazz
Styles: Bop, Jazz Instrument, Piano Jazz
Source: Blue Note / Liberty BLP 1504 (Mono Repress 1966)
Codec: FLAC
Bitrate: ~ 1,500 kbps
Bit Depth: 24
Sampling Rate: 96 KHz

A1 Reets and I
A2 Autumn in New York
A3 I Want to Be Happy
A4 It Could Happen to You
A5 Sure Thing
A6 Polka Dots and Moonbeams

B1 Glass Enclosure
B2 Collard Greens and Black-Eye Peas
B3 Over the Rainbow
B4 Audrey
B5 You Go to My Head
B6 Ornithology (Alternate Master)

Rip Info (not my rip)

Blue Note/Liberty U.S. Mono 1966 Repress

Deadwax info:
BN-LP-1504-A RVG 9M
BNLP-1504 B-1 VAN GELDER

Rega RP3 turntable with RB303 arm
Audio Technica AT33PTG/II dual moving coil cartridge
Graham Slee Gram Amp 3 Fanfare MC phono stage
Focusrite Scarlett 2i2 USB interface
Neutrik interconnects

Carefully declicked in iZotope RX 3
Normalized to -.3
FLAC files made with XLD

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.