Bud Powell

Piano · born 27 September 1924 died 1 August 1966

Click for Richard Cook Bio

A mental case who suffered numerous nervous collapses, who behaved irrationally on an almost continuous basis, and who abused himself further with heroin use and heavy drinking, Powell was also one of the masters of the bebop idiom, even if his music seems to balance precariously between executive brilliance and a capitulation to a kind of narcotic delirium – almost a manifestation of bop's state of jangled nerves. He was part of the inner circle at Minton's Playhouse in the early 40s, where Thelonious Monk kept an eye on his progress, and he began playing in Cootie Williams's orchestra in 1943. But things started to go awry for him as early as 1945, when he was hospitalized supposedly following a racial beating, and though he quickly returned to the 52nd Street scene, recurrent problems led to him having ECT later in the decade. While he didn't take part in any of the early major bebop record dates, his own first records as a leader in 1947 unveiled his early style brilliantly, showing the influence of such earlier masters as Nat Cole and Teddy Wilson, but with a careering right hand which, as many commentators have suggested, was the pianistic equivalent of Charlie Parker's explosive lines. His almost brittle delivery underscored the piano's existence as a percussion instrument, and the role of his left hand – sparsely marking out chords which blipped into unexpected spaces, dissonant and startling even if one follows that hand rather than the right – quickly became standard practice for bebop piano, even though none really approached Powell's momentous personification of the style. Alfred Lion recorded him for Blue Note later in the decade with a band including Fats Navarro and Sonny Rollins, and Ornithology is a beautiful instance of Powell in his prime. But there was a two-year gap before his next session for Blue Note. His behaviour became increasingly strange, and even Parker, hardly the epitome of good sense when it came to personal conduct, didn't want him in his band. Lion set up another date for Blue Note in 1951, and it didn't start auspiciously: Powell tried to kill Lion's cat, disappeared for 90 minutes just as they were about to start playing, and then rushed headlong through the date. His 50s work for Blue Note included some astonishing work, such as Un Poco Loco and The Glass Enclosure, yet even by 1953 his playing had begun to decline, marked by misfingerings and dead ends. Even a below-par Powell was worth hearing and he made some further records for RCA and Roulette later in the decade, but by 1959 he was in a very fragile state and went to live in Paris for five years, a celebrity away from home, and while his life was settled to some extent, his musical powers continued to diminish rather than recover. As with Lester Young, who, like Powell, was in part used as the basis for the Dale Turner character in Bertrand Tavernier's Round Midnight, Powell's playing became careful and self-conscious, and although many public and private recordings have survived from his Paris years, the best moments are often hidden or spoiled. He went back to America in 1964 on the promise of work, but was already suffering from tuberculosis and cirrhosis, and though he was supposed to return to Paris he never did: after a hopeless final Carnegie Hall concert in 1965, he died from his TB condition in 1966.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.