#SonnyRollins and #HoraceSilver in Zurich in '59

At JazzWax, Sonny Rollins and Horace Silver in Zurich in '59—months before Sonny headed to the Williamsburg Bridge https://t.co/dxgLPwZMpz pic.twitter.com/bNAfP2kIdd

— Marc Myers (@JazzWax) 6 de dezembro de 2016

Horace Silver

"Count your blessings + be grateful for what you have." - Horace Silver - serving up nothing but blessings now @wbgo. #jazzradio #musictherapy

— globaljazzqueen (@globaljazzqueen) June 25, 2016

Horace Silver 5 & Joe Farrell 3

Reprinted from http://jazzwax.com

In April 1968, two touring American ensembles performed on Jazz Omkring Midnat, a popular Danish TV program. The first group was the Horace Silver Quintet, with Bill Hardman (tp), Bennie Maupin (ts), Horace Silver (p), John Williams (b) and Billy Cobham (d). Following Silver was the Elvin Jones Trio, featuring Elvin Jones (d), Joe Farrell (ts, fl) and Jimmy Garrison (b). Two bands that epitomized the rising heat and abstraction in acoustic jazz. [Photo above of Joe Farrell]

Here's the hour-long show. It will lift the hairs on the back of your neck...

Used with permission by Marc Myers

Videos: Horace Silver

Reprinted from http://jazzwax.com

I wound up on a Horace Silver jag yesterday. While writing, I let Silver run on my iTunes and found myself marveling yet again at Silver's gospel-funk syncopation and the tight, bright Latin-influenced horn lines. Silver perfected the hard bop quintet, rivaled only by Art Blakey and the Jazz Messengers. I thought I'd share a few videos with you:

Here's Silver playing Song for My Father, which gives you a great view of his playing style. Bill Hardman on trumpet, Bennie Maupin on tenor sax, John Williams on bass and Billy Cobham on drums...

Here's the Natives Are Restless Tonight, with Joe Henderson on tenor saxophone, Carmell Jones on trumpet, Teddy Smith on bass and Roger Humphries on drums in 1964...

Here's Silver with Pretty Eyes and the same group...

Here's Tokyo Blues...

And here's Cool Eyes in 1958 with Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass and Louis Hayes on drums...

Used with permission by Marc Myers

Horace Silver (1928-2014)

Reprinted from http://jazzwax.com

Horace Silver, a pianist who in 1952 and '53 pioneered two prominent jazz styles—funk and hard bop—and went on to lead one of the most exciting and successful hard bop quintets of the 1950s and early '60s before helping to develop jazz-boogaloo starting in the mid-'60s, died on June 18. He was 85.

Discovered by Stan Getz in Hartford, Conn., in 1950, Silver moved to New York in 1951and in October 1952 recorded The Horace Silver Trio, with bassist Gene Ramey and drummer Art Blakey. The game-changing album included Silver originals Horace-scope, Quicksilver, Ecaroh and Yeah—sophisticated compositions that combined the mischief of bop and the two-handed syncopation of gospel, resulting in what would become known as funk. The album redefined the jazz piano, which up until then was largely modeled on the dexterity and relentless attack of Bud Powell.

In 1953 Silver recorded on The Howard McGhee Sextet, Vol. 2, featuring trumpeter McGhee, alto saxophonist Gigi Gryce, guitarist Tal Farlow, bassist Percy Heath and drummer Walter Bolden. The early hard-bop album featured two significant compositions by Gryce—Futurity and Shabozz, which opened with unison horn lines stating the songs' melodies before solos began.

These albums and others from the period were attempts by Blue Note's owner Alfred Lion to find a jazz alternative to rhythm & blues, which was fast becoming popular and eating into jazz's sales at record stores and in jukeboxes. Much of Silver's early success was owed to the duality of his technique, which enabled him to sound like two pianists playing the same keyboard. But he was also greatly helped by the rise of the 10-inch LP, which compelled record companies to take chances on unknown artists with interesting ideas to meet the market's demand for the larger format.  

By 1954, Art Blakey had become a dominant leader and often sought out Silver as sideman, with the drums and piano playing off each other as horns soared on top. The demand for Silver grew with the release of each new important recording, including Blakey's A Night at Birdlandand The Miles Davis Quartet, Quintet and Sextet albums for Prestige. In '54 and '55, Silver, as a quintet leader, recorded his Doodlin' and The Preacher, which would become jazz standards along with many other originals in the coming years.

In 1956, with the arrival of the 12-inch LP, Silver recorded a series of albums that established him as one of the most inventive and dynamic hard bop pianists of the decade. The list included Silver's Blue (1956), 6 Pieces of Silver (1956),The Stylings of Silver (1957), Further Explorations (1958),Finger Poppin' (1959), Blowin' the Blues Away (1959),Horace-Scope (1960) and Doin' the Thing (1961), Silver's Serenade (1963) and Song for My Father (1964), his most successful album.

The looseness and funkiness of Doin' the Thing, recorded live at the Village Gate, was a major influence on many New York Latin and folk artists, who found inspiration in the honesty and earthiness of Silver's music. For jazz listeners, Silver's advantage was pianistic grace and a keen awareness that by resolving dark, minor-passages in airy, ascending and descending major-key chord configurations, the result could produce an exciting and uplifting feeling. In many ways, his minor-major storytelling approach and rhythmic style reminded one of a car's acceleration and escape from restraint. As a pianist, Silver was less concerned with the thud of the beat, focusing more on how driving riffs and restless tapestries of melody lines could make listeners want to strut around. Funk was contagious.

In the 1960s and '70s, Silver was at the forefront of the jazz-boogaloo movement and was such a potent jazz force in the late '60s that he caused Randy Brecker to leave Blood Sweat & Tears to take a job in Silver's quintet. Silver's music was always optimistic but never pop or commercial. His style was catchy, but his music never let you off easy. Instantly appealing to the ear, Silver's recording left you intellectually curious and more aware of your emotions. Instead of trying to impress you with a long solo or the strength or speed of a solo, Silver was a hip hypnotist, weaving a magic spell that prevented you from taking off his music once you put the album on.

By appealing to all quarters of the jazz market with uptempo, rigorous songs and sensitive ballads, Silver ensured you would buy almost anything that had his name on it. In this regard, he was a record label's dream and one of jazz's most prominent tones. There's a touch of Silver in virtually everything that came in his wake, from Mongo Santamaría and Eddie Palmieri to Steely Dan and Return to Forever. Silver was gold.

JazzWax clips: Here are 10 favorite Horace Silver recordings...

Here's How Did It Happen...

Used with permission by Marc Myers

Jazz musician Horace Silver dies at age 85- report

 jun 19, 2014

LOS ANGELES (Reuters) - Jazz musician Horace Silver, a composer known for pioneering hard bop, has died, National Public Radio said on Wednesday. He was 85.

Silver, a native of Norwalk, Connecticut, was shaped by the Portuguese influence in the islands of Cape Verde, from where his family emigrated to the United States.

Alongside playing with noted jazz musicians such as bassist Oscar Pettiford and drummer Art Blakey, Silver, who played piano and saxophone, recorded exclusively for Blue Note Records over three decades before founding his own label, Silveto Records.

Silver composed music featuring percussive, hard-driving beats that was inspired by his philosophy of holistic self-help, jazz critic Leonard Feather wrote in his "Encyclopedia of Jazz."

His most notable works include "Song For My Father," inspired by Cape Verdean folk music and gospel-driven "The Preacher." His work also appeared on a number of Miles Davis' albums, including 1954's "Walkin'."
http://news.yahoo.com/jazz-musician-horace-silver-dies-age-85-report-223855410.html

The Hardbop de Horace Silver....

by Barahona Robert

An influential pianist, composer and leader, were of the main architects of the style hardbop (to see Genealogical Tree of the Jazz). It excelled like member of the quartet of Stan Getz in 1950, and its recording of the '52 with Lou Donaldson meant a lucrative one and releases association (28 years) with seal Blue Note, for those who it realised some of his better discs. Next to Art Blakey it formed the Messengers Jazz in 1954 and that year also it recorded with Miles Davis leaving the 56 Messengers year in which it initiates his race of leader.

The impact of Silver in the jazz is evident. Its style is the base of many of the innovations of hardbop, style that inherited of Bud Powell, especially the rates that take with the left hand which they support the melody that creates with the right. The rythmical push and the powerful simpleza of the melodic lines of the blues, R&B, of gospel and the Latin rates are component important in the music of Silver. As leader settled down the standard instrumentation of the jazz groups from years 50: Saxo tenor, trompeta, and rythmical section (piano, low and battery). To this we added that Silver is a great composer; their melodies enjoy the comparable elegance, economy and sophistication to those of Thelonious Monk, but its use of gospel and the blues gives a more direct and touching touch him.

www.purojazz.com