I’m a firm believer that those who reach artistic truth know it immediately when they hear it, which is probably why Bud, in his own way, was handing Wayne the keys to the music.
Not long thereafter, Wayne wrote "This Is For Albert," one of his finest compositions for Art Blakey and the Jazz Messengers, as a tribute to Bud Powell. (Bud's full name was Earl Rudolph Powell, but Wayne thought that it was Albert.). It was recorded in 1962.
I didn't include it in the piece, but "Dance of the Infidels" was part of their Blakey repertoire. But actually sat in with the band when they played it. So he knew it well. But the thing the caught Bud's attention was how Wayne wasn't afraid to take the music somwhere else.
Deep. I was stunned to learn Ornette and Bud spent way more time together than is generally known.
Wayne, between this and his Lester Young encounter, the giants were giving him the keys
I’m a firm believer that those who reach artistic truth know it immediately when they hear it, which is probably why Bud, in his own way, was handing Wayne the keys to the music.
Not long thereafter, Wayne wrote "This Is For Albert," one of his finest compositions for Art Blakey and the Jazz Messengers, as a tribute to Bud Powell. (Bud's full name was Earl Rudolph Powell, but Wayne thought that it was Albert.). It was recorded in 1962.
https://www.youtube.com/watch?v=3Tdel_QACLM
Thanks for that valuable piece of history.
Late 50’s, how would Wayne have learned a “Dance of The Infidels”? I think the answer may tie into your discussion of mastery.
I didn't include it in the piece, but "Dance of the Infidels" was part of their Blakey repertoire. But actually sat in with the band when they played it. So he knew it well. But the thing the caught Bud's attention was how Wayne wasn't afraid to take the music somwhere else.
https://youtu.be/J4GThYvCxuU?si=CsFBWXK_EPLWFVNE
So nice to think of a time where the codes of communication left space to read between the lines.