Horace Silver Quintet - 1966

Horace Silver - Master of Earthy Jazz.

Horace Silver Quintet – Live At The Half Note – 1966 – Past Daily Downbeat

Horace Silver Quintet - 1966
Horace Silver – Master of Earthy Jazz.

Horace Silver Quintet – Live At The Half Note – 1966 – WABC-FM, New York – Gordon Skene Sound Collection –

Horace Silver Quintet this weekend. Two gigs at the Half Note in New York City, recorded between February and April 1966 for WABC-FM. The Quintet features Joe Henderson on Tenor Sax and Roger Humphries on drums – on the first four numbers the group includes Woody Shaw, trumpet and Larry Ridley, bass. On the last three numbers, Shaw and Ridley are replaced by Carmell Jones, trumpet and Teddy Jones, bass.

From Silver’s bio by Chris Kelsey on the Blue Note site:

Silver’s earliest musical influence was the Cape Verdean folk music he heard from his Portuguese-born father. Later, after he had begun playing piano and saxophone as a high schooler, Silver came under the spell of blues singers and boogie-woogie pianists, as well as boppers like Thelonious Monk and Bud Powell. In 1950, Stan Getz played a concert in Hartford, CT, with a pickup rhythm section that included Silver, drummer Walter Bolden, and bassist Joe Calloway. So impressed was Getz, he hired the whole trio. Silver had been saving his money to move to New York anyway; his hiring by Getz sealed the deal.

Silver worked with Getz for a year, then began to freelance around the city with such big-time players as Coleman Hawkins, Lester Young, and Oscar Pettiford. In 1952, he recorded with Lou Donaldson for the Blue Note label; this date led him to his first recordings as a leader. In 1953, he joined forces with Art Blakey to form a cooperative under their joint leadership. The band’s first album, Horace Silver and the Jazz Messengers, was a milestone in the development of the genre that came to be known as hard bop. Many of the tunes penned by Silver for that record — “The Preacher,” “Doodlin’,” “Room 608” — became jazz classics. By 1956, Silver had left the Messengers to record on his own. The series of Blue Note albums that followed established Silver for all time as one of jazz’s major composer/pianists. LPs like Blowin’ the Blues Away and Song for My Father (both recorded by an ensemble that included Silver’s longtime sidemen Blue Mitchell and Junior Cook) featured Silver’s harmonically sophisticated and formally distinctive compositions for small jazz ensemble.

Silver’s piano style — terse, imaginative, and utterly funky — became a model for subsequent mainstream pianists to emulate. Some of the most influential horn players of the ’50s, ’60s, and ’70s first attained a measure of prominence with Silver — musicians like Donald Byrd, Woody Shaw, Joe Henderson, Benny Golson, and the Brecker Brothers all played in Silver’s band at a point early in their careers. Silver has even affected members of the avant-garde; Cecil Taylor confesses a Silver influence, and trumpeter Dave Douglas played briefly in a Silver combo.

Hit Play and sit back – come up for air in about 90 minutes.




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