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Bill Evans, one of the foremost jazz pianists of the postbop e... © Copyright ® Steven Cerra, copyright protected; all rights reserved. As Art Blakey would later remember: ‘Guys then would throw together a band for one night and play standard bebop tunes, just stand there and jam. Singers as ostensibly different as Mahalia Jackson and Ray Charles were drawing on these same traditions in pursuing their sharply contrasting sacred and secular agendas.Over the next few years, rock and roll would incorporate many of these same ingredients into a brusque, clangorous style whose impact still reverberates.The jazz idiom also benefited from a return to these first principles of African American music – at least for a time. … The time was right for this return to the roots. "Anyone who has gone through Life and missed this music has missed out on one of the best things about LIVING. “... Dameron is a much underrated performer who stands at the fulcr... © -Steven Cerra, copyright protected; all rights reserved. As Mathieson comments about “… [its] instantly catchy theme would be enough for many musicians [but] as usual, … the pianist is not content to state the theme and launch the band into a series of solos. Despite the difficulty in navigatin... © -Steven Cerra, copyright protected; all rights reserved. [New York: Oxford University Press, 200, pp. They’re usually older than you, but not always. Steve Siegel has been a guest writer on JazzProfiles with pre... Seymour continues: “… others have inferred that … the fifth guideline is an elaborate definition of what came to be known as the ‘funky’ essence in Silver’s music given its suggestion of African-American strains of blues and gospel.” [p. Everything, down to the last three notes of a song like “Blowin’ The Blues Away,” was definitive and simple and right it. The following interview appeared in the September 9, 1949 edition of ... "At first, you usually emulate the master drummers. : You also developed some techniques I think that are still used today, such as the way you used interludes to set up the solos and the melody and the way you used themes that really set your writing aside from a lot of the blowing dates that were going on in the ‘50s. More original.The simplicity of what you were doing back then, I think, made possible. Ok, so that’s basically it.. He makes it all sound so easy; would that it were.I am also indebted to all of the authors referenced in this article for their assistance with my quest to explain why I find Horace Silver’s music so appealing and satisfying.While preparing this piece I was reminded once again of the inherent contradiction in trying to describe music in words.Obviously, to find what may be appealing to you in Horace’s music, all you need do is listen to it!
So much thought goes into everything that Horace does on these recordings. Everybody was just copying.’ [p. 72].As a result, Blue Note was in such a perilous financial state that it was even entertaining offers to buy the label when, with apologies to J.J. Johnson – “In Walked Horace.”Horace came to the label’s rescue through the record date on November 13, 1954 for which Horace created “… the blueprint for perhaps the greatest small group in post-war jazz.” [Cook, p. 72. You can cut out all of those notes and it can still be great, and might even be greater, because more people can understand it. While preparing this piece I was reminded once again of the inherent contradiction in trying to describe music in words. Just to be clear, I think that what Mr. Cook is referring to as “greatest” are the many versions of the quintet that Horace has led over the years and not just this particular group]In many ways, this was to become the seminal album that resulted in the birth of the Blue Note “Sound,” the start of Art Blakey and The Jazz Messengers and start of the many versions of the Horace Silver Quintet [HSQ].The music on this album seemed to transition be-bop into an earthier, more blues-gospel orbit that connected with audiences and forged the direction that this particular school of bop would take for years to come.With one exception, all of the compositions on the LP were penned by Horace [among them “Each of them seems cut from the same cloth: rocking beats, nothing too quick but nothing that dawdled; sashaying minor melodies, voiced in clean unison by tenor and trumpet with riffing interjections from the piano; gospel and the blues seeming to soak into every eight-bar passage. J.J. Johnson J.J. Inc. ℗ Originally released 1961 SONY BMG MUSIC ENTERTAINMENT Released … ]In the album’s original liner notes, Leonard Feather described ‘Senor Blues’ this way: is, for the listener at least, the most exciting of the seven performances on these sides.
Hayes is on top of things all the way here, which is a testament to both how much the Silver quintet worked and the drummer’s own precocious skills.”example of the percussive qualities to which Mr. Blumenthal is referring and they are also in evidence in a more understated way on which has some ‘big band’ kicks and fills by Louis in its bridge.
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