Album Review: "Amazing" by Bud Powell – A Jazz Odyssey Straight from Brazil
If you’re a jazz fan with an ear for raw talent and improvisational genius, Bud Powell’s Amazing is the kind of album that grabs you by the collar and says, “Listen up.” Released under Blue Note and recorded in Brazil, this record feels like a love letter to jazz itself. With a lineup that reads like a who’s-who of mid-century jazz royalty—Curly Russell on bass, Max Roach on drums, Sonny Rollins blowing tenor sax, and Fats Navarro laying down trumpet lines—it’s hard not to get swept away.
But let’s talk about what makes this album stick in your mind. Two tracks, in particular, stood out to me: “Un Poco Loco” and “Autumn in New York.”
“Un Poco Loco” (especially the Segundo Take) is just… wild. It’s one of those tracks where Bud Powell’s piano work feels less like playing and more like conjuring. The rhythm section—Roy Haynes or Art Taylor, depending on the take—is tight but loose enough to give Powell room to roam. You can almost picture him leaning into the keys, sweat dripping as he pulls off runs that feel impossible. And then there’s Sonny Rollins, weaving in and out like he owns the joint. This tune has this manic energy, like it’s daring you to keep up. By the time it ends, you’re left breathless, wondering how anyone could pull that off without their fingers falling off.
Then there’s “Autumn in New York,” which hits different. Where “Un Poco Loco” is all fire and chaos, this one is smooth, reflective, almost cinematic. Bud’s piano here feels intimate, like he’s sitting right across from you at a smoky club somewhere in Rio. The melody is hauntingly beautiful, and when Fats Navarro’s trumpet comes in, it adds this bittersweet layer that sticks with you long after the song fades out. It’s the kind of track that makes you pause whatever you’re doing and just listen. Honestly, I found myself replaying it three times in a row because it felt so damn perfect.
What’s wild about Amazing is how alive it feels. Even though it was recorded decades ago, the energy hasn’t aged a day. You can hear the chemistry between these musicians—they weren’t just playing notes; they were having conversations through their instruments. And yeah, sure, some takes are better than others (looking at you, third try on “Un Poco Loco”), but even the imperfections add character.
Here’s the thing about this album: it doesn’t just showcase Bud Powell’s brilliance—it reminds you why jazz matters. It’s messy, unpredictable, and deeply human. Listening to it feels like stumbling into a secret jam session where everyone’s vibing off each other, no rules, just pure creativity.
And honestly? That last track, “Parisian Thoroughfare,” kinda sneaks up on you. After all the intensity, it closes things out with this playful bounce that leaves you grinning. Like, wait—was that supposed to be the end? Feels more like the start of something new.
So yeah, Amazing isn’t just another jazz album. It’s a masterclass in collaboration, spontaneity, and soul. If you haven’t heard it yet, do yourself a favor and dive in. Just don’t blame me if you spend the next hour Googling obscure jazz trivia afterward.
