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Dance Of The Infidels: A Portrait Of Bud Powell
What Charlie Parker was to the saxophone, Bud Powell (1924–1966) was to the piano: No jazz pianist can rival his brilliance. But his life was filled with tragedy, including years of electroshock therapy in psychiatric institutions, illnesses, physical and mental abuse from people who fed him dangerous drugs to control him, and the indifference of his contemporaries to his genius. Francis Paudras, a young jazz fan who met Powell in the late 1950s, released him from his unfavorable surroundings, encouraged him to create some of his finest music, and took care of him as if he were his child. Powell’s story, Dance of the Infidels, is one of the most moving of jazz memoirs—and served as the basis for Bertrand Tavernier’s film ’Round Midnight, starring Dexter Gordon. Here, for the first time in English, is a portrait of a friendship as surprising and heartbreaking as Bud Powell’s timeless music.
368 pages, Paperback
First published January 1, 1986
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Displaying 1 - 11 of 11 reviews
October 11, 2011
I bought the original French edition of this book, published by L'Instant, back in 1987 or so. There are hundreds of wonderful photos in that book but, unfortunately for me, the text is in French, and I can only read French very very haltingly. When Da Capo published an English translation, it was a godsend. The Da Capo edition omits most of the photographs, but I already have those. With the two editions combined, I have it all.
May 8, 2022
Yes it is haphazardly organized, repetitious, sometimes defensive, opinionated, and anecdotal. Given the author's position that's both understandable and entirely forgivable. A crucial document of jazz history.
December 31, 2010
This is the best book on a jazz musician that I know. I admit I am a jazz music geek. and all of the greats are my family. But this book combines the stress of mental illness (Powell's, on Powell) and the stress of African American relationship woes. His marriage to his wife was absurdly loveless and her abuse was palpable. The author, Paudras, is a fan who takes him to Paris, lifts him out of his abusive relationship with American society and his wife, and who saves him in as many ways as a person can save someone by being there. He also describes how Bud Powell sees Paris as a result, and it is a wonderful account of Paris in the fifties. Of course, "Parisan Thoroughfare" goes down as one of the greatest jazz songs in history, and it just makes me teary to read how Bud Powell was transformed by friendship and became well enough to write this song.
May 12, 2024
I hope your spirit will always be in accord with your being and comfortably installed in a strong and well-balanced body." - Bud Powell
Earl Rudolph "Bud" Powell is one of the great jazz geniuses of the 20th century. He was integral to the development of bebop and his style can be easily discerned in later piano greats like Bill Evans, Herbie Hancock, and Keith Jarrett.
Dance of the Infidels is a portrait of his life from the perspective of his great friend Francis Paudras. It is an almost unbelievable, poignant, truly heartbreaking story.
It is one of the most tragic tales I've ever read.
To set the stage, Bud Powell was a genius pianist who recorded hundreds of beautiful performances in the '40s and 50's. Like many jazz musicians, he was subject to predatory business practices by managers and club owners and racist abuse by the police. A severe beating in a police incident left him with crippling headaches, which led to alcohol use disorder. He was in and out of psychiatric hospitals in the late 40's and early 50's. He underwent electroconvulsive therapy while hospitalized, which left him with amnesia and severe cognitive impairments. Through all of this, he somehow managed to continue recording some of the most beautiful jazz ever written.
In the late 50's, after flagging success, he moved to Paris, where he met his biggest fan, Francis Paudras, in a club by chance. Francis befriended Bud and worked to extricate him from another predatory relationship, this time with a longtime girlfriend, generally known as "Buttercup," who kept him sedated with powerful psychiatric drugs, took all the money he made through his playing, physically and emotionally abused him, and virtually imprisoned him in his room unless he was making her money with his playing.
The book begins with Paudras giving his background, how he discovered jazz, and how he ended up meeting Bud. Once he meets Bud, the story shifts to portray Paudras inhuman commitment to the man. He writes about Bud with great love and affection, almost like he is a god. At times, it makes him come off as a bit of an unreliable narrator, because it is clear that Paudras' respect for Bud is such that he can virtually see no wrong in him.
Due to the years of predatory practices and abuse Bud suffered, he is completely unable to take care of himself. Francis takes on the role of his protector, helping book gigs, feeding him, eventually welcoming Bud into his home with himself and his partner, and nursing him back to some semblance of independence and health. Bud is portrayed as charming, naive, childlike, and deeply sad.
Many of the scenes Paudras portrays were so joyous they almost brought tears to my eyes. The care he showed Bud was almost miraculous; it is incredible how devoted this man was to Bud Powell, despite the innumerable challenges he faced in taking care of him. The stories Paudras portrays are often funny as well. Bud's voracious appetite, alternating between guileless and sly behavior, and odd behavior are a riot.
After helping Bud develop a somewhat independent life and getting him off of alcohol, Bud is invited to return to New York to play at the legendary jazz club, Birdland. Francis really does not see the danger in plunging Bud back into this scene, so he accompanies him to New York. Once he is back, everything starts to fall apart and all the hard-won progress is undone. This denouement of Bud's life and his and Francis' relationship was one of the most tragic things I've read. Reading about Francis' continued attempts to save Bud from himself and others while failing was horrible.
I am a huge jazz fan, so this book was obviously of interest to me. But what shocked me was that it reads more like a novel than nonfiction. The story is so unbelievable, the arc so perfectly tragic, that I feel if I read this story in fiction I would roll my eyes and go "OK, I bet." Unfortunately, all of this happened to a real person, whose life was too much for him to bear. I mention this because I honestly think a lot of people who don't even have interest in jazz would get a lot out of this book due to the story of beautiful friendship, devotion, and sadness.
A truly wonderful book that as not an easy read but affected me deeply. I'll end this review with the beautiful poem Paudras included as a sort of epitaph for Bud at the end of the book, which Bud wrote on his deathbed.
Eternity, By Bud Powell
I never knew the joy of laughter
Even after you were gone.
I never knew a more politeful smile,
And after a while,
Your kiss!
I never knew the joy of living
After giving you my love,
You went away, didn't say goodbye to me.
What is to be will be.
Strange enough, I found someone that just filled a space,
Somewhere, somehow, "yes".
It should never have been like it was for me,
What the hell do I care now, let's face it.
I'm not the one to be belated,
I'm ill fated.
You will see,
Even if we never embrace again,
There is know end.
So long.
Earl Rudolph "Bud" Powell is one of the great jazz geniuses of the 20th century. He was integral to the development of bebop and his style can be easily discerned in later piano greats like Bill Evans, Herbie Hancock, and Keith Jarrett.
Dance of the Infidels is a portrait of his life from the perspective of his great friend Francis Paudras. It is an almost unbelievable, poignant, truly heartbreaking story.
It is one of the most tragic tales I've ever read.
To set the stage, Bud Powell was a genius pianist who recorded hundreds of beautiful performances in the '40s and 50's. Like many jazz musicians, he was subject to predatory business practices by managers and club owners and racist abuse by the police. A severe beating in a police incident left him with crippling headaches, which led to alcohol use disorder. He was in and out of psychiatric hospitals in the late 40's and early 50's. He underwent electroconvulsive therapy while hospitalized, which left him with amnesia and severe cognitive impairments. Through all of this, he somehow managed to continue recording some of the most beautiful jazz ever written.
In the late 50's, after flagging success, he moved to Paris, where he met his biggest fan, Francis Paudras, in a club by chance. Francis befriended Bud and worked to extricate him from another predatory relationship, this time with a longtime girlfriend, generally known as "Buttercup," who kept him sedated with powerful psychiatric drugs, took all the money he made through his playing, physically and emotionally abused him, and virtually imprisoned him in his room unless he was making her money with his playing.
The book begins with Paudras giving his background, how he discovered jazz, and how he ended up meeting Bud. Once he meets Bud, the story shifts to portray Paudras inhuman commitment to the man. He writes about Bud with great love and affection, almost like he is a god. At times, it makes him come off as a bit of an unreliable narrator, because it is clear that Paudras' respect for Bud is such that he can virtually see no wrong in him.
Due to the years of predatory practices and abuse Bud suffered, he is completely unable to take care of himself. Francis takes on the role of his protector, helping book gigs, feeding him, eventually welcoming Bud into his home with himself and his partner, and nursing him back to some semblance of independence and health. Bud is portrayed as charming, naive, childlike, and deeply sad.
Many of the scenes Paudras portrays were so joyous they almost brought tears to my eyes. The care he showed Bud was almost miraculous; it is incredible how devoted this man was to Bud Powell, despite the innumerable challenges he faced in taking care of him. The stories Paudras portrays are often funny as well. Bud's voracious appetite, alternating between guileless and sly behavior, and odd behavior are a riot.
After helping Bud develop a somewhat independent life and getting him off of alcohol, Bud is invited to return to New York to play at the legendary jazz club, Birdland. Francis really does not see the danger in plunging Bud back into this scene, so he accompanies him to New York. Once he is back, everything starts to fall apart and all the hard-won progress is undone. This denouement of Bud's life and his and Francis' relationship was one of the most tragic things I've read. Reading about Francis' continued attempts to save Bud from himself and others while failing was horrible.
I am a huge jazz fan, so this book was obviously of interest to me. But what shocked me was that it reads more like a novel than nonfiction. The story is so unbelievable, the arc so perfectly tragic, that I feel if I read this story in fiction I would roll my eyes and go "OK, I bet." Unfortunately, all of this happened to a real person, whose life was too much for him to bear. I mention this because I honestly think a lot of people who don't even have interest in jazz would get a lot out of this book due to the story of beautiful friendship, devotion, and sadness.
A truly wonderful book that as not an easy read but affected me deeply. I'll end this review with the beautiful poem Paudras included as a sort of epitaph for Bud at the end of the book, which Bud wrote on his deathbed.
Eternity, By Bud Powell
I never knew the joy of laughter
Even after you were gone.
I never knew a more politeful smile,
And after a while,
Your kiss!
I never knew the joy of living
After giving you my love,
You went away, didn't say goodbye to me.
What is to be will be.
Strange enough, I found someone that just filled a space,
Somewhere, somehow, "yes".
It should never have been like it was for me,
What the hell do I care now, let's face it.
I'm not the one to be belated,
I'm ill fated.
You will see,
Even if we never embrace again,
There is know end.
So long.
October 5, 2020
Earl “Bud” Powell was undisputedly one of the greatest jazz pianists of all time, if not the best according to Thelonious Monk, Bill Evans, and the author of this book, Francis Paudras.
Monsieur Paudras, French by birth, idolized Bud throughout his formative jazz piano training. After learning of Bud’s European tour in 1959, Paudras had his chance to see Bud and when the night came, he went AWOL from military service to watch Bud. Nobody can doubt his musical dedication. After more shows, Paudras dared approaching Bud after his set, bought him a beer, and continued meeting in this fashion until the two formed a true, formidable friendship. Eventually becoming Bud’s best friend in Paris, Paudras lent him a spiritual helping hand through the many hardships of Bud’s life, providing him with much needed compassion and respect.
Bud’s hardships would be too long to list, but the genesis of many began when Bud was 20 years old. One night in New York after a set with his “spiritual brother” Thelonious Monk, two officers arrived and started harassing Monk. Bud intervened when the situation escalated, was struck on the head by the officer causing a major concussion and taken to the police station without being treated. He suffered from constant migraines, so was sent to a hospital where he received medical care in the form of experimental drugs and electroshock treatment. After two years it resulted in a mentally handicapped man declared incompetent by the state.
Home life afterwards didn’t help. He was stuck in a drug induced prison by an overbearing witch: the drug, Largactyl, which was for schizophrenic patients when Bud actually had something like an epileptic disorder akin to Dostoevsky; produced impotence, numbness, suggestibility, memory loss, submissiveness, and indifference. The witch, too offensive to even name in my opinion, kept Bud in this state for years until Paudras broke the spell and rescued him. For the next six years, Paudras acted as official caretaker of Bud and got him on as clean a path as possible; this is where his narrative draws itself.
Upon reading the adventures of Bud and Paudras, the material clearly becomes more first-person memoir than third-person objective accounting, hagiography more than biography. The Paudras bias is pronounced throughout the book with exaltations of Bud’s genius, attacking any small criticism, good or bad, that was told about Bud during his life, especially in the jazz magazines. Bud’s genius can be heard without being forced. For sake of brevity in reducing redundancy, Paudras could have shaved a considerable amount of text glorifying Bud, clumsily name-dropping, etc., and still making the story coherent and all-encompassing. Perhaps a co-writer would have helped in this regard. More information, research, and analysis would have been appreciated about Bud’s time not with Paudras; we only learn of a handful of stories from Bud’s youth, which could have received much more attention for sake of rounding out Bud’s life story. Lastly, Paudras detailed many superfluous events of his own life unrelated to Bud that was uninteresting.
Notwithstanding all that criticism, Paudras is able to flesh out a Bud Powell that we can easily imagine, hear, play piano, or sit in silence and contemplate his complicated position in life. We feel Bud, feel for his situation, and that is the best a narrative can accomplish.
Monsieur Paudras, French by birth, idolized Bud throughout his formative jazz piano training. After learning of Bud’s European tour in 1959, Paudras had his chance to see Bud and when the night came, he went AWOL from military service to watch Bud. Nobody can doubt his musical dedication. After more shows, Paudras dared approaching Bud after his set, bought him a beer, and continued meeting in this fashion until the two formed a true, formidable friendship. Eventually becoming Bud’s best friend in Paris, Paudras lent him a spiritual helping hand through the many hardships of Bud’s life, providing him with much needed compassion and respect.
Bud’s hardships would be too long to list, but the genesis of many began when Bud was 20 years old. One night in New York after a set with his “spiritual brother” Thelonious Monk, two officers arrived and started harassing Monk. Bud intervened when the situation escalated, was struck on the head by the officer causing a major concussion and taken to the police station without being treated. He suffered from constant migraines, so was sent to a hospital where he received medical care in the form of experimental drugs and electroshock treatment. After two years it resulted in a mentally handicapped man declared incompetent by the state.
Home life afterwards didn’t help. He was stuck in a drug induced prison by an overbearing witch: the drug, Largactyl, which was for schizophrenic patients when Bud actually had something like an epileptic disorder akin to Dostoevsky; produced impotence, numbness, suggestibility, memory loss, submissiveness, and indifference. The witch, too offensive to even name in my opinion, kept Bud in this state for years until Paudras broke the spell and rescued him. For the next six years, Paudras acted as official caretaker of Bud and got him on as clean a path as possible; this is where his narrative draws itself.
Upon reading the adventures of Bud and Paudras, the material clearly becomes more first-person memoir than third-person objective accounting, hagiography more than biography. The Paudras bias is pronounced throughout the book with exaltations of Bud’s genius, attacking any small criticism, good or bad, that was told about Bud during his life, especially in the jazz magazines. Bud’s genius can be heard without being forced. For sake of brevity in reducing redundancy, Paudras could have shaved a considerable amount of text glorifying Bud, clumsily name-dropping, etc., and still making the story coherent and all-encompassing. Perhaps a co-writer would have helped in this regard. More information, research, and analysis would have been appreciated about Bud’s time not with Paudras; we only learn of a handful of stories from Bud’s youth, which could have received much more attention for sake of rounding out Bud’s life story. Lastly, Paudras detailed many superfluous events of his own life unrelated to Bud that was uninteresting.
Notwithstanding all that criticism, Paudras is able to flesh out a Bud Powell that we can easily imagine, hear, play piano, or sit in silence and contemplate his complicated position in life. We feel Bud, feel for his situation, and that is the best a narrative can accomplish.
This entire review has been hidden because of spoilers.
August 18, 2025
A superb look at a genius, via the man (Paudras) who would resurrect him in Paris, giving him direction and meaning, while exposing those out to take advantage of him (Buttercup, I can only hope there truly is a Ninth Circle, cuz that's where you eternally reside. Everything good and bad, about jazz, is contained between these two covers. Strap on a seat belt, tho, because it's one hell of a roller-coaster ride. It's hilarious and beguiling, most of all tragic - especially considering Paudras's own tragic end, by his own hands. This is not for the meek.
August 22, 2022
Not strictly a biography of Bud Powell, but without it, no biography of the great pianist would be complete. A beautiful, heartbreaking story of friendship and the jazz world of the mid-20th century. Highly recommended.
March 25, 2024
Amazing!! That's all I can say. Beautiful and tragic at the same time.
May 19, 2013
I think this book could seriously use a better introduction. Going in, I had no idea who Francis Paudras was, so his devoting entire chapters to his own growing up listening to Bud Powell seemed kind of weird. Had I known he'd later be one of Powell's good friends, and help Powell's (short-lived) recovery, I might've been more accepting.
Though, as it stands, it is still an unusual portrait. "Portrait" being the imperative word as the story is mainly Bud Powell as seen through Paudras' eyes. So you'll find little critical analysis of Powell's work; i.e. explanations of why he's so important in jazz's history, and what made him so. Instead you're just told over and over that his compositions are wonderful, and isn't it strange that the world couldn't recognize it. It's not entirely frustrating though, as once Powell recovers enough to return to NYC, Paudras provides an interesting first-hand account of the kind of struggles jazz artists had to go through back then.
Though, as it stands, it is still an unusual portrait. "Portrait" being the imperative word as the story is mainly Bud Powell as seen through Paudras' eyes. So you'll find little critical analysis of Powell's work; i.e. explanations of why he's so important in jazz's history, and what made him so. Instead you're just told over and over that his compositions are wonderful, and isn't it strange that the world couldn't recognize it. It's not entirely frustrating though, as once Powell recovers enough to return to NYC, Paudras provides an interesting first-hand account of the kind of struggles jazz artists had to go through back then.
August 18, 2017
It's a moving book because Powell's life was so dramatic and Paudras was incredibly generous to support him as a brother. You feel so happy when the jazzist is being welcomed and accompanied by Francis and his friends. Two men who knew tragedy but will always be remembered by the magnificence of their souls.
May 11, 2012
Quite an entertaining and easily readable journey through time in philosophy and sociology. Maybe Precht is trying a bit too hard to impose his own personal views on certain ethical issues on the reader. You can agree with these or not, but maybe that is precisely what makes the book so digestible.
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