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Kérjen
árajánlatot! |
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| 1. | Introduction by Willis Connover
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| 2. | Tippin'
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| 3. | Outlaw
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| 4. | Senor Blues
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| 5. | Cool Eyes
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Jazz / Hard Bop
Recorded: Sunday, July 6, 1958, Newport Jazz Festival, Newport, Rhode Island
Horace Silver - Piano
Gene Taylor - Bass
Junior Cook - Sax (Tenor)
Louis Hayes - Drums
Louis Smith - Trumpet
Composer and pianist Horace Silver was one of the leading lights of the post-bop movement, and LIVE AT NEWPORT '58 captures him in his prime. Leading a crack quintet (which includes trumpeter Louis Smith and saxophonist Junior Cook) through four slinking, swinging tunes, Silver turns in a wonderful set.
The set opens with "Tippin'," a hard swinger, then segues to "The Outlaw," a composition in the classic Silver mode, incorporating exotic rhythms, complex melodic leads, and deep grooves. "Senor Blues," a cool-toned blues, and "Cool Eyes," a frenetic bop workout, are equally impressive. The tunes are extended, and feature plenty of top-flight improvisation from the musicians, making for a memorable live date worth picking up.
* Adjutor Theroux - Engineer
* Francis Wolff - Photography
* George Avakian - Recording Supervision
* Gordon Jee - Creative Director
* Keith Karwelies - A&R
* Mark Wilder - Mastering, Remixing
* Michael Cuscuna - Liner Notes, Producer
* Perry Greenfield - Product Manager
With their 1956 Blue Note classic 6 Pieces of Silver, the Horace Silver Quintet had helped establish hard bop as the most exciting new direction in jazz in some years. Only two members of that group, saxophonist Junior Cook and drummer Louis Hayes, remained with pianist Silver when the Quintet took the stage at the Newport Jazz Festival in 1958, and as formidable as the lineup on that record had been, the additions of Louis Smith on trumpet and Gene Taylor on bass for the Newport session gave the Quintet a new ferocity that was only hinted at two years earlier. Smith's tenure in the band was relatively short-lived (he would soon be replaced by Blue Mitchell), and his playing on this date is monstrous, making the discovery of this long-lost, incendiary live set that much more significant. Smith's soloing here is economical yet full of panache, and when he and Cook meet up the sound radiates both coolness and fire, as paradoxical as that may seem. Taylor and Hayes are the model for small group jazz, tight but always one step ahead. And Silver, of course, is pure mastery throughout. There are only four tunes performed here, two of them, "Cool Eyes" and "Señor Blues," are the highlights of the 1956 masterwork. The latter closes out the set and never lets up: Silver, in his extended, perfectly realized solo, buries himself deep within the melody, explores its every nuance, peeks outside of it, and finds his way back in. The saxophone and trumpet offerings are thrill-packed and the bassist and drummer make sweet but dynamic statements. "Tippin'," which opens the show, had, improbably, been the B-side of a 45 rpm single, but here it's a grand tribute to the art of the groove, an exercise in funk long before that term became ubiquitous. It swings madly, lyrical and vibrant, reminding once again why Horace Silver has been, for more than 50 years, one of the defining names in jazz piano, as well as a bandleader who always knew how to get more out of his crew. Silver's only official live recording, Doin' the Thing (At the Village Gate), would be released in 1961, three years after this Newport date, making this the earliest complete Silver live show in circulation. Which pretty much says all that needs to be said.
---Jeff Tamarkin, All Music Guide
Horace Silver
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Sep 02, 1928 in Norwalk, CT
Genre: Jazz
Styles: Fusion, Hard Bop, Mainstream Jazz, Modal Music, Post-Bop, Soul-Jazz
From the perspective of the early 2000s, it is clear that few jazz musicians have had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
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.
Silver recorded exclusively for Blue Note until that label's eclipse in the late '70s, whereupon he started his own label, Silveto. Silver's '80s work was poorly distributed. During that time he began writing lyrics to his compositions; his work began to display a concern with music's metaphysical powers, as exemplified by album titles like Music to Ease Your Disease and Spiritualizing the Senses. In the '90s, Silver abandoned his label venture and began recording for Columbia. With his re-emergence on a major label, Silver is once again receiving a measure of the attention his contribution deserves. Certainly, no one has ever contributed a larger and more vital body of original compositions to the jazz canon.
---Chris Kelsey, All Music Guide |
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