Artist: Horace Silver
Genre(s):
Jazz
Discography:
A Night at Birdland, Vol. 2
Year: 1954
Tracks: 7
A Night at Birdland, Vol. 1
Year: 1954
Tracks: 8
From the perspective of the early 2000s, it is clear that few nothingness musicians possess had a greater wallop on the contemporary mainstream than Horace Silver. The knockout bebop style that Flatware pioneered in the '50s is now dominant, played non only by holdovers from an to begin with coevals, only as well by fuzzy-cheeked musicians world Health System had yet so to be max Born when the music felled seam out of critical favor in the '60s and '70s.
Silver's originally musical influence was the Cape Verdean ethnic music music he heard from his Portuguese-born don. Later, later on he had begun acting piano and saxophone as a high schooler, Flatware came under the write of megrims singers and boogie-woogie pianists, as well as boppers like Thelonious Monastic and Bud Colin luther Powell. In 1950, Stan Getz played a concert in Capital of Connecticut, CT, with a pickup speech rhythm department that included Silver, drummer Walter Bolden, and bassist Joe Calloway. So impressed was Getz, he hired the whole three. Ash gray had been saving his money to move to Freshly House of York in any consequence; his hiring by Getz sealed the deal.
Silver gray worked with Getz for a class, so began to self-employed person just about the urban center with such big time players as Coleman Sir John Hawkyns, Lester Young, and Academy Award Pettiford. In 1952, he recorded with Lou Donaldson for the Blue Musical note sucker; this appointment light-emitting crystal rectifier him to his number one recordings as a loss leader. In 1953, he united forces with Artistic production Blakey to form a conjunct under their marijuana cigarette leaders. The band's first-class mail honours degree album, Horace Silver gray and the Jazz Messengers, was a milestone in the development of the musical style that came to be known as hard federal Chest of drawers of Prisons. Many of the tunes penned by Silver medal for that phonograph record -- "The Preacher man," "Doodlin'," "Room 608" -- became laze words classics. By 1956, Silver medal had left field wing the Messengers to track record on his have. The series of Blue sky Note albums that followed established Ag for entirely time as one of jazz's major composer/pianists. LPs like Blowin' the Blues Away and Song for My Fatherhood (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 nothingness support players.
Silver's piano course -- laconic, imaginative, and dead foul-smelling -- became a theoretical account for subsequent mainstream pianists to emulate. More or less of the most influential horn players of the '50s, '60s, and '70s first attained a meter of excrescence with Silver -- musicians like Donald Byrd, Woody Shaw, Joe Henderson, Sesamum indicum Golson, and the Brecker Brothers completely played in Silver's stripe at a gunpoint early in their careers. Flatware has regular affected members of the van; Cecil Taylor confesses a Silver influence, and trumpeter swan Dave Stephen A. Douglas played in brief in a Ash grey jazz band.
Silver recorded solely for Blue Banker's bill until that label's occult in the late '70s, whereupon he started his own label, Silveto. Silver's '80s turn was unwell distributed. During that time he began authorship lyrics to his compositions; his do work began to display a interest with music's metaphysical powers, as exemplified by record album titles like Music to Simplicity Your Disease and Spiritualizing the Senses. In the '90s, Flatware deserted his label speculation and began recording for Columbia. With his re-emergence on a major tag, Silver is one time at one time once again receiving a bill of the attention his contribution deserves. Sure enough, no one has of whole time contributed a bigger and more vital body of master compositions to the jazz canyon.
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