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.
You're Not The Kind
Bud Powell Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
That's why I sit here and cry
For that is something that never can be
And here's the reason why
For you're not the kind of a boy (girl) for a girl (boy) like me
'Cause I'm just a song and a dance, you're a symphony
You say that you never would doubt me
'Cause I'm just the kind of a girl (boy) who would never play fair
And you're just the kind of a boy (girl) who would always be square
It's so hard to let you go but it's only because I know
That you're not the kind of a boy (girl) for a girl (boy) like me
For you're not the kind of a boy (girl) for a girl (boy) like me
'Cause I'm just a song and a dance, you're a symphony
You say that you never would doubt me
Well, I'm tellin' you, you'd be much better off with out me
'Cause I'm just the kind of a girl (boy) who would never play fair
And you're just the kind of a boy (girl) who would always be square
It's so hard to let you go but it's only because I know
That you're not the kind of a boy (girl) for a girl (boy) like me
The lyrics to Bud Powell’s song “You’re Not The Kind” convey a feeling of sadness and heartbreak as the singer realizes that the person they love is not the kind of person they need in their life. The opening lines say “you say you’re falling in love with me, that’s why I sit here and cry”, which suggests that the singer is overwhelmed with emotion and doesn’t know how to deal with it. The next line, “for that is something that never can be, and here’s the reason why”, shows that the singer has a clear understanding of why they can’t be with this person.
The chorus repeats the same lyrics twice and highlights the key reason why the singer and the person they love can’t be together. The line “’cause I’m just a song and a dance, you’re a symphony” suggests that the two people are not on the same level and therefore cannot work as a pair. The final line of the chorus, “you’re not the kind of a boy (girl) for a girl (boy) like me”, confirms that the singer and the person they love are not meant to be together. Overall, the lyrics to “You’re Not The Kind” are poignant and powerful, conveying the sense of loss that comes with realizing that the one you love is not the one for you.
Line by Line Meaning
You say you're falling in love with me
You claim to be attracted to me romantically
That's why I sit here and cry
My sadness is a result of your declaration of love
For that is something that never can be
A relationship between us is impossible
And here's the reason why
I will explain why we cannot be together
For you're not the kind of a boy (girl) for a girl (boy) like me
Our personalities and interests do not align
'Cause I'm just a song and a dance, you're a symphony
I am simple and ordinary, while you are complex and extraordinary
You say that you never would doubt me
You claim to trust me completely
Well, I'm tellin' you, you'd be much better off with out me
I am warning you that being in a relationship with me would bring you dissatisfaction
'Cause I'm just the kind of a girl (boy) who would never play fair
I am the type who would not be honest and sincere in a relationship
And you're just the kind of a boy (girl) who would always be square
You are the type who would always be honest, trustworthy and sincere
It's so hard to let you go but it's only because I know
Ending things with you is difficult but necessary
That you're not the kind of a boy (girl) for a girl (boy) like me
We are not compatible partners
For you're not the kind of a boy (girl) for a girl (boy) like me
I reiterate, we are not compatible partners
'Cause I'm just a song and a dance, you're a symphony
We do not have a similar level of complexity and depth
You say that you never would doubt me
You claim to trust me completely
Well, I'm tellin' you, you'd be much better off with out me
I advise that we do not pursue a romantic relationship
'Cause I'm just the kind of a girl (boy) who would never play fair
I emphasize again that I am not a truthful or sincere partner
And you're just the kind of a boy (girl) who would always be square
You have an unwavering sense of honor and integrity
It's so hard to let you go but it's only because I know
It is difficult to end things, but it is the right decision
That you're not the kind of a boy (girl) for a girl (boy) like me
We are fundamentally incompatible
Lyrics © Sony/ATV Music Publishing LLC
Written by: IRVING MILLS, WILL HUDSON
Lyrics Licensed & Provided by LyricFind
Joey Chung
Love this so much! He’s a genius!
MARCELLO MENTA SIMONSEN NICO
The second tune that Bud plays here is a amalgamation of two of his compositions: the "A" part is from "Monopoly", and the Bridge is from "Marmalade", respectively Tracks 5 and 4 of his 1958 album "Time Waits".
ebjazz93
Thanks Marcello for the precision.
Shayan Noghrehsaz
Love this ♥️♥️♥️♥️
Ronald Unkel
A jazz genius completely dedicated to his art. G’day folks & Cheers!
jackie hard-bop lady brown
Oh yes indeed Ronald ! See him playing , hi express with body and soul....i adore this short video , two wonderful piece , just heavenly....G'day ! I wish you all the best . Cheers !
SR-009s
This channel is such a hidden gem.
ebjazz93
i"'m glad you like it.
Kaj Genell
Those days, in Paris, Bud was called "l´homme heureux", ..."the happy guy"....
ousmane diallo
👏👏👏👏🥰