SILVER SURVEY

SILVER SURVEY

Richard Walls

Horace Silver came into prominence in the early fifties. But this isn’t a history, rather a registration of feeling concerning Silver’s recordings. I am assuming that 1.) you’re hip to Silver, or at least vaguely aware that he’s a jazz pianist and 2.) when you’re faced with the Bluenote backlog of Silver recordings you’ll trust me a little in helping you pick the best. Silver’s music is a good introduction to jazz—imaginative, funky piano surrounded by solid hard post-bop improvizations.

In surveying. Horace’s history with Bluenote, I nave made qo effort to consider the records in the context of the time during which they were released (the/ first recordings were in ‘53-‘54, and each record could be considered to be recorded approximately a year later than the previouslone). The music is taken as it sounds to the ear now, today.

The first recordings for Bluenote are definitely dated, n Horace Silver and the Jazz Messengers (BLP-1518) and Horace Silver Trio with Art Blakely - Sabu (BLP-1520) the songs are generally more interesting than the solos, most notable “The Preacher” and “Doodlin’’, both of which have become jazz standards. The dated-ness could be attributed to poor recording. technique (the bass is almost non-existent at times and drummer Blakely sounds like he’s playing a garbage can) and the fact the sessions never caught fire—possibly the musicians hadn’t adjusted to recording in a studio. Blakely’s “A Night at Birdland” (BLP-15 21), recorded around the same time (1954), only' in live performance, contains much more exciting piano work by Silver.

The next album to consider is Further Explorations (BLP-1589). This album was preceded by Six Pieces of Silver (BLP-1539) and The Stylings of Silver (BLP-1562) but with the exception of “Senor Blues” on the Pieces album, these albums are so bland today that I haye nothing to say about them. A historian perhaps could find something there. The only reason I mention Explorations is because this is believed by some to be Horace’s worst album and I tend to agree. But then, I also tend to believe that there is no i^orst album, that even on the most unimpressive of his efforts can be found a few memorable moments. Here we have the beautiful, simple arrangement of “Moon Rays”, the gently swinging melodic quality of “Ill Wind.” None of the solos, however, rise above the average.

Finger Poppin’ (BLP-4008) is very nice, though not extraordinary. The most satisfying songs are those in the best Horace Silver funky-bop tradition, such as “Juicy Lucy,” “Cookin’ at the Continental”, and “Come On Home.” Adding to the quality of this record is the presence of Junior Cook, tenor sax, and Blue Mitchell, trumpet. The duo show an affinity for Silver’s approach, mixing the right quantities of post-bop and blues, and stayed with the master for six records.

Blowin' jBlues Away (BLP-4017) contains a fantastic solo by Horace (an the title tune. The combinations of fire, musical logic (Horaceisense), and virtuosity displayed in this up-tempo solo is truly but of sight. The first time I heard it I didn’t quite believe it and although some of the funkier licks in the solo have become dated, it is still a treat to hear. Also featured is a very swinging trio piece, “The St. Vitus Dance”, which has not become dated at all. The eas$ with which Silver strolls through the song, leisurely grooving at medium tempo, is a pleasant departure from most of his work at this time. Then there’s the humorously soulful “Sister Sadie” which builds nicely in funky intensity.

Horace-Scope (BLP-4042) is one of Silver’s best. The recording seems better, the ensemble playing a bit tighter, than on past albums. And there’s fire. Listen to “Yeah”. Yeah. For once all the songs (Silver originals, of course, with the exception of “Without You”) are interesting or at least haye memorable melody’s (the Silver specialty is a melody you want to hum but usually can’t). Horace has beautiful solos here on the title tune on on “Nica’s Dream” which is a classic (And if it isn’t, I now declare it one). Nica’s Dream” is perfect. It is perfect because everything in it from beginning to end is relevant to the mood. There is no treading water here as each musician tells of Nica’s somewhat exdtic and slightly bittersweet dream over, Silver’s forceful accompanyment.

Doin' the Thing (BLP-4076) seems better than .it is. The excitement sparked by playing live (adrenalin high) as well as them blowing length given to the soloist.1 (there are only four songs, as opposed to the / usual six) often obscures the fact that there is little originality here and little genuine entertainment. Silver’s “Filthy McNasty” solo is nothing but a collection 6f funky cliches rather sloppily put together. The exception on the album is “Kiss Me Right”, a medium tempo song with a melody of little consequence but with extremely pleasant playing by Silver throughout. Once he \ relaxes, he cooks with authority.

The Tokyo Blues (BLP-4110) is a gem. Every song is worth hearing and the Japanese influence in each of them gives the album a cohesive flavor. Silver is restrained throughout, building single note lines of delicate beauty. Even Blue Mitchell and Junior Cook, usually merely adequate, have commanding moments as on “Sayonara Blues” where Cook’s solo speaks of deeper emotion than revealed by his previous statements with Silver.

Next come Silver's Serenade (BLP-4131). It is impossible to view this record critically since it is the first Horace Silver record I ever heard, and one of the first jazz records I ever purchased. Nostalgia lingers in every cut. All I can say with honesty is that is is a wonderfully magic record, with quite a few scratches on it.

Song for My Father (BLP-4185) was Horace’s big hit — and he didn’t compromise at all. It seems that certain “slick” musicians such as Ramsey Lewis had broadened the audience for funky piano. The highlight of the album, apart from Horace’s unique blues styling, is the presence of Jow Henderson, a strong “new” tenor man with a strong new sense of what he can do within a more or less conventional setting. More about him some other time. The fault of the album is the inclusion of two lousy tracks, “Lonely Woman”, a trio cut designed to induce deep sleep, and the equally monotonous “Calcutta Curie” with Mitchell and Cook, obviously a left-oyer from some past album.

The best thing about Cape Verdean Blues (BLP-9220) is thaf it has more Joe Henderson. And some good Silver on the first side. The second side has dull melodies based on dull changes and a guest appearance by trombonist J. J. Johnson, who just couldn’t get it up this time.

Thus ends the survey. Concerning Silver’s last two albums: 1. The Jody Grind was mostly dull except for a few brief moments from alto saxophonist James Spaulding, and-2. I have yet to hear the latest one, Serenade for a Soul Sister.

The Silver Style, the single note bluesy line punctuated by a strong left hand, has created many excellent pieces of music encompassing | humor, drama (tension — release), and a brilliant capacity to make it swing. However, it seems lately Horace has reaced a dead end. The songs are beginning to Sound the same, and the solos more and more rely on monotonous left hand patterns — this use of repetition leaves little room for the P’lree qualities mentioned above. erhaps this is only a momentary Iphase. -The few cuts I’ve heard of Soul Sister ojn the radio are not encouraging.