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Horace Silver Quintet With Art Farmer ââ“ Complete Recordings 2011

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American jazz pianist and composer (1928–2014)

Horace Silver
Silver by Dmitri Savitski, 1989

Silver by Dmitri Savitski, 1989
Background data
Born (1928-09-02)September 2, 1928
Norwalk, Connecticut, U.Due south.
Died June 18, 2014(2014-06-18) (aged 85)
New Rochelle, New York, U.S.
Genres Jazz, hard bop, mainstream jazz, soul jazz, jazz fusion
Occupation(s) Musician, composer, arranger
Instruments Piano
Years active 1946–2004
Labels Blue Note, Silveto, Emerald, Columbia, Impulse!, Verve
Associated acts Fine art Blakey, Junior Cook, Miles Davis, Fine art Farmer, Joe Henderson, Blue Mitchell, Hank Mobley
Website horacesilver.com

Musical artist

Horace Ward Martin Tavares Silvery [note i] (September two, 1928 – June 18, 2014) was an American jazz pianist, composer, and arranger, particularly in the difficult bop style that he helped pioneer in the 1950s.

Subsequently playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silvery soon moved to New York City, where he adult a reputation equally a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped farther, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing nearly attention. Their Horace Silver and the Jazz Messengers anthology contained Silver's first hit, "The Preacher". After leaving Blakey in 1956, Silver formed his ain quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver'due south popularity, even through changes of personnel. His almost successful album was Song for My Father, fabricated with 2 iterations of the quintet in 1963 and 1964.

Several changes occurred in the early on 1970s: Silvery disbanded his group to spend more than fourth dimension with his married woman and to concentrate on composing; he included lyrics in his recordings; and his involvement in spiritualism adult. The terminal 2 of these were ofttimes combined, resulting in commercially unsuccessful releases such as The Usa of Mind series. Silver left Blue Notation afterwards 28 years, founded his ain record label, and scaled dorsum his touring in the 1980s, relying in office on royalties from his compositions for income. In 1993, he returned to major record labels, releasing five albums before gradually withdrawing from public view because of health problems.

Equally a player, Silvery transitioned from bebop to hard bop by stressing melody rather than complex harmony, and combined clean and frequently humorous right-hand lines with darker notes and chords in a near-perpetual left-mitt rumble. His compositions similarly emphasized tricky melodies, simply often also independent dissonant harmonies. Many of his varied repertoire of songs, including "Doodlin'", "Peace", and "Sis Sadie", became jazz standards that are still widely played. His considerable legacy encompasses his influence on other pianists and composers, and the development of young jazz talents who appeared in his bands over the course of iv decades.

Early life [edit]

Silver was built-in on September 2, 1928, in Norwalk, Connecticut.[two] His mother, Gertrude, was from Connecticut; his begetter, John Tavares Silvery, was built-in on the island of Maio, Cape verde, and emigrated to the United states every bit a swain.[3] [note 2] She was a maid and sang in a church building choir;[5] he worked for a tire company.[half dozen] Horace had a much older half-blood brother, Eugene Fletcher, from his mother'southward first marriage, and was the tertiary child for his parents, after John, who lived to 6 months, and Maria, who was stillborn.[7]

Silverish began playing the pianoforte in his childhood and had classical music lessons.[8] His male parent taught him the folk music of Republic of cape verde.[9] At the age of 11 Silver became interested in condign a musician, after hearing the Jimmie Lunceford orchestra.[10] His early pianoforte influences included the styles of boogie-woogie and the blues, the pianists Nat Male monarch Cole, Thelonious Monk, Bud Powell, Art Tatum, and Teddy Wilson, equally well every bit some jazz horn players.[11]

Silver graduated from St. Mary's Grammer School in 1943.[12] From 9th class he played Lester Young-influenced tenor saxophone in the Norwalk High Schoolhouse band and orchestra.[xiii] Silver played gigs locally on both piano and tenor saxophone while still at school.[xiv] He was rejected for military service by a typhoon board examination that concluded that he had an excessively curved spine,[15] which also interfered with his saxophone playing.[16] Around 1946 he moved to Hartford, Connecticut to have up a regular chore as pianist in a nightclub.[17]

After life and career [edit]

1950–55 [edit]

Argent's break came in 1950, when his trio backed saxophonist Stan Getz at a club in Hartford: Getz liked Silverish's band and recruited them to tour with him.[ii] The saxophonist as well gave Silver his recording debut, in December 1950, for a quartet date.[eighteen] Subsequently nearly a yr, Silver was replaced as pianist in Getz'south ring and he moved to New York Urban center.[19] There, working as a freelance, he quickly built a reputation, based on his compositions and bluesy playing.[20] [21] He worked for short periods with tenor saxophonists Lester Young and Coleman Hawkins,[22] before coming together altoist Lou Donaldson, with whom he adult his bebop agreement.[23] Donaldson made his first recording on Blueish Note Records in 1952, with Silver on piano, Gene Ramey on bass and Art Taylor on drums.[23] Later that year, another Blueish Note quartet session was booked for Donaldson, with Art Blakey replacing Taylor, but the saxophonist withdrew and producer–owner Alfred Lion offered Silver the studio fourth dimension for a trio recording.[24] Most of the tracks recorded at it were Silver originals,[2] and he went on to stay with Blue Note as a leader for the following 28 years.[22]

Silver was also busy recording as a sideman. In 1953, he was pianist on sessions led by Sonny Stitt, Howard McGhee, and Al Cohn, and, the following year, he played on albums by Art Farmer, Miles Davis, Milt Jackson and others.[25] Silver won the Downwards Vanquish critics' new star laurels for pianoforte players in 1954,[26] and appeared at the first Newport Jazz Festival, substituting for John Lewis in the Mod Jazz Quartet.[27] Silver's early on 1950s recordings demonstrate that Powell was a major pianistic influence, but this had waned by the eye of the decade.[28]

In New York, Silver and Blakey co-founded the Jazz Messengers, a cooperatively-run group that initially recorded under various leaders and names.[29] Their get-go two studio recordings, with Hank Mobley on tenor saxophone, Kenny Dorham on trumpet, and Doug Watkins on bass, were made in tardily 1954 and early 1955 and were released every bit two 10-inch albums under Silvery's name,[30] so soon thereafter as the 12-inch Horace Silver and the Jazz Messengers.[2] This album contained Silver's get-go hitting, "The Preacher".[31] Unusually in Argent's career, recordings of concert performances were as well released at this time, involving quintets at Birdland (1954) and the Café Bohemia (1955).[32] This fix of studio and concert recordings was pivotal in the development and defining of difficult bop,[33] which combined elements of blues, gospel, and R&B, with bebop-based harmony and rhythm.[34] The new, funky hard bop was commercially popular,[35] and helped to establish Blueish Note as a successful concern.[36]

1956–69 [edit]

Silverish'south final recordings with the Jazz Messengers were in May 1956.[37] After that year, he left Blakey after one and a half years,[34] [38] in part because of the heroin use prevalent in the band,[2] which Silvery did not want to exist involved in.[39] Soon afterward leaving, Argent formed his own long-term quintet, later receiving offers of work from gild owners who had heard his albums.[40] The commencement line-upwards was Mobley (tenor saxophone), Farmer (trumpet), Watkins (bass), and Louis Hayes (drums).[forty] The quintet, with various line-ups, continued to tape, helping Argent to build his reputation.[41] He wrote nearly all of the material the band played;[41] one of these, "Señor Blues", "officially put Horace Silver on the map", in the view of critic Scott Yanow.[42] In concert, Silver "won over the crowds through his affable personality and all-action approach. He crouched over the piano every bit the sweat poured out, with his forelock brushing the keys and his feet pounding."[ii]

After more than than a dozen sideman recording sessions in 1955 and a similar number in 1956–57, Silver's appearance on Sonny Rollins, Vol. ii in April 1957 was his terminal for another leader, as he opted to concentrate on his own ring.[22] [43] For several years from the belatedly 1950s, this independent Junior Melt (tenor saxophone), Blue Mitchell (trumpet), Gene Taylor (bass), and either Hayes or Roy Brooks (drums). Their showtime album was Finger Poppin', in 1959.[44] Silver's tour of Japan early in 1962[45] [46] led to the album The Tokyo Blues, recorded later on that twelvemonth.[47] By the early on 1960s, Silver's quintet had influenced numerous bandleaders and was among the most popular performers at jazz clubs.[v] They also released singles, including "Blowin' the Blues Away", "Juicy Lucy", and "Sister Sadie", for jukebox and radio play.[48] [49] This quintet's sixth and concluding anthology was Silver'south Serenade, in 1963.[fifty]

Around this time, Silvery composed music for a goggle box commercial for the drink Tab.[51] Early in 1964, Silver visited Brazil for iii weeks,[52] an experience he credited with increasing his interest in his heritage.[51] In the same yr, he created a new quintet, featuring Joe Henderson on tenor saxophone and Carmell Jones on trumpet.[53] This band recorded most of Silver's best-known anthology, Song for My Male parent,[53] which reached No. 95 on the Billboard 200 in 1965,[nine] and was added to the Grammy Hall of Fame in 1999.[54] Recordings and personnel changes – sometimes expanding the band to a sextet – continued in the mid-1960s.[55] In 1966, The Cape Verdean Blues charted at No. 130.[9] The liner notes to the album Serenade to a Soul Sister (1968) included lyrics (written but non sung), indicating a new interest for Argent.[56] His quintet, past then including saxophonist Bennie Maupin, trumpeter Randy Brecker, bassist John Williams, and drummer Billy Cobham, toured parts of Europe in October and November 1968, sponsored by the U.Due south. government.[57] [58] They also recorded one of Silverish'due south last quintet albums for Blue Notation, You Gotta Have a Little Love.[59] The Penguin Guide to Jazz's retrospective summary of Argent'due south main Blue Annotation recordings was that they were of a consistently high standard: "each album yields 1 or two themes that haunt the listen, each usually has a specially pretty ballad, and they all lay dorsum on a deep pile of solid riffs and workmanlike solos."[47]

1970–80 [edit]

At the end of 1970, Silvery broke up his regular band, to concentrate on composing and to spend more fourth dimension with his wife.[60] He had met Barbara Jean Dove in 1968 and married her ii years later.[61] They had a son, Gregory.[62] Silvery too became increasingly interested in spiritualism from the early 1970s.[ii] [63]

Silvery included lyrics in more of his compositions at this signal, although these were sometimes regarded every bit doggerel or proselytizing.[2] [34] The first album to comprise vocals, That Healin' Feelin' (1970[64]), was commercially unsuccessful and Silver had to insist on the support of Blue Note executives to continue releasing music of the aforementioned, new style.[34] They agreed to a further 2 albums that independent vocals and Silverish on an RMI electrical keyboard; the three were later compiled as The United states of america of Heed, simply were soon dropped from the catalog.[65]

Silver reformed a touring ring in 1973.[60] This contained brothers Michael and Randy Brecker.[66] Effectually this time, co-ordinate to saxophonist Dave Liebman, Silverish's reputation among aspiring young jazz musicians was that he was "a piddling – not commercial, but not quite the real deal [in jazz]."[67] Silver and his family unit decided to motion to California around 1974, subsequently a burglary at their New York Metropolis flat while they were in Europe.[68] The couple divorced in the mid-1970s.[62]

In 1975, he recorded Silver 'n Brass, the first of v Silvery 'n albums, which had other instruments added to the quintet.[69] [70] The personnel in his band continued to change, and continued to contain young musicians who fabricated telling contributions.[71] One of these was trumpeter Tom Harrell, who stayed from 1973 to 1977.[71] [72] Silver's pattern in the late 1970s was to bout for 6 months a year.[73] His final Blue Note album was Silverish 'due north Strings, recorded in 1978 and 1979.[74] His stay was the longest in the characterization'south history.[75] By Silver'due south account, he left Blue Note afterward its parent company was sold and the new owners were not interested in promoting jazz.[76] In 1980, he formed the record label Silveto, "dedicated to the spiritual, holistic, self-help elements in music", he commented.[34] Argent also formed Emerald at the aforementioned time,[76] a label for direct-ahead jazz, but it was curt-lived.[34]

1981–98 [edit]

The showtime Silveto release was Guides to Growing Up in 1981, which contained recitations from actor and comedian Bill Cosby.[77] [78] Silvery stated in the aforementioned year that he had reduced his touring to four months a yr, then that he could spend more time with his son.[79] This also meant that he had to audience for new band members on an almanac ground.[79] He continued to write lyrics for his new albums, although these were not always included on the recordings themselves.[80] [81] The song titles reflected his spiritual, cocky-help thinking; for example, Spiritualizing the Senses from 1983 included "Seeing with Perception" and "Moving Forward with Confidence".[81] [82] The next albums were At that place'south No Need to Struggle (1983) and The Continuity of Spirit (1985).[83] His band for performances in the Britain and elsewhere in 1987 included trumpeter Dave Douglas and saxophonist Vincent Herring.[84] [85] Douglas reported that Silver seldom gave direct verbal guidelines about the music, preferring to lead through playing.[85] A revival of interest in more than traditional forms of jazz in the 1980s largely passed Silvery by,[86] and his albums on Silveto were not disquisitional successes.[five] Its last release was Music to Ease Your Disease, in 1988.[87] By the early 1990s Silver did not ofttimes play at jazz festivals,[88] simply his demand to tour was limited, equally he received steady royalties from his songbook.[22]

Rockin' with Rachmaninoff, a musical piece of work featuring dancers and narration, written past Argent and choreographed and directed by Donald McKayle, was staged in Los Angeles in 1991.[89] A recording of the piece of work was released on Bop City Records in 2003.[90] After a decade of trying to make his independent label work, Silver abandoned it in 1993, and signed to Columbia Records.[91] [92] This besides signalled a return to mostly instrumental releases.[5] The first of these, It's Got to Be Funky, was a rare large ring album.[92] [93] Silvery came close to dying soon after its release: he was hospitalized with a previously undiagnosed blood clot trouble,[94] but went on to record Pencil Packin' Papa, containing a half dozen-piece contumely section, in 1994.[95] That twelvemonth, he also played as a guest on Dee Dee Bridgewater's album Beloved and Peace: A Tribute to Horace Silver.[96]

Argent received a National Endowment for the Arts Jazz Masters award in 1995,[5] and in the following year was added to Downwardly Crush 's Jazz Hall of Fame[97] and received an Honorary Doctorate of Music from Berklee Higher of Music.[98] He moved from Columbia to Impulse! Records, where he fabricated the septet The Hardbop Grandpop (1996) and the quintet A Prescription for the Blues (1997).[99] The one-time was nominated for ii Grammy Awards: equally an anthology for best instrumental performance, individual or group; and for Silver'south solo on "Diggin' on Dexter".[100] He was once more unwell in 1997, so was unable to tour to promote his records.[94] His terminal studio recording was made in the following year – Jazz Has a Sense of Humor, for Verve Records.[101] One continuation from his early career was that Silver recorded his own compositions for his afterward albums and they were typically new, rather than re-workings of previous releases.[102]

1999–2014 [edit]

Silver performed in public for the first fourth dimension in four years in 2004, actualization with an octet at the Blue Note Jazz Club in New York.[103] He was not often seen in public afterwards this.[104] In 2005, the National Academy of Recording Arts and Sciences awarded him its President'south Merit Award.[5] [54] In 2006, Let's Get to the Nitty Gritty: The Autobiography of Horace Silvery, was published past the Academy of California Press.[105] A 2008 release, Live at Newport '58, from a Silver concert fifty years earlier, reached the height ten of Billboard's jazz chart.[106]

In 2007, it was revealed that Argent had Alzheimer'south disease.[104] [107] [108] He died of natural causes in New Rochelle, New York, on June xviii, 2014, aged 85.[34] He was survived by his son.[9]

Playing style [edit]

Argent's early recordings displayed "a crisp, chipper but slightly wayward style, idiosyncratic enough to accept him out of the increasingly stratified realms of bebop".[109] In contrast to the more elaborate bebop piano, he stressed straightforward melodies rather than complex harmonies, and included brusque riffs and motifs that came and went over the course of a solo.[v] [110] While his right hand provided cleanly played lines, his left added bouncy, darker notes and chords in a virtually-perpetual rumble.[37] [110] Silver "e'er played percussively, rarely suggesting excessive force on the keys merely mustering a crisp [...] sound."[110] His fingering was idiosyncratic, but this added to the individuality of his pianism, particularly to the authenticity of the blues facets of his playing.[111] The Penguin Guide to Jazz gave the overall assessment that "Dejection and gospel-tinged devices and percussive attacks give his methods a more colourful style, and a generous good humour gives all his records an upbeat feel."[109] Role of the sense of humor was Silver's predilection for quoting other pieces of music in his own playing.[112]

Writer and academic Thomas Owens stated that characteristics of Silver's solos were: "the brusque, simple phrases that all derive from the three-beat figure ♩ ♩ | ♩, or a variant of information technology; the pianist'south 'blue fifth' (those rapid slurs up to [... a flattened 5th]); and the low tone cluster used strictly every bit a rhythmic punctuation".[112] He also employed blues and minor pentatonic scales.[113] Music announcer Marc Myers observed that "Silvery'south advantage was pianistic grace and a not bad awareness that by resolving nighttime, minor-passages in blusterous, ascending and descending major-cardinal chord configurations, the consequence could produce an exciting and uplifting feeling."[41] In his accompanying of a soloing saxophonist or trumpeter, Silver was as well distinctive: "Rather than reacting to the soloist'due south melody and waiting for melodic holes to fill, he typically plays groundwork patterns similar to the background riffs that saxes or brasses play behind soloists in big bands."[113]

Compositions [edit]

Early in his career, Silvery composed contrafacts and dejection-based melodies (including "Doodlin'" and "Opus de Funk").[102] The latter was "a typical Silver creation: advanced in its harmonic structure and general approach only with a tricky tune and finger-snapping beat."[101] His innovative incorporation of gospel and blues sounds into jazz compositions took place while they were also being added to rock 'n' roll and R&B pieces.[114]

Silver soon expanded the range and style of his writing,[102] which grew to include "funky groove tunes, gentle mood pieces, vamp songs, outings in 3/4 and 6/eight time, Latin workouts of various stripes, upwards-tempo jam numbers, and examples of near any and every other kind of approach congruent with the hard bop artful."[115] An unusual instance is "Peace", a ballad that prioritizes a at-home mood over melodic or harmonic effects.[116] Owens observed that "Many of his compositions incorporate no folk blues or gospel music elements, simply instead have highly chromatic melodies supported by richly anomalous harmonies".[113] The compositions and arrangements were besides designed to make Argent's typical line-up sound larger than a quintet.[117]

Silver himself commented that inspiration came from multiple sources: "I'yard inspired by nature and by some of the people I meet and some of the events that have place in my life. I'm inspired by my mentors. I'm inspired by diverse religious doctrines. [...] Many of my songs are impressed on my mind just earlier I wake up. Others I go from simply doodlin' effectually on the pianoforte".[118] He also wrote that, "when I wake up with a melody in my caput, I jump right out of bed before I forget information technology and run to the piano and my tape recorder. I play the melody with my right hand and then harmonize it with my left. I put it down on my tape recorder, so I work on getting a bridge or eightbar release for the tune."[119]

Influence and legacy [edit]

Silver was amid the about influential jazz musicians of his lifetime.[101] Grove Music Online describes his legacy equally at to the lowest degree fourfold: every bit a pioneer of hard bop; equally a user of what became the archetypal quintet instrumentation of tenor saxophone, trumpet, pianoforte, bass, and drums; every bit a programmer of young musicians who went on to become important players and bandleaders; and for his skill as a composer and arranger.[120]

Silvery was also an influence equally a pianist: his offset Bluish Note recording as leader "redefined the jazz pianoforte, which up until then was largely modeled on the dexterity and relentless assail of Bud Powell", in Myers' words.[41] As early as 1956, Silver'southward piano playing was described past Downwards Trounce as "a key influence on a large segment of modern jazz pianists."[22] This went on to include Ramsey Lewis, Les McCann, Bobby Timmons,[120] and Cecil Taylor, who was impressed by Silver's aggressive style.[2]

Silver's legacy as a composer may exist greater than as a pianist, because his works, many of which are jazz standards, continue to be performed and recorded worldwide.[22] As a composer, he led a render to an emphasis on tune, observed critic John S. Wilson: for a long time, jazz musicians had written contrafacts of great technical complication, merely "Silver wrote originals that were not just actually original simply memorably melodic, presaging a gradual return to melodic creativity amongst writing jazzmen."[121]

Discography [edit]

Notes [edit]

  1. ^ According to Silver, his begetter's surname was originally "Silva", simply was changed upon marriage to "Argent", while his own baptismal name was "Horace Ward Argent", which then had his father's middle proper noun added, every bit well as "Martin" upon his Cosmic confirmation, making him Horace Ward Martin Tavares Silverish.[one]
  2. ^ This account of his father's early life is widely reported. The U.Due south. census of 1930 gives his name every bit "John M. Silva" and his birthplace as "Porto [Puerto] Rico".[four]

References [edit]

  1. ^ Silver 2006, p. 3.
  2. ^ a b c d e f g h i Atkins, Ronald (June nineteen, 2014). "Horace Silverish Obituary". The Guardian.
  3. ^ Argent 2006, pp. one–2.
  4. ^ "John M Silva – United States Census, 1930". FamilySearch. Retrieved January 5, 2016.
  5. ^ a b c d e f g Keepnews, Peter (June eighteen, 2014). "Horace Silver, 85, Master of Earthy Jazz, Is Dead". The New York Times.
  6. ^ Silver 2006, p. 2.
  7. ^ Silver 2006, pp. ii–3.
  8. ^ Silver 2006, pp. 8–nine.
  9. ^ a b c d Gallo, Phil (June 19, 2014). "Horace Silver Dies: Hard Bop Jazz Icon Dead at 85". Billboard.
  10. ^ Silvery 2006, pp. 12–13.
  11. ^ Silver 2006, p. 51.
  12. ^ Silver 2006, p. 121c.
  13. ^ Argent 2006, pp. 18–19.
  14. ^ Silver 2006, pp. 18–20.
  15. ^ Morgenstern, Dan (July 1960). "The Rumors and the Facts". Down Beat. Reproduced at The Hardbop Homepage.
  16. ^ Cook 2003, p. 54.
  17. ^ Silvery 2006, pp. 22–23.
  18. ^ Silver 2006, p. 197.
  19. ^ Silver 2006, pp. 45–46.
  20. ^ Silver 2006, p. 46.
  21. ^ Shipton 2001, pp. 669–671.
  22. ^ a b c d e f McDonough, John (September 2014). "Horace Silver". Downwards Beat. 81 (9): 49.
  23. ^ a b Shipton 2001, p. 670.
  24. ^ Shipton 2001, pp. 489, 670.
  25. ^ Silverish 2006, pp. 202–207.
  26. ^ Silverish 2006, p. 147.
  27. ^ "Newport Jazz Festival: threescore Years Young". Down Beat. July 29, 2014. Archived from the original on December 22, 2015.
  28. ^ Owens 1996, p. 153.
  29. ^ Shipton 2001, pp. 673, 679.
  30. ^ Shipton 2001, pp. 672–673.
  31. ^ Chilton, Martin (June 19, 2014). "Horace Silver, Pioneer of Jazz Hard Bop, Dies at 85". The Daily Telegraph. Archived from the original on January 12, 2022.
  32. ^ Cook & Morton 2008, pp. 132–133, 1298–1299.
  33. ^ Shipton 2001, p. 679.
  34. ^ a b c d e f g Stewart, Jocelyn Y. (June eighteen, 2014). "Horace Silver Dies at 85; Pioneering Jazz Pianist and Composer". Los Angeles Times.
  35. ^ Shipton 2001, pp. 671, 674.
  36. ^ Cook 2003, p. 101.
  37. ^ a b Shipton 2001, p. 680.
  38. ^ "Art Blakey, Horace Silverish At present at the PAD". New York Amsterdam News. December 29, 1956. p. ii.
  39. ^ Lees, Gene (1994). Cats of Any Colour: Jazz Blackness and White. Oxford University Press. p. 85. ISBN978-0-19-508448-i.
  40. ^ a b Silver 2006, pp. 90–91.
  41. ^ a b c d Myers, Marc (June 19, 2014). "Horace Silverish (1928–2014)". JazzWax. Archived from the original on June 22, 2014.
  42. ^ Yanow, Scott. "Horace Argent Quintet / Horace Silver: six Pieces of Silvery". AllMusic . Retrieved November 26, 2021.
  43. ^ Argent 2006, pp. 207–218.
  44. ^ Huey, Steve. "Horace Silver Quintet – Finger Poppin' with the Horace Silver Quintet". AllMusic . Retrieved Dec nineteen, 2015.
  45. ^ "Horace Silver Will Tour Japan Starting on Jan. 1". Chicago Daily Defender. Nov 27, 1961. p. 16.
  46. ^ "Silver at Jazz Gallery". Pittsburgh Courier. February 17, 1962. p. A19.
  47. ^ a b Melt & Morton 2008, p. 1299.
  48. ^ Shipton 2001, pp. 681–682.
  49. ^ Jurek, Thom. "Blue Note Records Catalog: 45 rpm 1700 Serial". jazzdisco.org. AllMusic. Retrieved January 6, 2015.
  50. ^ Jurek, Thom. "Horace Silver – Silver's Serenade". AllMusic . Retrieved December xix, 2015.
  51. ^ a b Tiegel, Eliot (May 21, 1966). "The Jazz Beat". Billboard. 78 (21): 8.
  52. ^ McMillan, Allan (March 7, 1964). "On Broadway". New Pittsburgh Courier. p. 17.
  53. ^ a b Garland, Phyl (February xiii, 1965). "Listening In: Friends of the Turntable". New Pittsburgh Courier. p. 17.
  54. ^ a b "Horace Silverish Dies". grammy.com. June xviii, 2014.
  55. ^ Huey, Steve. "Horace Silvery – The Jody Grind". AllMusic . Retrieved December 19, 2015.
  56. ^ Owens 1996, pp. 221–222.
  57. ^ "U.S. Jazz Stars to Bout Europe". The New York Times. October 20, 1968. p. 85.
  58. ^ Atkins, Ronald (November 23, 1968). "The Horace Silver Quintet". The Guardian. p. six.
  59. ^ Yanow, Scott. "Horace Argent – You lot Gotta Accept a Petty Honey". AllMusic . Retrieved December 19, 2015.
  60. ^ a b Nolan, Herb (September thirteen, 1973). "Horace Silver: In Pursuit". Down Vanquish. Archived from the original on February 11, 2016.
  61. ^ Silvery 2006, pp. 122–123.
  62. ^ a b Silver 2006, p. 126.
  63. ^ Silver 2006, pp. 127–130.
  64. ^ Wynn, Ron. "Horace Silver – That Healin' Feelin'". AllMusic . Retrieved January thirteen, 2015.
  65. ^ Silvery 2006, pp. 134–135.
  66. ^ Nolan, Herb (June 1, 1973). "Mike Brecker: Music Is What I Exercise!". Downwardly Beat. Archived from the original on December 22, 2015.
  67. ^ "Dave Liebman – NEA Jazz Master (2011)" (PDF). Smithsonian National Museum of American History. Jan 4–5, 2011.
  68. ^ Silverish 2006, pp. 124–125.
  69. ^ Silver 2006, pp. 136–137.
  70. ^ Yanow, Scott. "Horace Silvery – Argent 'n Contumely". AllMusic . Retrieved December 19, 2015.
  71. ^ a b Wilson, John S. (June ten, 1977). "Jazz: Back to Difficult Bop with Horace Silver'south Quintet". The New York Times. p. 72.
  72. ^ Wynn, Ron. "Tom Harrell". AllMusic . Retrieved December 19, 2015.
  73. ^ Wilson, John S. (April 5, 1979). "Jazz: Silver's Quintet". The New York Times. p. C20.
  74. ^ Yanow, Scott. "Horace Silver – Silvery 'n Strings Play the Music of the Spheres". AllMusic . Retrieved December 19, 2015.
  75. ^ Goldberg, Joe (January 16, 1999). "Unburied Treasure". Billboard. 111 (three): B8.
  76. ^ a b Silver 2006, p. 139.
  77. ^ Hamilton, Ed (June xix, 2014). "Horace Silver: Blue Note Records and His Lady Music". AllAboutJazz.
  78. ^ "Horace Argent: The Undaunted Artist". New York Amsterdam News. October 30, 1982. p. B13.
  79. ^ a b Wilson, John S. (February 20, 1981). "With Horace Silvery, His Piano and His Memories". The New York Times. p. C17.
  80. ^ Joyce, Mike (August 10, 1984). "Silver's Music Is the Best Bulletin". The Washington Postal service. p. WK39.
  81. ^ a b Atkins, Ronald (July 12, 1985). "Some Tarnished Silver". The Guardian. p. 12.
  82. ^ Silver 2006, pp. 237–238.
  83. ^ Silver 2006, p. 238.
  84. ^ Atkins, Ronald (May half dozen, 1987). "Horace Silver". The Guardian. p. 9.
  85. ^ a b Douglas, Dave (October 20, 2014). "Dave Douglas: What He Learned from Horace Silver". JazzTimes.
  86. ^ Atkins, Ronald (July 12, 1996). "Jazz CD of the Calendar week: Horace Silver". The Guardian. p. A15.
  87. ^ Silver 2006, p. 239.
  88. ^ Atkins, Clarence (May 29, 1993). "New York Welcomes JVC Festival Jazz Giants". New York Amsterdam News. p. 29.
  89. ^ Silver 2006, pp. 153–154.
  90. ^ Malone, Andrew Lindemann (January–February 2004). "Horace Silver – Rachin' Around". JazzTimes.
  91. ^ Silvery 2006, pp. 142–143.
  92. ^ a b Yanow, Scott. "Horace Argent – It'due south Got to Be Funky". AllMusic . Retrieved Jan 4, 2016.
  93. ^ Bogle, Dick (September 8, 1993). "Dick's Picks: It's Got to Be Funky". The Skanner. p. xi.
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  96. ^ Yanow, Scott. "Dee Dee Bridgewater – Love and Peace". AllMusic . Retrieved Jan 4, 2016.
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  114. ^ Talbott, Chris (June xx, 2014). "Horace Silverish Expressionless: Pioneering Jazz Pianist Dies at 85". Huffingtonpost.com.
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  117. ^ Williams, Martin T. (1993). Jazz Changes. Oxford University Printing. p. 236. ISBN978-0-19-505847-5.
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  120. ^ a b Dobbins, Bill. "Argent, Horace". Grove Music Online. Oxford Music Online. Oxford University Press. Retrieved January 15, 2016.
  121. ^ Wilson, John Due south. (1959). The Collector's Jazz – Modern. J. B. Lippincott. p. 271.

Bibliography

  • Melt, Richard (2003). Blue Note Records: The Biography. Justin, Charles & Co. ISBN978-1-932112-10-8.
  • Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (ninth ed.). Penguin. ISBN978-0-14-103401-0.
  • Gioia, Ted (2012). The Jazz Standards – A Guide to the Repertoire. Oxford University Press. ISBN978-0-19-993739-4.
  • Owens, Thomas (1996). Bebop – The Music and Its Players. Oxford University Printing. ISBN978-0-19-510651-0.
  • Shipton, Alyn (2001). A New History of Jazz. Continuum. ISBN978-0-8264-4754-eight.
  • Silver, Horace (2006). Let's Get to the Nitty Gritty: The Autobiography of Horace Silver. University of California Printing. ISBN978-0-520-25392-half dozen.

Further reading [edit]

  • Silver, Horace (1995). The Art of Small Jazz Combo Playing. Hal Leonard. ISBN 978-0-7935-5688-5.

External links [edit]

  • Horace Argent Discography at the Hard Bop Home Page
  • Listening In: An Interview with Horace Silver past Bob Rosenbaum, Los Angeles, December 1981 (PDF file)
  • "The Dozens: Twelve Essential Horace Silver Recordings" by Bill Kirchner

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Source: https://en.wikipedia.org/wiki/Horace_Silver

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