Editing Bud Powell (section)

=== 1949–1951: ''Jazz Giant'' ===
After a brief hospitalization in early 1949, Powell made several recordings over the next two and a half years, most of them for [[Blue Note Records|Blue Note]],<ref name="Founder">{{cite web |title=Alfred Lion, 78, the Founder of the Blue Note Jazz Label |url=https://www.nytimes.com/1987/02/09/obituaries/alfred-lion-78-the-founder-of-the-blue-note-jazz-label.html |website=The New York Times |access-date=March 30, 2019 |date=February 9, 1987}}</ref> [[Mercury Records|Mercury]], [[Norgran Records|Norgran]], and Clef.<ref name="Davis2002">{{cite book|last=Davis|first=Francis|title=Like Young: Jazz, Pop, Youth And Middle Age|url=https://books.google.com/books?id=VsNOAQAACAAJ|date=October 24, 2002|publisher=Hachette Books|isbn=978-0-306-81186-9|page=58}}</ref> He also recorded that summer for two independent producers, a session that resulted in eight [[Master recordings|masters]]; [[Max Roach]] and [[Curly Russell]] were his accompanists. The recordings were released in 1950, when [[Roost Records]] bought the masters and released them on a series of [[Phonograph record|78 rpm records]].<ref name="Pullman 2012">Pullman, p. 120.</ref> Musicologist Guthrie Ramsey wrote of the session that "Powell proves himself the equal of any of the other beboppers in technique, versatility, and feeling."<ref>{{cite book |last=Ramsey |first=Guthrie P. |date=2013 |title=The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop |publisher=University of California Press |page=69 |isbn=9780520243910 }}</ref>[[File:Fats Navarro (Gottlieb 06551).jpg|left|thumb|173x173px|Navarro, who recorded with Powell for Blue Note]]The first Blue Note session in August 1949 included trumpeter [[Fats Navarro]], saxophone player [[Sonny Rollins]], bassist [[Tommy Potter]] and drummer [[Roy Haynes]], and it introduced Powell's compositions "Bouncing with Bud" and "Dance of the Infidels". He went to the studio again, this time for [[Prestige Records|Prestige]], in December, with alto saxophone player [[Sonny Stitt]] to record four sides for a quartet album.<ref name=":1" /> Powell and Stitt did a concert together on Christmas Day at [[Carnegie Hall]] with [[Miles Davis]] on trumpet that was titled "[[Symphony Sid]]'s Christmas Party". The event was announced and produced by Sid and [[Leonard Feather]].<ref>{{Cite web |title=Session details: Carnegie Hall (December 25, 1949) |url=http://www.plosin.com/milesAhead/Sessions.aspx?s=491225a |access-date=November 23, 2023 |website=Plosin.com}}</ref>

In January 1950, Powell was back in the studio with Stitt to record more of their joint album, but it was Powell's trio recording the following month that contributed to his famous album ''[[Jazz Giant]]'' (1950).<ref name=":1" /> Part of the album had been recorded with bassist [[Ray Brown (musician)|Ray Brown]] on a daytime release from hospital in 1949, while the 1950 session was recorded with Curley Russell. Roach was present on drums for both sessions.<ref name=":1" /> Tracks from the two sessions included his compositions "Tempus Fugit" and "Celia", an up-tempo version of the jazz standard "[[Cherokee (Ray Noble song)|Cherokee]]", "[[Get Happy (song)|Get Happy]]", and "[[All God's Chillun Got Rhythm|All God’s Chillun Got Rhythm]]". The first session was described by critic John White as "feverish" while the later session was "restrained but moving".<ref>{{Cite web |last=White |first=John |date=August 25, 2021 |title=Bud Powell: Jazz Giant |url=https://jazzjournal.co.uk/2021/08/25/bud-powell-jazz-giant/ |access-date=November 23, 2023 |website=Jazz Journal |language=en-GB}}</ref>

Powell joined Charlie Parker and Fats Navarro at [[Birdland (New York jazz club)|Birdland]] for ''[[One Night in Birdland]]'', a live album performed shortly before Navarro's death from tuberculosis in July 1950. The live engagement was noted for its "brilliant...all-star lineup [that] clearly inspired" the musicians in the quintet.<ref>{{Cite web |title=Charlie Parker - One Night at Birdland Album Reviews, Songs & More|website=AllMusic |url=https://www.allmusic.com/album/one-night-at-birdland-mw0000870913 |access-date=November 23, 2023 |language=en}}</ref> A trio recording with [[Buddy Rich]] on drums and a big band session with [[Sarah Vaughan]] and [[Norman Leyden]]'s Orchestra concluded Powell's recording schedule in 1950.<ref name=":1" />
[[File:Birdland club entrance.jpg|left|thumb|The [[Birdland (New York jazz club)|Birdland]] jazz club as it appeared {{Circa|1950}}, presenting Powell's friend [[Ella Fitzgerald]]]]
Powell was once again recorded at Birdland for the live album ''Summit Meeting at Birdland'' (1978) with [[Dizzy Gillespie]] on trumpet and Parker on saxophone. The half of the album featuring Powell was described by critic [[Scott Yanow]] as "stirring" and was noted for its renditions of "[[Blue 'n' Boogie|Blue 'n Boogie]]" and "[[Anthropology (composition)|Anthropology]]."<ref>{{Cite web |title=Charlie Parker - Summit Meeting at Birdland Album Reviews, Songs & More |website=AllMusic |url=https://www.allmusic.com/album/summit-meeting-at-birdland-mw0000731256 |access-date=November 23, 2023 |language=en}}</ref> A second Blue Note session attended by Powell in 1951 was a trio with Russell and Roach that included his originals "[[Parisian Thoroughfare]]" and "[[Un Poco Loco]]".<ref name=":1" /> The latter was selected by literary critic [[Harold Bloom]] for his short list of the greatest works of twentieth-century American art.<ref>''Modern Critical Interpretations: Thomas Pynchon's Gravity's Rainbow''. Ed. Harold Bloom. New York: Chelsea House, 1986.</ref>