Bud Powell/Don Byas - A Tribute to Cannonball (1997)
Bud Powell/Don Byas - A Tribute to Cannonball (1997)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 414 MB. & 145 MB.
300dpi. Complete Scans (JPG) - 38 MB. | WinRar, 3% recovery
Audio CD (1997) | Label: Columbia/Legacy | Catalog# CK-65186 | 61:20 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 414 MB. & 145 MB.
300dpi. Complete Scans (JPG) - 38 MB. | WinRar, 3% recovery
Audio CD (1997) | Label: Columbia/Legacy | Catalog# CK-65186 | 61:20 min.
Review by Scott Yanow ~allmusicTracklist:
Not released until 1979, and then under tenor saxophonist Don Byas' name, this 1997 CD reissue has pianist Bud Powell listed first as a co-leader with Byas. In any case, the music (produced by Cannonball Adderley, but certainly not a tribute to him) features Byas and Powell in a quintet with trumpeter Idrees Sulieman, bassist Pierre Michelot and drummer Kenny Clarke. Other than two Pierre Micehelot songs, including two versions of "Jackie My Little Cat," athe repertoire is filled with bebop standards such as "Good Bait," a memorable "Jeannine" and "Just One of Those Things." Both Byas (who had hardly recorded since 1955) and the erratic Powell are heard in superior form. A previously unheard alternate take of "Cherokee" (which is missing its very beginning) has a real surprise in a solo by the producer – apparently, altoist Adderley could not resist the opportunity to jam with Byas and Powell.
01. Just One of Those Things (5:11)
02. Jackie My Little Cat (4:50)
03. Cherokee (6:20)
04. I Remember Clifford (6:18)
05. Good Bait (6:32)
06. Jeannine (6:01)
07. All the Things You Are (7:25)
08. Myth (5:34)
09. Jackie My Little Cat (alternate) (5:18)
10. Cherokee (unissued alternate) (7:52)
Bud Powell/Don Byas - A Tribute to Cannonball (1997)
Personnel:
Don Byas - tenor saxophone
Bud Powell - piano
Pierre Michelot - bass
Kenny Clarke - drums
Idrees Sulieman - trumpet (on #5-8 only)
~allAboutJazz
Born: October 21, 1912 | Died: August, 1972 | Instrument: Tenor Saxophone
Don Byas was one of the most respected and recorded tenor players of the 1940’s. In that fruitful period he had few peers in the the area of prolific productivity. Byas was a masterful swing player with his own style, an advanced sense of harmony, and a confidence and adventurousness that found him hanging around the beboppers and asking to play. He held his own and did so while insistently remaining himself: he never picked up the rhythmic phrases, the lightning triplets, which are indigenous to bop. Yet Charlie Parker said of him that Byas was playing everything there was to play.
Born in Muskogee, Oklahoma, in 1912, he played alto as a teenager, subbing in territorial bands like Bennie Moten's and Walter Page's Blue Devils. As a student at Langston College, he led his own band, Don Byas and the Collegiate Ramblers. Between 1933, when he switched to tenor, and 1941, he worked with a variety of bands, first in California and then New York–among them: Buck Clayton, Lionel Hampton, Eddie Barefield, Eddie Mallory, Lucky Millinder, Andy Kirk and Redman. In January '41, he became Lester Young's successor in the Count Basie band and quickly established his abilities, cementing his reputation.
Byas' style evolved in the lush, full-bodied tenor tradition of Coleman Hawkins, but his sound was unmistakably his own, immediately recognizable. A master of technique, he accomplished both tender warmth and the most strident sting. His sense of drama coupled with a brilliant use of dynamics and timbre, a deeply-felt romanticism, and an innate sense of swing made his improvisations unique.
When he left for Europe in the fall of 1946 with the Don Redman band, his reputation was at its peak. Admired by the modernists and the traditional swingers, he was celebrated as a tireless, original and influential saxophonist. His solo on Basie's “Harvard Blues” had created a stir in 1941 and he followed it with a remarkable series of recordings for small labels. In his romantic approach to “Laura,” he had something of a hit.
He stayed in Europe, where he was quite the star in France, then the Netherlands, becoming the first in a continuously expanding family of expatriate jazzmen. Although Byas was much in demand by the jazz-appreciative Europeans, he was largely forgotten back home. Few of his records were available here and without personal appearances it is difficult, if not impossible, to sustain a following. He returned to the U.S. once, in the summer of 1970, received little of the money or adulation he might have expected, and returned to Holland where he died in August 1972 of lung cancer. He was 59.
Born: October 21, 1912 | Died: August, 1972 | Instrument: Tenor Saxophone
Don Byas was one of the most respected and recorded tenor players of the 1940’s. In that fruitful period he had few peers in the the area of prolific productivity. Byas was a masterful swing player with his own style, an advanced sense of harmony, and a confidence and adventurousness that found him hanging around the beboppers and asking to play. He held his own and did so while insistently remaining himself: he never picked up the rhythmic phrases, the lightning triplets, which are indigenous to bop. Yet Charlie Parker said of him that Byas was playing everything there was to play.
Born in Muskogee, Oklahoma, in 1912, he played alto as a teenager, subbing in territorial bands like Bennie Moten's and Walter Page's Blue Devils. As a student at Langston College, he led his own band, Don Byas and the Collegiate Ramblers. Between 1933, when he switched to tenor, and 1941, he worked with a variety of bands, first in California and then New York–among them: Buck Clayton, Lionel Hampton, Eddie Barefield, Eddie Mallory, Lucky Millinder, Andy Kirk and Redman. In January '41, he became Lester Young's successor in the Count Basie band and quickly established his abilities, cementing his reputation.
Byas' style evolved in the lush, full-bodied tenor tradition of Coleman Hawkins, but his sound was unmistakably his own, immediately recognizable. A master of technique, he accomplished both tender warmth and the most strident sting. His sense of drama coupled with a brilliant use of dynamics and timbre, a deeply-felt romanticism, and an innate sense of swing made his improvisations unique.
When he left for Europe in the fall of 1946 with the Don Redman band, his reputation was at its peak. Admired by the modernists and the traditional swingers, he was celebrated as a tireless, original and influential saxophonist. His solo on Basie's “Harvard Blues” had created a stir in 1941 and he followed it with a remarkable series of recordings for small labels. In his romantic approach to “Laura,” he had something of a hit.
He stayed in Europe, where he was quite the star in France, then the Netherlands, becoming the first in a continuously expanding family of expatriate jazzmen. Although Byas was much in demand by the jazz-appreciative Europeans, he was largely forgotten back home. Few of his records were available here and without personal appearances it is difficult, if not impossible, to sustain a following. He returned to the U.S. once, in the summer of 1970, received little of the money or adulation he might have expected, and returned to Holland where he died in August 1972 of lung cancer. He was 59.
By Scott Yanow ~allmusic
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.
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.
Bud Powell/Don Byas - A Tribute to Cannonball (1997)
(L-R): Don Byas, Bud Powell
Recorded at Studio Charlot, Paris, France; December 15, 1961
Originally issued in March 1979; on Columbia 35755 (stereo)
Reissue produced by Orrin Keepnews
Project Director: Seth Rothstein
Remixed to digital tape from original analog album master tapes
Re-equalized and remastered by Mark Wilder; November 1996 at Sony Music Studios, NYC
Cover Art: Fred Scaboda
Art Direction: Howard Fritzson
Photography by Jean-Pierre Leloir
Reissue designed by Randall Martin
Packaging Manager: Juliana Myrick
A&R Coordination: Patti Matheny
Production Assistance: Rene Arsenault
Columbia Jazz Reissue Series: Steve Berkowitz and Kevin Gore
Liner notes by Orrin Keepnews; January 1997
EAC extraction logfile from 25. August 2007, 9:36 for CD
Bud Powell and Don Byas / A Tribute to Cannonball
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No errors occured
End of status report
Bud Powell and Don Byas / A Tribute to Cannonball
Used drive : HL-DT-STCDRW/DVD GCC4482 Adapter: 1 ID: 0
Read mode : Secure with NO C2, accurate stream, disable cache
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Used output format : C:\Eac\Codecs\flac.exe (User Defined Encoder)
320 kBit/s
Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=EAC Flac 1.1.2 -8" %s
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface
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Pre-gap length 0:00:02.00
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Test CRC 26368759
Copy CRC 26368759
Copy OK
Track 2
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Pre-gap length 0:00:02.46
Peak level 100.0 %
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Copy OK
Track 3
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Track 10
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No errors occured
End of status report
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Thanks to the original releaser.
Bud Powell/Don Byas - A Tribute to Cannonball (1997)
(flac & mp3@320 links are interchangeable, artwork = single link)