(Bebop, Big Band) [STREAM] Ethan Iverson & Umbria Jazz Orchestra (feat. Ingrid Jensen, Dayna Stephens, Ben Street & Lewis Nash) - Bud Powell in the 21st Century - 2021, FLAC (tracks), lossless

foobar2000 1.0.3 / Dynamic Range Meter 1.1.1
log date: 2021-01-29 20:21:27
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Analyzed: Ethan Iverson / Bud Powell in the 21st Century
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DR         Peak         RMS     Duration Track
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DR11      -0.50 dB   -14.97 dB      2:34 01-Bud Powell in the 21st Century: I. Choral
DR11      -0.09 dB   -14.34 dB      4:14 02-Bud Powell in the 21st Century: II. Continuity
DR12      -0.22 dB   -14.69 dB      5:10 03-Celia
DR9        0.00 dB   -12.31 dB      5:03 04-Tempus Fugit
DR12      -3.63 dB   -18.60 dB      1:12 05-Five Simple Spells: I. Chorale
DR10      -0.14 dB   -12.49 dB      4:00 06-Bouncing with Bud
DR11      -0.50 dB   -14.71 dB      0:53 07-Five Simple Spells: II. Waltz
DR10      -0.23 dB   -12.51 dB      3:03 08-Wail
DR13      -0.56 dB   -16.66 dB      0:52 09-Five Simple Spells: III. Chorale
DR11      -0.43 dB   -14.19 dB      2:50 10-Dance of the Infidels
DR13      -0.51 dB   -19.10 dB      1:16 11-Five Simple Spells: IV. Moderato
DR11      -0.39 dB   -13.79 dB      3:51 12-52nd Street Theme
DR11      -0.56 dB   -15.89 dB      1:42 13-Five Simple Spells: V. Ballad
DR11      -0.50 dB   -14.70 dB      5:47 14-I'll Keep Loving You
DR10      -0.24 dB   -14.14 dB     11:11 15-Nobile Paradiso
DR9        0.00 dB   -12.13 dB      6:22 16-Un Poco Loco
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Number of tracks:  16
Official DR value: DR11
Samplerate:        44100 Hz
Channels:          2
Bits per sample:   16
Bitrate:           977 kbps
Codec:             FLAC
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AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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-=== DO NOT EDIT THIS FILE! ===-
Path: ...\Ethan Iverson - 2021 - Bud Powell in the 21st Century {Sunnyside} [Deezer WEB FLAC]
01 -=- 01 Bud Powell in the 21st Century_ I. Choral.flac -=- CDDA (100%)
02 -=- 02 Bud Powell in the 21st Century_ II. Continuity.flac -=- MPEG (95%)
03 -=- 03 Celia.flac -=- CDDA (100%)
04 -=- 04 Tempus Fugit.flac -=- CDDA (100%)
05 -=- 05 Five Simple Spells_ I. Chorale.flac -=- CDDA (100%)
06 -=- 06 Bouncing with Bud.flac -=- CDDA (100%)
07 -=- 07 Five Simple Spells_ II. Waltz.flac -=- CDDA (99%)
08 -=- 08 Wail.flac -=- CDDA (99%)
09 -=- 09 Five Simple Spells_ III. Chorale.flac -=- CDDA (100%)
10 -=- 10 Dance of the Infidels.flac -=- CDDA (100%)
11 -=- 11 Five Simple Spells_ IV. Moderato.flac -=- CDDA (100%)
12 -=- 12 52nd Street Theme.flac -=- CDDA (100%)
13 -=- 13 Five Simple Spells_ V. Ballad.flac -=- CDDA (99%)
14 -=- 14 I'll Keep Loving You.flac -=- CDDA (99%)
15 -=- 15 Nobile Paradiso.flac -=- CDDA (100%)
16 -=- 16 Un Poco Loco.flac -=- CDDA (100%)
Summary 93.81% CDDA
35478068

https://www.allmusic.com/artist/ethan-iverson-mn0000206470/biography
Jazz pianist and original member of the Bad Plus who balances classical, rock, and avant-garde influences.
Artist Biography by Matt Collar
A gifted pianist whose style touches upon sophisticated post-bop, classical, and indie rock, Ethan Iverson distinguished himself first as solo artist and then as a co-founding member of the trio the Bad Plus. Emerging in the early 1990s, Iverson released a handful of solo albums, including 1993's School Work, before joining the Bad Plus with bassist Reid Anderson and drummer Dave King. Together, they issued a steady stream of lauded albums like 2003's These Are the Vistas and 2008's For All I Care, applying their jazz chops to adventurous originals alongside songs by Nirvana, the Flaming Lips, Rush, and others. In 2015, they earned a Grammy nomination for The Bad Plus Joshua Redman, their live collaboration with the acclaimed saxophonist. Iverson, who left the Bad Plus in 2017, has maintained a fertile solo career over the years, publishing a well-known music blog and issuing albums like 2004's My Ideal and 2016's The Purity of Turf.
Born in Menomonie, Wisconsin in 1974, Iverson became interested in music at a young age and attended the Stanford Jazz Workshop before relocating to New York in the early '90s. During this period, he studied privately with Fred Hersch and Sophia Rosoff. He made his recorded debut in 1993 at age 20 with School Work, playing alongside tenor saxophone giant Dewey Redman, bassist Johannes Weidenmuller, and drummer Falk Willis. In 1998, Iverson's trio released Construction Zone (Originals) and Deconstruction Zone (Standards) in tandem. A 1999 follow-up, The Minor Passions, featured the famous drummer Billy Hart. The concert album Live at Smalls, with saxophonist Bill McHenry and bassist Anderson, arrived in 2000.
In 2001, Iverson issued The Bad Plus, the debut eponymous album featuring his trio with longtime friends, bassist Reid Anderson and drummer Dave King. The pianist had initially met Minnesota natives Anderson and King in the late '80s and the trio performed on and off for over a decade. However, they didn't officially solidify as a trio until 2000. Together, they each brought a separate array of influences to the band, culminating in the Bad Plus' iconoclastic approach to jazz. Over the next 15 years, the trio would tour and record, issuing a handful of critically acclaimed albums like 2003's These Are the Vistas, 2004's Give, and 2008's For All I Care, which found them rethinking the jazz standards paradigm by covering contemporary popular songs by artists like Nirvana, Pink Floyd, Black Sabbath, and others, alongside lesser-known jazz compositions and classical pieces. There were also similarly inventive albums of original compositions like 2005's Suspicious Activity? and 2010's Never Stop.
Away from the Bad Plus, Iverson continued to stay active, working on projects with saxophonist Chris Cheek, guitarist Kurt Rosenwinkel, singer/pianist Jamie Cullum, and more. In 2012, he joined saxophonist Mark Turner and drummer Billy Hart for All Our Reasons on ECM. A year later, he issued the Lennie Tristano-inspired Costumes Are Mandatory with veteran saxophonist Lee Konitz, bassist Larry Grenadier, and drummer Jorge Rossy. Also in 2013, he paired with drummer Albert "Tootie" Heath and bassist Ben Street for Tootie's Tempo.
In 2012, the Bad Plus joined saxophonist Joshua Redman for a week-long stint of recorded shows at New York's Blue Note jazz club. The resulting album, 2015's The Bad Plus Joshua Redman, earned a Grammy nomination for Best Improvised Jazz Solo for Redman's performance on "Friend or Foe." Iverson then released the 2016 trio session The Purity of Turf with veteran bassist Ron Carter and drummer Nasheet Waits. At the end of 2017, Iverson left the Bad Plus, with all three members essentially citing creative differences as the reason behind the change. Following his departure, he was replaced by pianist Orrin Evans. Iverson then paired with saxophonist Mark Turner for the duo ECM album Temporary Kings. A live album recorded with trumpeter Tom Harrell, Common Practice, arrived in 2019. Teaming up with the Umbria Jazz Orchestra, Iverson took on the music of the legendary Bud Powell on 2021's Bud Powell in the 21st Century.
https://www.allmusic.com/artist/bud-powell-mn0000640675/biography
Pioneering jazz pianist whose innovative style was one of the cornerstones of the bebop revolution.
Artist Biography by Scott Yanow
One of the giants of the jazz piano, Bud Powell changed the way that virtually all post-swing pianists play their instruments. He did away with the left-hand striding that had been considered essential earlier and used his left hand to state chords on an irregular basis. His right often played speedy single-note lines, essentially transforming Charlie Parker's vocabulary to the piano (although he developed parallel to "Bird").
Tragically, Bud Powell was a seriously ill genius. After being encouraged and tutored to an extent by his friend Thelonious Monk at jam sessions in the early '40s, Powell was with Cootie Williams' orchestra during 1943-1945. In a racial incident, he was beaten on the head by police; Powell never fully recovered and would suffer from bad headaches and mental breakdowns throughout the remainder of his life. Despite this, he recorded some true gems during 1947-1951 for Roost, Blue Note, and Verve, composing such major works as "Dance of the Infidels," "Hallucinations" (also known as "Budo"), "Un Poco Loco," "Bouncing with Bud," and "Tempus Fugit." Even early on, his erratic behavior resulted in lost opportunities (Charlie Parker supposedly told Miles Davis that he would not hire Powell because "he's even crazier than me!"), but Powell's playing during this period was often miraculous.
A breakdown in 1951 and hospitalization that resulted in electroshock treatments weakened him, but Powell was still capable of playing at his best now and then, most notably at the 1953 Massey Hall Concert. Generally in the 1950s his Blue Notes find him in excellent form, while he is much more erratic on his Verve recordings. His warm welcome and lengthy stay in Paris (1959-1964) extended his life a bit, but even here Powell spent part of 1962-1963 in the hospital. He returned to New York in 1964, disappeared after a few concerts, and did not live through 1966.
In later years, Bud Powell's recordings and performances could be so intense as to be scary, but other times he sounded quite sad. However, his influence on jazz (particularly up until the rise of McCoy Tyner and Bill Evans in the 1960s) was very strong and he remains one of the greatest jazz pianists of all time.

https://sunnysiderecords.bandcamp.com/album/bud-powell-in-the-21st-century
The effects of the bebop revolution in jazz music are still being felt and explored. Of the half dozen true pioneers of the movement, pianist Bud Powell has remained somewhat in the shadows, although his work has become a major touchstone for true devotees of the music and a principal influence for most of jazz’s most explorative pianists.
Powell’s brilliant original compositions are essential, infinitely listenable but also strangely tricky. Unlike Monk, Parker and Gillespie, the composer neglected to perform them much after their original recordings, so they never became a part of the jazz lingua franca. Pianist and historian Ethan Iverson provides a fantastic validation of Powell’s compositional genius on his new recording, Bud Powell In The 21st Century, a reworking of a number of Powell’s pieces for big band.
Iverson came upon Powell’s music early in his development via the Mosaic boxed set of the complete Powell on Blue Note Records and the essential The Genius of Bud Powell compilation on Verve Records. The music was revelatory for Iverson and has continued to be an inspiration well into his career. That career has always balanced itself between the presentation of new contemporary work and jazz history, essentially Iverson’s involvement with The Bad Plus paired with his work on Do The Math.
After his departure from The Bad Plus, Iverson’s time has been occupied more and more with large commissions, like curating MONK@100, the Monk Centennial event at Duke University, Iverson’s overview of the British jazz scene for the London Jazz Festival, a piano concerto for the American Composers Orchestra, and Pepperland for the Mark Morris Dance Group. It was under the auspices of a commission from Carlo Pagnotta, Enzo Capua and the Umbria Jazz Festival that Iverson’s Powell project was able to take shape.
The popular pull of tribute concerts in jazz institutions has continued to surge, a common draw at Jazz at Lincoln Center and jazz festivals all over the world. Iverson believes fresh creative composition to be almost a requirement for jazz repertory projects to be successful. The project shaped itself into what would be Iverson’s first attempt at arranging for big band; to be presented at the Umbria Jazz Festival in 2019.
For source material, Iverson began toward four quintet pieces that Powell recorded with an incredible group of musicians in 1949. The ensemble of Powell, saxophonist Sonny Rollins, trumpeter Fats Navarro, bassist Tommy Potter and drummer Roy Haynes plays quintessential versions of Powell’s “Bouncing with Bud,” “Dance of The Infidels” and “Wail,” along with Monk’s “52nd Street Theme.” Because this is the only Powell led session with horns, Iverson decided to use these tunes as the backbone of his orchestrations.
Iverson is generally attracted to more idiosyncratic jazz composers who write for their ensembles, individuals like Duke Ellington and Carla Bley. In an effort to bridge a divide that would come from composing and arranging for a one-off big band, Iverson enlisted a tremendous quintet to secure the foundation of his work. Ingrid Jensen had impressed Iverson for years as a triumphant solo voice in Darcy James Argue’s Secret Society Band. Saxophonist Dayna Stephens stood apart for his virtuosity and oblique approach. Bassist Ben Street has been a longtime collaborator, someone who understands both bebop and modernity. The happy opportunity to add drummer Lewis Nash, a master musician who has been the first call of many legends, was too good for Iverson to pass up.
Going into the actual writing and arranging, Iverson knew that he wanted to present Powell’s compositions accurately, doing “no harm” to their original intention. This would be difficult, as the pieces are hard and have finicky details. There were a number of composers and arrangers Iverson looked to for inspiration, including Stravinsky’s arranging of older Italian music and Carla Bley’s take on Spanish folk songs for Charlie Haden’s Liberation Music Orchestra. Shades of Count Basie and the Dizzy Gillespie Big Band also tint Iverson’s palette.
Iverson’s composed original pieces, like “Bud Powell in the 21st Century” and “Nobile Paradiso,” use Powell’s improvisations as building blocks. Iverson also borrows key harmonic and melodic ideas to inform his “Spells,” short chorales that connect the larger pieces and have the feel of an eerie séance with the celebrated pianist. Pieces like “Continuity” and “Nobile Paradiso” are heightened by Iverson’s mastery of counterpoint, with strands of ideas moving around each other, the latter piece composed of Iverson’s original material that builds like an anthemic Powell composition, like a hill from a grain of sand (with a foxtrot rhythm!). Big moving block chords hammer in the harmonic ingenuity of Powell’s originals under Iverson’s dynamic revisions.
Powell’s touch can be heard throughout the recording. Iverson and other ensemble members quote the pianist’s solo lines throughout, as can be heard in the saxophone section on “Celia” and under Iverson’s capable fingers on “Tempus Fugit,” which happens to be led in by an unaccompanied display of Nash’s impeccable bebop drumming. The gorgeously played French horn feature for Giovanni Hoffer on Powell’s ballad, “I’ll Keep Loving You,” is a true showstopper.
Ethan Iverson’s Bud Powell in The 21st Century is a landmark not only in his career but also in the legacy of Powell, a musician who came from a generation that longed for the opportunities to have their pieces appreciated as the true art it is. Iverson has stylishly recreated the legend’s pieces for a grand big band to perform on a festival stage in Italy. Powell’s spirit should be pleased.
https://www.allmusic.com/album/bud-powell-in-the-21st-century-mw0003446343
AllMusic Review by Matt Collar
A vibrant big band production, Bud Powell in the 21st Century finds pianist Ethan Iverson in joyous celebration of the legendary bebop pianist with Italy's Umbria Jazz Orchestra. One of the prime architects of bebop and modern jazz, Powell lived a troubled life and his musical contributions are often overshadowed by the addiction, racial prejudice, and mental illness he suffered. A boundary-pushing artist in his own right, Iverson shines a light on Powell's music, reinterpreting many of the pianist's classic compositions, as well as drawing inspiration for his own inventive originals. Although best known for his work as a founding member of the genre-bending trio the Bad Plus, Iverson is also well-versed in the acoustic jazz tradition and has collaborated on projects with many of his idols, including Billy Hart, Ron Carter, and Albert "Tootie" Heath. Since parting ways with the Bad Plus in 2017, Iverson has continued to delve into his love of acoustic post-bop, recording albums with Mark Turner and Tom Harrell, all of which reinforces his reputation as an improviser with one ear in the past and one firmly attuned to jazz's future. It's just this sort of balance he strikes on Bud Powell in the 21st Century. Interestingly, although Iverson designed the album as a big band session, he drew his primary inspiration from Powell's classic 1949 small-group recordings featuring saxophonist Sonny Rollins, trumpeter Fats Navarro, bassist Tommy Potter, and drummer Roy Haynes. To help him achieve this sound, he put together his own adept quintet with trumpeter Ingrid Jensen, saxophonist Dayna Stephens, bassist Ben Street, and drummer Lewis Nash. Together, they bring their adventurous and progressive skills to bear throughout. At the top of the album is a two-part Iverson composition, "Bud Powell in the 21st Century 1: Chorale" and "Bud Powell in the 21st Century 2: Continuity." Harmonically lush arrangements, these songs, as with much of Iverson's work here, strike a balance between the acoustic modernism of artists like Dizzy Gillespie in the '40s and the more avant-garde approach of artists like Charlie Haden in the '70s. It's a bold combination and one that allows Iverson to mix lyrical harmonies with extended sections of probing, avant-garde vamp-style improvisations. What follows are equally vivid takes on such Powell standards as "Bouncing with Bud," "Dance of the Infidels," and "Wail," as well as a particularly burning rendition of Thelonious Monk's "52nd Street Theme." Particularly engaging is "Nobile Paradiso," a languid Iverson original that conjures the smoky, urbane jazz clubs of the 1940s in which Powell and his bebop contemporaries developed their sound. While it's almost taken for granted that Powell's music was key in the development of modern jazz, it still sounds as ear-poppingly fresh, especially when played with the passion and inspiration that Iverson does here.

Ingrid Jensen - trumpet
Dayna Stephens - tenor saxophone
Ethan Iverson - piano, conduction (Tracks 1 & 16)
Ben Street - bass
Lewis Nash - drums
Giovanni Hoffer - French horn (Track 14)
Daniele Tittarelli - alto saxophone
Manuele Morbidini - alto saxophone, conduction (Tracks 5, 7, 9, 11, 13, 14)
Pedro Spallati - tenor saxophone
Rossano Emili - baritone saxophone
Mirco Rubegni - trumpet
Francesco Lento - trumpet
Francesco Fratini - trumpet
Massimo Morganti - trombone
Roberto Rossi - trombone
Federico Pierantoni - trombone
Rosario Liberti - bass trombone