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Bud Huoson
B A devotee of
Bud Powell and
a product of the
bebop revolution,
Bud Hudson is
committed to the
real thing.
Bud Hudson loves to talk about
jazz almost as much as he enjoys
playingit. Heis passionate about
the music and his interpretation
of it.
Listening to Hudson play the
piano is a wonderful experience.
If you have an ear for jazz, you
recognize his brilliance right
away. But, unfortunately, like
most other art forms, the unini
tiated can rarely distinguish be
tween what is quality and what
is merely popular or accessible.
Most jazz musicians, however,
are used to not being appreciat
ed. With few exceptions, those
who practice the more pure as
pects of the genre do so out of the
love for the music and not the
money. Bud Hudson is such a
player.
As a piano player, his lineage
stems from Art Tatum,
Thelonious Monk, Earl Fatha
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Hines and, of course, Bud
Powell.
“One of my earliest in
fluences was Bud Powell,”
Hudson says. Powell was
one of the foremost expo
nents of the form of jazz
that came to be known as
bebop. When Hudson was
ateenagerin Chicago, he
first heard Powell.
“My mother got this
Bud Powell recording. I
started playingjazz when
I was 16. That was in
1948. Then I heard Art
Tatum. I had a good idea
of what he was doing at
the piano.”
Bebop inits infancy was brash
and bold, an expression of urban
black America’s rebellion against
the rigid social and cultural bi
ases that ruled this country’s
pop culture in the '4os. Musi
cians like Charlie “Yardbird”
Parker, Dizzie Gillespie, and
Miles Davis were among the lead
ers of the rebellion. Bud Hudson
had ‘big ears’ and was attuned to
what was going on.
“Right after I heard Miles and
‘Bird’ on radio they came to
town,” Hudson recalls. “Bebop
was more than just music, it was
a culture, too. We had no other
way of expressing ourselves free
ly in America at that time.”
The best bebop musicians had
an approach to the music that
transcended technique. Hudson
understood that.
“You needed more than just
great technique to play bebop
the right way,” Hudson said. “A
good example is pianist Oscar
Peterson. He could play real fast.
He had good technique, but he
didn’t have the feeling to play
bebop. On the other hand, Bird
was like a breath of fresh air --
that tone. No one played the blues
like Bird,” Hudson said.
Living in Chicago in the ’4os
exposed Hudson to some of the
greatest jazz musicians in the
Bud
Hudson
at the piano
atßL’s
Restaurant.
T , ML REA
By LRI
(Z%tch “Baby School”™
' (1T s WO
Channel 12 News at 6:00
o S WROW.TV AUGUSTA f—
JAZZ QUIZ
1. Benny Golson
2. Miles Davis
3. Cannonball Adderly
4. George Shearing
5. Count Basie
6. Sonny Rollins
7. Billie Holiday
8. Duke Ellington
9. Dizzy Gillespie
10. Clifford Brown
“You cannot be
taught jazz. How
are you going to
teach someone
who doesn’t have
rhythm in them.
The most impor
tant thing is ex
posure. Errol
Garner was self
taught.
Thelonious Monk
learned only
enough to play
what he wanted
to play. Those
cats didn’t have
to go to school.”
world.
“Chicago had a lot going on in
those days,” Hudson said. “There
was Dexter Gordon and Wardell
Gray (tenor saxophone players).
And then there was Earl Hines.
He taught me a lot. He had big
hands. He could stretch two oc
taves across the keyboard. He
told me that he had an operation
on his hands, just so he could
stretch that far. I'll always re
member, he told me, Everything
I can do, you can do. Teddy Wil
son was another piano player
that was great. He was a real
quiet guy -- very modest. He
didn’t talk much.”
Hudson’s musical education
i
11. Erroll Garner
12. Horace Silver
13. Charlie Parker
14. Thelonious Monk
15. Nat King Cole
16. Frank Sinatra
17. Dinah Washington
18. Chick Corea
19. Stan Kenton
20. Glenn Miller
AUGUSTA FOCUS November 9, 1995
began at the age of five.
“I received private lessons
from Mrs. Vera Bentley, an ac
quaintance of my mother. She
was born in Canada. I played in
marching bands and ensembles.
leven played the vibes,” he said.
But there was always something
special about the piano.
“The piano is such an impor
tant instrument in jazz. Bud
Powell could play Bach just like
Bach. He would add rhythm to it
though. You should have heard
Clifford Brown (trumpeter) play
piano. Miles could play piano,
too.”
Hundreds of Augustans got
their first exposure to Hudson’s
lyrical style in the spring when
he opened at BL’s Restaurant.
Hudson played unaccompanied
and with a lot of joy.
Hudson came to Augusta for
good in 1990. Before then he
lived and played in Florida --
Tampa, St. Petersburg and Or
lando. There he was in some good
company musically.
“There were a lot of guys there
who had relocated from up
north,” Hudson said.
Although he has done some
teaching, he has pretty strong
opinions on whether jazz can be
taught. !
“You cannot be taught jazz,”
Hudson believes. “How are you
going to teach someone who
doesn’t have rhythm in them.
The most important thing is ex
posure. Errol Garner was self
taught. Thelonious Monk
learned only enough to play what
he wanted to play. Those cats
didn’t have to go to school.”
To date, Hudson has not re
corded, but that may change in
the near future.
“After all these years, some
one hasbeen trying to get me on
record.”
If you love jazz, or are just
interested in the real thing. Look
up Bud Hudson. He may not be a
pop icon, but he can blow.
Bl
FOCUS on a fine
Saturday morning
~ breakfast!
Visit BL's Restaurant
1117 Laney-Walker Blvd.
7