Requisites

Bud Powell – A Portrait of Thelonious | By Eddie Carter

Submitted for your approval this morning is an underrated, yet excellent 1965 trio album by pianist Bud Powell. A Portrait of Thelonious (Columbia CL 2292/CS 9092) is a wholehearted tribute to Thelonious Monk, one of the most influential figures in jazz. Pierre Michelot joins him on bass, and Kenny Clarke is on drums. Together, this trio of giants captures the spirit, complexity, and emotional depth of four Monk compositions, one standard and three little- known originals, as seen through Powell’s interpretations. The chemistry between the musicians yields a dynamic exploration of Monk’s repertoire, rendering the album both a reverent homage and a fresh reimagining of the jazz piano tradition. My copy of this album is the 1980 U.S. Columbia Jazz Odyssey Series stereo reissue (PC 36085).

Monk’s Off Minor opens the first side at a medium beat for the friendly melody. Bud is the featured soloist and glides through an enchanting performance with Pierre and Kenny providing a crisp, driving foundation right up to the song’s finish. There Will Never Be Another You by Mack Gordon and Harry Warren is a joyous interpretation that the trio brings to life with a playful spirit during the theme, which is sure to bring a smile to the listener’s face. Again, Powell is the lone soloist and provides a leisurely presentation, possessing a carefree zest that’s consistently rewarding, leading to the theme’s reprise and climax.

Thelonious Monk created some of jazz’s most memorable standards, and Ruby, My Dear is one of his most beautiful compositions, named for his first love, Rubie Richardson. The trio opens with a delicate melody. Bud presents a haunting, poignant performance, marked by gentle sensitivity, layered over the warm, supportive accompaniment of Pierre and Kenny, ahead of a gorgeous conclusion. No Name Blues by Earl Bostic is a catchy tune that begins with the trio’s effective medium-tempo beat for the theme. Powell’s lead solo is an ear-pleaser that swings comfortably into Michelot’s relaxing performance, fueled by Clarke’s brushwork preceding the trio’s bouncy closing chorus.

Thelonious is another of Monk’s inventive melodic ideas from 1947, like Off Minor and Ruby, My Dear. The trio immediately grabs the listener with a catchy hook and a solid medium-tempo groove during the introduction and theme. Powell swings effortlessly in the song’s only solo before the ensemble’s reprise and ending. Monk’s Mood is a pretty ballad by Thelonious Monk that’s luxurious yet straightforward. Powell has the solo spotlight to himself and delivers a gorgeous performance of beauty, elegance, and affectionate warmth, while Michelot and Clarke keep close preceding the song’s peaceful conclusion.

The beat moves upward for I Ain’t Foolin’ by Charles Albertine next. It’s a toe-tapper from the start of the ensemble’s bubbly introduction and melody. Bud navigates the tune’s lively structure in a spirited performance blending bebop lines and Monk-inspired blues inflections until the theme’s restatement and exit. Squatty by Brian Fahey concludes the album, with Clarke setting the tone ahead of the trio’s infectious groove on the melody. Powell establishes a relaxed rhythm, inviting listeners to unwind during the first solo. Michelot steps forward next with a concise reading of lively notes before the trio’s finale.

Julian “Cannonball” Adderley produced A Portrait of Thelonious, and it’s unknown who the original engineer was.Arthur Kendy was behind the dials of the reissue. The album’s sound quality across the highs, midrange, and bass is superb, placing the musicians in your listening room. Each instrument is captured with remarkable clarity, and the balanced mix highlights the interplay between the trio, making every note feel immediate and intimate. If you’re seeking a superb piano trio album for your library, I enthusiastically invite you to check out A Portrait of Thelonious by Bud Powell on your next record shopping trip. It’s an excellent introduction to his music that’s sure to become a welcome addition to any fan’s library who appreciates piano jazz!

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Daily Dose Of Jazz…

Jeff Lofton was born on September 5, 1966 in Badhershfiele, Germany while his father was in the military. Returning to the States briefly in Virginia before moving back to their hometown of Columbia, South Carolina. Getting his first trumpet at eleven he began playing in the middle school band. In high school he was in the concert and jazz bands.

Graduating from the University of South Carolina his interest led to the avant-grade prior to moving to Dallas, Texas and then going on to performing in Austin, Texas. He has performed theater shows, released several recordings and formed an electric fusion group.

Trumpeter Jeff Lofton has been honored with a day in Austin and continues to perform and record.

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Daily Dose Of Jazz…

Peter Andrew Bernstein was born on September 3, 1967 in New York City, He began playing piano when he was eight but switched to guitar when he was thirteen, learning the instrument primarily by ear. He studied jazz at Rutgers University with Ted Dunbar, and Kenny Barron.

While a student at the New School in New York City, he met guitarist Jim Hall, who offered him a job performing at the JVC Jazz Festival in 1990. He then appeared on albums with Jesse Davis, Lou Donaldson, Larry Goldings, Michael Hashim, Geoff Keezer, and Melvin Rhyne. He released his first album as a leader with pianist Brad Mehldau.

He has worked with Jimmy Cobb, Tom Harrell, Diana Krall, Lee Konitz, Eric Alexander, Joshua Redman, Dr. Lonnie Smith, and Walt Weiskopf. In 2008, Bernstein became part of The Blue Note 7, a septet formed that year in honor of the 70th anniversary of Blue Note Records. The group recorded the album Mosaic.

Guitarist Peter Bernstein continues to perform, record and tour.

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Daily Dose Of Jazz…

Joe Quintana was born in Aguadilla, Puerto Rico on August 21, 1969 and raised in a bicultural environment as a military brat. It was a blessing for a young musician to absorb so many influences that come with international travel. His parents, being appreciative of all musical genres and styles, made sure that he and his brothers were exposed to music at home.

After his formative early years, by 1995 Joe had set up his own band and began playing in Rincon, Puerto Rico as the house band at the Calypso Café. This led to other gigs and many mutations of his bands over the years. He is still very active in the area.

Joe’s guitar styling is very much in synchronization with just the right nuance in relation to the mood he wants to portray. Adept on the acoustic as an accompanist, and is at home unplugged as he is in the electric blues setting or showcased on Latin jazz/rock numbers.

He is either a sideman for live performances or studio recordings, but usually as the leader of his own outfit. His association and collaborations with his brothers has been the catalyst for his own forays into exploring his individual direction as well.

Guitarist Joe Quintana, who is the quintessential journeyman, continues to play every weekend and many week nights and plays a full repertoire for the locals.

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Requisites

Indestructible! ~ Art Blakey and The Jazz Messengers | By Eddie Carter

For over three decades, Art Blakey made an indelible mark on jazz, both as a dynamic drummer and a visionary band leader. His creative drive propelled The Jazz Messengers to the forefront of the jazz world, earning them international acclaim as one of the genre’s premier ensembles. By 1964, the group was facing a turning point: Wayne Shorter was preparing to leave for the Miles Davis Quintet, and both Cedar Walton and Reggie Workman were set to embark on solo careers. This week’s featured album from the library is Indestructible (Blue Note BLP 4193/BST84193), Blakey’s final session for Blue Note. Intriguingly, the album wasn’t released until 1966, making its debut with a powerful, unforgettable presence.

Art is accompanied by Lee Morgan on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor sax, Cedar Walton on piano, and Reggie Workman on bass. My copy of the album is the 1985 Toshiba-EMI Limited Japanese stereo reissue utilizing the original catalog number. The Egyptian, by Curtis Fuller, which opens the first side, sets the tone with a relaxed, mid-tempo beat. The trio’s lengthy conversation leads to the front line’s irresistibly catchy melody. Curtis goes to work first, establishing a laid-back mood, then Wayne provides the song’s most dventurous solo, which nearly steals the spotlight. Lee injects a burst of energy into a swinging improvisation next. Finally, Cedar wraps up things with a superb statement, leading to the ensemble’s ending theme and fadeout.

Curtis Fuller’s Sortie opens with a blues-inspired introduction, drawing the ensemble into a smooth, medium-tempo melody. Lee begins the opening solo impressively, then Wayne executes a soulful, down-home statement. Curtis steps in with a lively, toe-tapping reading next, after which Cedar presents his ideas on the final performance perfectly until the group comes to a graceful closing chorus and gentle fade. On the second side, Calling Miss Khadija by Lee Morgan starts with Reggie, Cedar, and Art, setting the lively mood for the track’s vivacious theme. Lee ignites the opening statement with his energetic playing. Wayne continues the momentum with swinging, expressive lines. Curtis then delivers a solo rooted in blues, leading into Cedar’s scintillating reading, followed by Art’s brief but memorable presentation, before the ensemble’s closing chorus softly dissolves.

When Love Is New by Cedar Walton is a gorgeous ballad that begins with the ensemble’s unified introduction, then gives way for Wayne to shape the beautiful melody and a sprightly, breezy lead solo. Lee follows with an easy swing in his tone and a steady sureness until the saxophonist returns to pilot the group back to the closing chorus and a soft summation. Mr. Jin by Wayne Shorter showcases his knack for weaving an intricate, adventurous melody with an

Oriental flavor. Art sets the tone for the ensemble’s precise interplay, then Wayne steps up first with ample room to stretch out on the opening statement. Lee responds to the saxophonist with bright, lively phrases, leading back to the sextet’s theme reprise and the trio’s slow fadeout.

The chemistry among the musicians on Indestructible is truly remarkable. Art Blakey created a space where creativity flourishes and daring improvisation thrives. This approach yields performances with vibrant energy, yet remains disciplined and refined. Every member of the ensemble is given room to shine individually without ever losing their unmistakable coherence. Lee Morgan’s trumpet stands out with vibrant flair, while Curtis Fuller’s trombone adds a rich, soulful layer. Wayne Shorter’s tenor saxophone brings an alluring, mysterious edge. At the heart of the ensemble, Cedar Walton and Reggie Workman provide a steadfast and fluid foundation of rhythms and harmonies, completing what stands as one of the finest incarnations of the Jazz Messengers under Art’s leadership.

Alfred Lion produced the album, and Rudy Van Gelder was behind the recording console. The sound quality of this Toshiba-EMI reissue is absolutely stunning, with a superb soundstage that transports the listener to the studio as the musicians play. If you’re already a fan of Art Blakey and The Jazz Messengers, or simply in the mood for some hard bop to unwind after a long day, I highly recommend checking out Indestructible on your next record-shopping trip. It’s an outstanding album that promises countless hours of rewarding listening. Additionally, as Art Blakey’s swan song for the label and the three departing members, it is sure to be cherished by both newcomers and seasoned fans alike!

© 2025 by Edward Thomas Carter

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