The first jazz composition that he mastered was James P. Later life and career[ edit ] Early to mids[ edit ] In his youth Powell listened to the adventurous performances at Uptown House, a venue near his home. This was where Charlie Parker first appeared as a solo act when he briefly lived in New York. After the band finished for the night, Powell wandered near Broad Street Station and was apprehended, drunk, by the private railroad police. He was beaten by them and incarcerated briefly by the city police.
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Proper did an impeccable job of organization -- if not remastering, but the result is adequate if not stellar -- by placing the music in tightly organized compartments not only chronologically, but also thematically.
His trademark trills are already carved in stone, however, and they slip out whenever they are allowed to. On the Roost and Clef material, Powell is advancing a new kind of bop solo, one that considers the elementary rhythms and then takes them apart at the same time the harmonics are being reinvented.
Finally, the last disc, So Sorry Please, with the aforementioned bands and his final two Clef sides in July of with Brown and Buddy Rich, showcase Powell as a man split between his visions and his passions. The chord changes, which were supplementary and rhythm oriented for Powell, have become very large and open-ended sounding boards for new harmonic ideas that move inside the tune instead of pushing it to its limit. Nonetheless, this is an impressive document, one that paints, finally, a well-rounded portrait of Powell at the height of his compositional and instrumental genius.
The essays are phenomenal, the package, while not eye-poppingly beautiful, is desirable, and the sound quality leave little to be desired. The discographical documentation is peerless. This is a necessity for any bebop collector, as well as for any died-in-the-keys Powell fan. Track Listing - Disc 1.
Mordern Jazz Archive
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