Powell was perhaps the first pianist to vocalize on the piano, meaning that he transfered his vocalized improvisations directly through his hands to the instrument. This gave his music a deep connection to time, which is an artifact of the human voice. Previously, horn players were more likely to express their improvisations vocally, as the mouth and breath are directly tied to the performance of horn players.
Powell suffered from Bi-Polar Disorder, and in November 1947, Powell was admitted to Creedmoor Psychiatric Center, where he stayed for more than a year, receiving electroconvulsive therapy which caused severe memory loss. The young Jackie McLean and Sonny Rollins became friendly with Powell on his release from the hospital, and Powell recommended McLean to Miles Davis. However, Powell suffered from mental illness throughout his life, and had a reputation for his strange behaviour. In fact his problems, exacerbated by a beating from the police in 1945 for being disorderly, could all be attributed to being a manic depressive, although his illness was almost certainly a key driver of his immense creative talent. He was also an alcoholic, and even small quantities of alcohol had a profound effect on his character, making him aggressive. Powell's continued rivalry with Charlie Parker, while essential to the production of brilliant music, was also the subject of disruptive feuding and bitterness on the bandstand, as a result of Powell's troubled mental and physical condition. He spent all of 1952 (and parts of many subsequent years) in a hospital. When he was out of the hospital, he was often locked up in a hotel room and was usually denied receiving the money he earned performing.
It is generally agreed that his best recordings are those made prior to 1954, both for Blue Note Records and for Norman Granz (at Mercury Records, Norgran Records, Clef Records and later on Verve Records).
After 1953 (when Powell attempted suicide), his style became darker and slower. Many jazz critics pronounced him "washed up" during the last decade of his career. There were a few recordings which never should have been issued (Verve from January 1955 and Roulette Oct. 1964). Still, he continued to play with great intensity even without the speed that made him famous in the 1940s. His late 1950s Blue Note recordings are recommended. Bud performed regularly with drummer Kenny Clarke and bassists Oscar Pettiford or Pierre Michelot. He performed brilliantly as a sideman for Coleman Hawkins, Dizzy Gillespie, and Dexter Gordon on recordings in the early 1960s. As late as 1962 he recorded concerts in Lausanne and Geneva, Switzerland, in which he played as brilliantly as he had played in the late 1940s. Powell moved to France in 1959, when his life was extended by several years under the care of a fan named Francis Paudras, whose book "Dance of the Infidels" is required reading for any Powell fan. Paudras' friendship produced many impromptu recordings and was the basis for the 1987 Bernard Tavenier film "Round Midnight", for which Dexter Gordon received a best actor Oscar nomination (as a fictional composite of Bud Powell and Lester Young).
Paudras and Powell returned to Birdland in the fall of 1964 to initial critical acclaim. Bud despised the drummer he had to play with and soon lost his regular engagement at Birdland. After Paudras returned to France without Powell, ESP-disk's founder became Bud's legal guardian, but let Bud self-destruct from late 1964 until his death in July, 1966. Bud's last recordings were a haunting, sparse "Round Midnight" from Carnegie Hall in March 1965 and other trio tracks from January 1966 on the mysterious "Ups 'n Downs" album.
He is survived by his daughter Celia, who has been reissuing Paudras' recordings of her father on the Pablo and Piadrum labels.
Tea For Two
Bud Powell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tony Bennett
(Irving Caesar/Vincent Youmans)
I'm discontented with homes that are rented so I have invented my own.
Darling this place is a lover's oasis where life's weary chase is unknown.
Far from the cry of the city, where flowers pretty caress the streams,
Cozy to hide in, to love side-by-side in. Don't let it abide in my dreams.
Picture you upon my knee, just tea for two and two for tea,
Just me for you and you for me, alone!
Nobody near us, to see us or hear us,
No friends or relations on weekend vacations,
We won't have it known, dear, that we have a telephone, dear.
Day will break and you'll awake and start to bake
A sugar cake for me to take for all the boys to see.
We will raise a family, a boy for you, a girl for me,
Oh, can't you see how happy life would be?
You are revealing a plan so appealing I can't help but falling for you,
Darling, I planned it; can't you understand it is yours to command it, so do.
All of your schemes I'm admiring, they're worth desiring but can't you see,
I'd like to wait there for some future date dear;
it won't be too late, dear, for me.
Picture you upon my knee, just tea for two and two for tea,
Just me for you and you for me, alone!
Nobody near us, to see us or hear us,
No friends or relations on weekend vacations,
We won't have it known, dear, that we have a telephone, dear.
Day will break and you'll awake and start to bake
A sugar cake for me to take for all the boys to see.
We will raise a family, a boy for you, a girl for me,
Oh, can't you see how happy life would be?
The lyrics to Bud Powell's "Tea for Two" tell the story of a couple who long for a peaceful oasis away from the distractions of modern life. The singer, discontented with rented homes, has invented his own perfect retreat, where he and his lover can hide away from the "weary chase" of life. He envisions a secluded place, far from the hustle and bustle of the city, where they can sit together, drink tea, and be alone with each other. They want no one else to see or hear them, and they plan to keep the existence of their phone a secret. They imagine a life together, raising a family with a boy for her and a girl for him, and how happy they would be.
The central theme of "Tea for Two" is the desire for escape and romantic intimacy with a loved one. The song paints a picture of a world where time stands still, and the couple can be alone with each other and their dreams. The lyrics provide a vivid sense of a magical, romantic space where life is perfect, and the only thing that matters is the love they share. The song also portrays the singer as being content with simple pleasures, like drinking tea with his beloved, which suggest that happiness can be found in modest pleasures.
Line by Line Meaning
I'm discontented with homes that are rented so I have invented my own.
I'm unhappy with rented houses, so I've created my own place to live.
Darling this place is a lover's oasis where life's weary chase is unknown.
This place is a romantic and peaceful haven where we can escape from the stresses of life.
Far from the cry of the city, where flowers pretty caress the streams,
We are located away from the noisy city, surrounded by beautiful flowers and flowing streams.
Cozy to hide in, to love side-by-side in. Don't let it abide in my dreams.
It's a comfortable place where we can cuddle and love each other without interruption. I hope it doesn't remain a dream.
Picture you upon my knee, just tea for two and two for tea,
I can imagine us sitting close to each other, having a cup of tea for two.
Just me for you and you for me, alone!
There is only you and me here, no one else.
Nobody near us, to see us or hear us,
There is no one around to watch or hear us.
No friends or relations on weekend vacations,
We won't have any friends or family visiting us on weekends.
We won't have it known, dear, that we have a telephone, dear.
Let's keep it a secret that we have a telephone here.
Day will break and you'll awake and start to bake A sugar cake for me to take for all the boys to see.
When the morning comes, you'll wake up and bake a cake for me to show off to our friends.
We will raise a family, a boy for you, a girl for me,
We'll have children, a boy for you and a girl for me.
Oh, can't you see how happy life would be?
Can't you imagine how wonderful our life would be?
You are revealing a plan so appealing, I can't help but falling for you,
Your plan is so alluring that I can't stop myself from falling in love with you.
Darling, I planned it; can't you understand it is yours to command it, so do.
I made this place for you, so don't hesitate to make it your home and do as you please.
All of your schemes I'm admiring, they're worth desiring but can't you see,
I love all of your plans and think they are worth striving for, but don't you see,
I'd like to wait there for some future date, dear; it won't be too late, dear, for me.
I want to wait for some time in the future to make our dreams come true. It won't be too late for me.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Royalty Network, Songtrust Ave, Kobalt Music Publishing Ltd., Warner Chappell Music, Inc.
Written by: Irving Caesar, Vincent Youmans
Lyrics Licensed & Provided by LyricFind
@didon8460
@otnas01 What is your statement? Maybe i missunderstood what you said.
i quote you "He simply would not have experienced the same culture, identity, oppression etc to express Jazz on that level or indeed the personal 'schooling' and support from other Jazz Masters throughout his career."
You mention a golden age that is gone. too bad but it's true, all these genius (african american in general) were constantly inventing, at a high level of composing and playing (if i refere to the bebop time). But i don't think it would explain anything if we just try to understand each musician point of view. How he developped his music.. This is beyond comprehension.
10h practicing, being passionate till the death...
Every other things are just "speaking", for non musician that think they could explain everything with a context.
The personal schooling is just a question of being from a musician family most of the time. The rest is listening to a lot of different music and practicing with discipline. All these genius were very serious about music, that's all.
If i miss something in your statement, don't hesitate to precise what joe henderson or clifford jarvis really think about what you say.
take care too.
@docmalthus
This is Bud Powell in beast mode with Buddy Rich hanging on for dear life.
@viggosimonsen
Both Tatum's and Powell's rendition of TFT are superb - but Bud Powell takes the piece to a new level. His solo is far more coherent and narrative than Tatum's. But I also think the backing of the rhythm section makes the whole difference
@rkrw576
The undisputed genius of bebop piano.
@mrperryjthomas
I think all the Art Tatum people need to take a deep breath and relax. No one is denying Tatum his due. Bud Powell would have been the first one to hail Tatum as his master. Bud simply took on Art's harmonic innovations and applied them through a bop lens. Him and Art used to hang out together. Funny thing is musicians in those days may have had "cutting" sessions,but it was done with respect for each other. Egos rarely got in the way. Imitating a great artist was considered showing respect.
@nosmelc1001
the most exciting pianist period
@benmcdonald2020
The Only Pianist who scared Classical concert pianists as well as American Classical Music or “Jazz” musicians with his ability. They the classical musicians knew he was the greatest at everything. Ask Arthur Rubinstein.
@jovesheerwater
INCENDIARY!!!!!! This is not interpretation, it's recomposition. Thanks for post - now I'll never sleep!!
@bolder2009
I think its unfair to compare any pianist to Tatum. His ability and proficiency as a pianist went beyond the boundaries of logic.
@ijohnny.
Tatum was the greatest musician on an instrument ever, tho he was totally stylized.
@rkrw576
Apples to oranges. Both were great in their own ways. I could listen to Tatum forever for lyrical beauty, but there is a select emotional intensity to Powell at his best that is unmatched.