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''The Amazing Bud Powell'', also called ''The Amazing Bud Powell, Vol. 1'', is an album by jazz pianist Bud Powell, first released on Blue Note in April 1952, as a 10" vinyl. It is part of a loosely connected series with the 1954 companion ''The Amazing Bud Powell, Vol. 2'' and the 1957 ''Bud! The Amazing Bud Powell (Vol. 3)'', all released on Blue Note. The album details two recording sessions. In the first, recorded on August 9, 1949, Powell performed in quintet with Fats Navarro, Sonny Rollins, Tommy Potter and Roy Haynes, and in trio with Potter and Haynes. In the second, on May 1, 1951, Powell performed in trio with Curley Russell and Max Roach, and solo. The album is critically prized among Powell's releases. Among the more discussed of the album's tracks is the pianist's composition "Un Poco Loco" ("A Little Crazy"), which has been singled out by critics and cultural historians for its musical and cultural significance. The album was remastered and re-issued on CD in 1989 in chronological order with additional, alternate takes. This version is also available along with Powell's 1947 Roost session on the first disc of ''The Complete Blue Note and Roost Recordings'', a 4 disc box set. The album was remastered again in 2001 by Rudy Van Gelder and re-issued as part of Blue Note's The RVG Edition series, with further expansion and reorganization. == Critical reception == The album is rated highly within Powell's musical library, described by ''All About Jazz'' as "among the pianist's most important recordings"〔Firehammer, John. (October 1, 2001) (The Amazing Bud Powell Vols. 1 and 2 ) ''All About Jazz''. Retrieved on 2008-05-26.〕 and by ''The Complete Idiot's Guide to Jazz'' (in conjunction with volume two) as "a great introduction to this awesome pianist". Jazz critic Scott Yanow characterized it in his book ''Jazz on Record'' as "full of essential music". In ''Bebop: The Best Musicians and Recordings'', Yanow identifies among the highlights of the album "Bouncing with Bud", "52nd Street Theme" and "Dance of the Infidels," performed by the "very exciting quintet" of 1949, and also the 1951 trio's "three stunning versions of 'Un Poco Loco'". Barry Kernfeld in ''The Blackwell Guide to Recorded Jazz'' notes with regards to "Un Poco Loco" that "the three takes (the song )...enable us to hear the evolution of a masterpiece", a label with which ''The New York Times'' concurred.〔 〕 While the song "Un Poco Loco" has been identified as musically outstanding, it has also been discussed as culturally significant. According to ''Race Music: Black Cultures from Bebop to Hip-Hop'', although Afro-Cuban jazz had been introduced in the 1940s by such artists as Dizzy Gillespie and Machito, "Un Poco Loco" is a significant marker in the establishment of this musical genre, as it revealed "the Afro-Cuban turn settling into bebop's acceptable field of rhetorical conventions". More than Afro-Cuban, the authors of that book detect what they describe as a "Pan-African" musical influence in the composition's repetition, harmony and cyclic solo that, while not as obviously Afro-international as Gillespie's "A Night in Tunisia', "certainly signaled a 'blackness' that became part of the language of subsequent expressions of modern jazz."〔Ramsey and Ramsey, 128-130.〕 The book ''Jazz 101'' indicates that Powell's performances of this material in 1951 was "all the more astonishing" in its "level of creativity, and even authenticity" because little was known at the time of African music or how Latin music (aside from the Cuban influence) could be applied to jazz. According to Yanow, in ''Afro-Cuban Jazz: The Essential Listening Companion'', this composition was Powell's only involvement with Afro-Cuban Jazz. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Amazing Bud Powell」の詳細全文を読む スポンサード リンク
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