{"id":12725,"date":"2014-06-23T11:10:31","date_gmt":"2014-06-23T09:10:31","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=12725"},"modified":"2016-11-13T20:10:05","modified_gmt":"2016-11-13T19:10:05","slug":"tomajazz-recomienda-un-tema-i-know-that-you-know-bud-powell-trio-1958","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-i-know-that-you-know-bud-powell-trio-1958\/","title":{"rendered":"Tomajazz recomienda&#8230; un tema: \u00abI Know That You Know\u00bb (Bud Powell Trio, 1958)"},"content":{"rendered":"<p style=\"text-align: justify;\"><a href=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-12727\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1.jpg\" alt=\"Bud Powell Trio - Blues In The Closet\" width=\"200\" height=\"200\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1-150x150.jpg 150w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1-55x55.jpg 55w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>M\u00e1s all\u00e1 de la jerga italiana utilizada para indicar el tempo de una pieza en m\u00fasica cl\u00e1sica, la terminolog\u00eda jazz\u00edstica\u00a0se basa en los bpm (<em>beats per minute<\/em>), o n\u00famero de notas negras (las que toca el contrabajo cuando camina en\u00a0<em>walking bass<\/em>)\u00a0por minuto. El segundero de un reloj se mueve a 60 bpm, m\u00e1s o menos el tiempo de una balada (\u00aba sesenta\u00a0la negra\u00bb, se dir\u00eda en un ensayo). Un medio tiempo ir\u00eda a 120-140 bpm. Por encima de 200 bpm el tema se considera r\u00e1pido, y dicha rapidez crece de forma endiablada a medida nos acercamos a la frontera de los 300 bpm. Pocos grupos pueden mantener la compostura a esas velocidades similares, y poqu\u00edsimos contrabajistas pueden soportar tama\u00f1o esfuerzo sin lesionarse.<\/p>\n<p style=\"text-align: justify;\">Pues escuchen el \u00abI Know That You Know\u00bb que grab\u00f3 Bud Powell en su\u00a0<em>Blues In The Closet<\/em> (1958): \u00a1380 bpm!\u00a0Todo ello por obra y gracia del bater\u00eda Osie Johnson y de un Ray Brown inconmensurable. Y lo mejor de todo: m\u00e1s all\u00e1 de la pirotecnia el tema suena que da gusto.<\/p>\n<p style=\"text-align: right;\">\u00a9\u00a0Adolphus van Tenzing, 2014<\/p>\n<p>Bud Powell Trio: \u00a0<em>Blues In The Closet\u00a0<\/em>(Verve B00123474-02)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>M\u00e1s all\u00e1 de la jerga italiana utilizada para indicar el tempo de una pieza en m\u00fasica cl\u00e1sica, la terminolog\u00eda jazz\u00edstica\u00a0se basa en los bpm (beats per minute), o n\u00famero de notas negras (las que toca el contrabajo cuando camina en\u00a0walking bass)\u00a0por minuto. El segundero de un reloj se mueve a<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-tema-i-know-that-you-know-bud-powell-trio-1958\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1001004,"featured_media":12727,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17860,5,1296,1038,1273],"tags":[1322,5366,9574,1522,12651,12696,9576,13,12415,15295,8235,2118,16099,77,16100,2316],"class_list":["entry","author-adolphus-van-tenzing","post-12725","post","type-post","status-publish","format-standard","has-post-thumbnail","category-adolphus-van-tenzing","category-grabaciones","category-tema","category-contenidos","category-tomajazz-recomienda","tag-1322","tag-adolphus-van-tenzing","tag-blues-in-the-closet","tag-bud-powell","tag-cd","tag-grabaciones","tag-i-know-that-you-know","tag-jazz","tag-jazz-en-espana","tag-jazz-en-espanol","tag-osie-johnson","tag-ray-brown","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-verve"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2014\/06\/recomienda1.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2029,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-una-linea-de-bajo-scott-lafaro-en-cherokee-jazz-at-the-cellar-the-harold-land-quartet-1958\/","url_meta":{"origin":12725,"position":0},"title":"Tomajazz recomienda&#8230; una l\u00ednea de bajo: Scott LaFaro en \u00abCherokee\u00bb (Jazz At The Cellar 1958&#8211; The Harold Land Quartet)","author":"Adolphus van Tenzing","date":"17 octubre, 2011","format":false,"excerpt":"The Cellar (Vancouver), noviembre de 1958. El speaker presenta a Harold Land, l\u00edder del cuarteto que actuar\u00e1 esa noche en el club canadiense. El bater\u00eda Lennie McBrowne marca unos golpes r\u00edtmicos rememorando a los indios americanos, Elmo Hope apoya con acordes al piano, el l\u00edder dibuja frases aqu\u00ed y all\u00e1;\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2011\/10\/The-Harold-Land-Quartet-Jazz-At-The-Cellar-Door.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2044,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-solo-fats-navarro-en-wail-bud-powell-1949\/","url_meta":{"origin":12725,"position":1},"title":"Tomajazz recomienda&#8230; un solo: Fats Navarro en \u00abWail\u00bb (Bud Powell), 1949","author":"Adolphus van Tenzing","date":"6 febrero, 2012","format":false,"excerpt":"Un solo coro. Veintiocho segundos. No se necesita m\u00e1s si se sabe qu\u00e9 decir y c\u00f3mo decirlo. \"Wail\" es un r\u00e1pido rhythm changes (tema de estructura arm\u00f3nica similar al \"I Got Rhythm\" de George Gershwin) en mi bemol, todo un quebradero de cabeza para muchos improvisadores. En esta sesi\u00f3n a\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2012\/02\/albumcoverAmazingBudPowellVolume1.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":101638,"url":"https:\/\/tomajazz.com\/web\/dexter-gordon-more-than-you-know-2025\/","url_meta":{"origin":12725,"position":2},"title":"Dexter Gordon: More Than You Know (GleAM Records; 1981; edici\u00f3n 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz]","author":"Tomajazz","date":"10 noviembre, 2025","format":false,"excerpt":"More Than You Know es una grabaci\u00f3n in\u00e9dita de Dexter Gordon de 1981 publicada por GleAM Records en 2025. Pachi Tapiz repasa la grabaci\u00f3n. Con Dexter Gordon, Kirk Lightsey, David Eubanks, Edward Gladden","rel":"","context":"En \u00abGrabaciones...\u00bb","block_context":{"text":"Grabaciones...","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/textos\/grabaciones\/"},"img":{"alt_text":"Dexter Gordon: More Than You Know (GleAM Records; 1981; edici\u00f3n 2025) Por Pachi Tapiz [Grabaci\u00f3n de jazz] - Tomajazz - More Than You Know es una grabaci\u00f3n in\u00e9dita de Dexter Gordon de 1981 publicada por GleAM Records en 2025. Pachi Tapiz repasa la grabaci\u00f3n. Con Dexter Gordon,  Kirk Lightsey (piano); David Eubanks (contrabajo); Edward Gladden","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/Dexter-Gordon-More-Than-You-Know-GleAM-Records-1981-edicion-2025-Tomajazz.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/Dexter-Gordon-More-Than-You-Know-GleAM-Records-1981-edicion-2025-Tomajazz.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/Dexter-Gordon-More-Than-You-Know-GleAM-Records-1981-edicion-2025-Tomajazz.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2025\/11\/Dexter-Gordon-More-Than-You-Know-GleAM-Records-1981-edicion-2025-Tomajazz.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":2074,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-cd-sonny-side-up-dizzy-gillespie-1957\/","url_meta":{"origin":12725,"position":3},"title":"Tomajazz recomienda&#8230; un CD: Sonny Side Up (Dizzy Gillespie, 1957)","author":"Adolphus van Tenzing","date":"12 noviembre, 2012","format":false,"excerpt":"El mero hecho de reunir en una sesi\u00f3n de grabaci\u00f3n a Dizzy Gillespie con Sonny Stitt \u2013otro abanderado del be-bop\u2013 y Sonny Rollins \u2013saxofonista de moda en la \u00e9poca\u2013 ya es suficiente para hacer de Sonny Side Up un disco imprescindible. En esta ocasi\u00f3n lo que nos llama la atenci\u00f3n\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"Sonny Side Up","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2012\/11\/Sonny-Side-Up-200x199.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1600,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-baterista-kenny-clarke\/","url_meta":{"origin":12725,"position":4},"title":"Tomajazz recomienda&#8230; un baterista: Kenny Clarke","author":"Adolphus van Tenzing","date":"29 agosto, 2011","format":false,"excerpt":"La emigraci\u00f3n de ciertos m\u00fasicos de EE. UU. a Europa los releg\u00f3 al olvido, pero si hay un caso especialmente injusto por su papel en la historia del jazz moderno, \u00e9se es el de Kenny Clarke. En su Par\u00eds adoptivo, Clarke se re\u00fane con Bud Powell m\u00e1s el bajista Pierre\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2011\/08\/BP_Portrait_fr.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":14079,"url":"https:\/\/tomajazz.com\/web\/tomajazz-recomienda-un-dvd-live-in-58-duke-ellington-2007\/","url_meta":{"origin":12725,"position":5},"title":"Tomajazz recomienda&#8230; un DVD: Live In &#8217;58 (Duke Ellington, 2007)","author":"Adolphus van Tenzing","date":"22 septiembre, 2014","format":false,"excerpt":"Live In '58 muestra a la orquesta de Duke Ellington (un total de 16 m\u00fasicos) en un punto \u00f3ptimo de forma, en un concierto grabado en el Concertgebow de Amsterdam (Holanda), el 2 de noviembre de 1958 para la televisi\u00f3n. A lo largo de 80 minutos aparecen gran parte de\u2026","rel":"","context":"En \u00ab*_Adolphus van Tenzing\u00bb","block_context":{"text":"*_Adolphus van Tenzing","link":"https:\/\/tomajazz.com\/web\/category\/adolphus-van-tenzing\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/09\/Duke-Ellington_Live-In-58_Jazz-Icons_2007.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/12725","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1001004"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=12725"}],"version-history":[{"count":6,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/12725\/revisions"}],"predecessor-version":[{"id":12798,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/12725\/revisions\/12798"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/12727"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=12725"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=12725"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=12725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}