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Horace Silver
[hard bop/post bop/modal jazz/latin]

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The Hard Bop Homepage

Хорас Сильвер (Horace Ward Martin Tavares Silver) родился 2 сентября 1928 года в городе Норуок, в США. Хорас известен своим "прифанкованым" (именно благодаря его композиции Funky Hotel слово "funk" попало в музыкальный жаргон), местами "с юморком" стилем игры, а также своим весомым вкладом в образование и развитие направления hard bop. Основным образом на Силвера повлияли разлиные течения госпелов, и прочьей африканской и латиноамериканской музыки.
Первоначально Хорас играл на саксофоне, но под влиянием игры Телониуса Монка и http://www.neformat.com.ua/forum/jaz...ud-powell.html решил перекочевать на клавиши. Первый звездный опыт Хорас получил еще в Коннектикуте, где ему посчастливилось поиграть в ансамбле Стена Гетца. Перебравшись в 1951-м в Нью-Йорк, Силвер организовывает с барабанщиком Артом Блейки трио. Наигравшись со сменными басистами в трио, тандем Силвер-Блейки организовывает более серьезный коллектив - Jazz Messengers, с которым выпускает свои известнейшие композиции "Doodlin'", "The Preacher", "Room 608", и т.д. В то же время в 1954-м году Силвер принимает участие в записи альбома Майлса Дэвиса "Walkin'"

В 1956-м году Хорас покидает Jazz Messengers для образованиея своего собственного квинтета, в котором боевого товарища Арта Блейки заменяет 18-летним Луи Хейсом. Несмотря на раскол между Хорасом и Артом, новый квинтет пошел Силверу на пользу, и в 1964-м году он выпускает однй из его известнейших работ - Song For My Father. В 60-х годах в музыке Силвера начало появлятся все больше примесей разнообразных течений, в особенности soul и R&B.

Несмотря на свой значительный вклад в развитие фанка и хард бопа, а также на неповторимую манеру игры, Хорас Силвер не приобрел знаменитости Оскара Питерсона или Телониуса Монка, возможно из-за своих (сравнительно) редких записей и появлений в качестве бэндлидера. Но при этом его имя навсегда вбито в историю развития хард бопа, и еще долго не будет покидать головы джазовых пианистов.

Музыка Хораса Силвера очень проста для восприятия. Его манера импровизации звучит очень ненавязчиво, и создает впечатление заранее выученой мелодии, а латиноамериканские танцевальные тона и фанковые грувы подстегивают слушателя к какому-то особенному внутреннему драйву.

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1959 - The Baghdad Blues
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Треклист:
1. Juicy Lucy
2. Swingin' the Samba
3. Mellow D
4. You Happened My Way
5. Sister Sadie
6. Sweet Stuff
7. Break City
8. Baghdad Blues
9. Blowin' the Blues Away
10. Melancholy Mood
11. St. Vitus Dance
12. Peace
13. How Did It Happen

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1964 - Song For My Father [CBR 192]
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Цитата:

A visit to Brazil prompted Horace Silver's interest in his Portuguese roots and led to the magnificent "Song For My Father," his most enduring composition. This album also introduced his new band with Joe Henderson and Carmell Jones and features the classic band with Blue Mitchell and Junior Cook.

Треклист:
1. "Song for My Father" – 7:15
2. "The Natives Are Restless Tonight" – 6:08
3. "Calcutta Cutie" – 8:28[1]
4. "Que Pasa" – 7:45
5. "The Kicker" – 5:24
6. "Lonely Woman" – 7:03
7. "Sanctimonious Sam" – 3:52
8. "Que Pasa" (trio version) – 5:35
9. "Sighin' and Cryin'" – 5:23
10. "Silver Treads Among My Soul" – 3:50

Участники:
Tracks 1, 2, 4, 5:
Horace Silver — piano
Carmell Jones — trumpet
Joe Henderson — tenor saxophone
Teddy Smith — bass
Roger Humphries — drums

Tracks 3, 6 – 10:
Horace Silver — piano
Blue Mitchell — trumpet
Junior Cook — tenor saxophone
Eugene Taylor — bass
Roy Brooks — drums

Цитата:

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas -- the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands (and, on the CD reissue with bonus tracks, three different sessions). Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections -- mainstream hard bop rarely comes as good as Song for My Father. ~ Steve Huey, All Music Guide

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1965 - The Cape Verdean Blues
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Треклист:
1. The Cape Verdean Blues 4:59
2. The African Queen 9:36
3. Pretty Eyes 7:30
4. Nutville 7:15
5. Bonita 8:37
6. Mo' Joe 5:45

Участники:
Bob Cranshaw - Bass
Roger Humphries - Drums
J.J. Johnson - Trombone
Joe Henderson - Sax (Tenor)
Woody Shaw - Trumpet
Horace Silver - Piano

Цитата:

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw -- is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album. ~ Steve Huey, All Music Guide

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1999 - Jazz Has a Sense of Humor [CBR 320]
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Треклист:
1. Satisfaction Guaranteed [5:47]
2. The Mama Suite Part 1: Not Enough Mama [5:36]
3. The Mama Suite Part 2: Too Much Mama [4:52]
4. The Mama Suite Part 3: Just Right Mama [4:07]
5. Philley Millie [4:45]
6. Ah-Ma-Tell [6:00]
7. I Love Annie's Fanny [4:48]
8. Gloria [7:34]
9. Where Do I Go from Here? [4:01]

Цитата:

In this set of nine originals, the Horace Silver touch is clearly evident: happy, strong melodies; groovin' beats; Silver's deft, deliberate, bluesy piano comping and boppin' leads; and the joyful playing of saxophonist Jimmy Greene and trumpeter Ryan Kisor, which seems to be more intense in the context of Silver's unmistakable compositions. The CD's title is in reference to the album's content (and that the listener has to go along with Silver's adoration in a nonsexist way toward women). Some might be offended by the title "I Love Annie's Fanny," but it's just the name of a bouncy, mainstream jazz ditty that Silver is so well known for writing. There are some clichés that pop up in old Silver numbers that he seems to have rewritten. Phrases of "Cape Verdean Blues" creep into the urgent first movement of "The Mama Suite," and his typical groove waltz is extant in the opener "Satisfaction Guaranteed" and the closer "Where Do I Go From Here?" But his tunefully familiar, head-noddin' original funk is a vital as ever, and sounds pretty fresh compared to some of the trite neo-bop being reprocessed this past decade. Silver's light, spare, soulful style — particularly when he uses his left hand in tandem with John Webber's bass — is a sound for sore ears, one that has a universal, timeless appeal, crossing generational and commercial barriers. This is well-played music, a specialty Silver has envisioned and realized through the bulk of his career. Highly recommended.

by Michael G. Nastos
Courtesy All Music

Цитата:

Don't let this disc's title or tunes with names like "I Love Annie's Fanny" mislead you into thinking the venerable Horace Silver has put out a novelty record. What we have here is some superb '60s-era soul-jazz composed and arranged by the originator of that genre. Horace, much like Art Blakey, has found some talented young jazzers and schooled them in his music. Trumpeter Ryan Kisor and saxophonist Jimmy Greene play with energy and skill, obviously influenced by the hard-boppers of Silver's generation. With its hip, storytelling heads and stabbing piano rhythms, this music would have sounded just right in 1959, but given Horace Silver's presence, it's not a mere retro-jazz album; rather, it's a continuation of Silver's musical vision, one that has always melded funky rhythms and the bop vernacular into a tasty, accessible whole. - Wally Shoup

Цитата:

This is something of a return to classic Horace Silver form. The tunes are crisp, the group sounds like a working band, and Silver's piano envelopes the whole - shaping, steering, mining those grooves he first discovered years ago. The two-horn front line is formulaic bop and post-bop, of course, but in Silver's hands, there is a coherence and order that is missing in the work of most who attempt these styles today. With Silver's groups, one always senses a big band reduced to its fundamentals, illuminated and sparked by the leader's structural riffs. That's what we hear on this CD, and though no new ground is broken, for many Silver fans, that is just fine. A nice range of materials is offered up, centered by "The Mama Suite," a mini-showcase for the band, with Latin and funk rhythms drawing sprightly solos out of trumpeter Ryan Kisor and saxophonist Jimmy Greene. "I Love Annie's Fanny" is the sort of slightly tart, angular piece that falls somewhere in the "Se"or Blues" range. And "Where Do I Go From Here?" is all Silver's piano - light, dancing, his patented touch at work. But as is often the case with Silver's records, there is something slightly odd here as well. The recording is intended to demonstrate that jazz can be funny by putting together a collection of humorous songs. But there are no vocals on the record! (Only Silver's lyrics provided in the liners.) Mind you, one shouldn't complain, for the true humor of Silver's music is in his compositions. And it's just that subtle brand of humor that his lyrics often obscure.

--- JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

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