Five-Star Collection... Silver and Blakey

Horace Silver

Horace Silver Trio • Vol. 2 / Art Blakey with Sabu

Almost a year has elapsed since the release of his first Horace Silver long playing record (Blue Note LP 5018). The year has seen new horizons open up for the brilliant 25-year-old pianist from Norwalk, Conn. While his LP debut was winning the plaudits of reviewers and fans, Horace enlarged his audience in Birdland and the country's other leading jazz clubs, playing with Lester Young and other noted combos. In recent months he has been allied with a new group formed by Art Blakey, the phenomenal drummer featured with him in the present set of selections.

On the six piano solos in this new LP, they are based on popular songs of a few years ago. Endowing them with his original rhythmic and harmonic changes when he embroiders the melody in the opening chorus, he proceeds to improvise on the chord pattern of the tune, and in each case the overall result, in effect, is as personal as if he had woven the fabric himself instead of merely cutting the cloth.

The other three piano solos are Silver originals.

A final word for the Third Man of this unique set of performances. Percy Heath has been praised many times before, both in our Blue Note comments and in every publication that deals with jazz. Never has his work been more discreet and dependable than in his accompaniments to Horace's solos here. A Heath bass performance is a study in metronomic stability. The Horace Silver Trio is indeed an equilateral triangle. *(from the liner notes)*

One of the most consistently energizing of the younger pianists, vigorously backed by Percy Heath and Art Blakey. Also included are the Blakey drum solo and the Blakey-Sabu duet previously starred (Down Beat, May 19). It pains my flinty, New England soul to give another five-star rating this month, but Mr. Silver cannot be denied. I assure you that five-star ratings are pried from me only after fierce struggling, but there is simply an unusual quantity of better-than-good original jazz being issued these days. *Nat Hentoff (Down Beat, July 14, 1954 [5 stars])*

Art Blakey - Sabu 

★★★★★ Message from Kenya

★★★★★ Nothing But the Soul

Soul is a dynamically absorbing solo by Blakey. On Kenya, Art is joined on conga drums and vocal by Sabu (Luis Martinez). The story of the number, according to Leonard Feather's notes for a forthcoming album in which it will be included, "was first told to Art by Moses Mann, a Nigerian drummer who worked in this country with Pearl Primus. The evocation, voiced dramatically in a mixture of Spanish and Swahili, tells of a hunter whose cries celebrate the news that he has captured more game than any other hunter in the village, in order to convince the girl he loves of his prowess".

It’s an exciting performance with or without the courtship bit. Sabu is 24, works usually with El Diablo, but has recorded before with June Christy, Dizzy, and Mary Lou Williams. He's also played with Valdés, Morales, and Señor Charles Parker. Sabu recently returned from Al Romero's expedition to South America on which Don Elliott was also included. This is his first large-scale record break, and he surely wails. (Blue Note 1626) *Nat Hentoff (Down Beat, May 19, 1954)*

Side 1

1 -  How About You

(Burton Lane, Ralph Freed)

2 - I Remember You

(Johnny Mercer, Victor Schertzinger)

3 - Silverware

(Horace Silver)

4 - Message From Kenya

(Art Blakey)

Side 2

5 - Opus De Funk

(Horace Silver)

6 - Nothing But The Soul

(Art Blakey)

7 - Buhaina

(Horace Silver)

8 - Day In Day Out

(Johnny Mercer, Reuben "Rube" Bloom)

#1, #2, #3, #5, #7, #8:

Horace Silver (piano), Percy Heath (bass), Art Blakey (drums).

#4:

Art Blakey (drums), Sabu (congas).

#6:

Art Blakey (solo drums).

Recorded at WOR Studios, New York City, November 23, 1953

Gigi Gryce: Jazz with Purpose

Gigi Gryce

Orchestra And Quartet

There are few musicians as well qualified from both the standpoints of academic training and "gigging" in jazz who also are as intensely dedicated as Gigi Gryce. He is a warm, human person whose writing and playing have the love, happiness, sadness and pain which any jazzman with a heart and soul will impart to his listeners. Gigi has paid dues to the union called life. 

Although Gigi has participated in a number of LP recordings both writing and playing, this is the first one under his own name where he is carrying out his own ideas in a manner which he most desired. 

Today, with the 12 inch LP the dominant vehicle for the recorded presentation of jazz, much more space is available to the musician. Unfortunately there are too many 10 inch LPs being stretched beyond the satiation point to appease a merchandising trend. In this LP Gigi has used his talent together with the knowledge of how to utilize it. There is a definite purpose achieved in the contrast and pacing; the two different groups, different in size and spirit with the flexibility and blowing freedom of the quartet on one side, and the synthesis of writing, blowing and singing on the band side. 

The orchestra's personnel will remind those of you who are perceptive of the short lived Miles Davis group of 1949 which made such a deep impression on the jazz of the Fifties but which was never physically used again. Gigi felt that this instrumentation should not be neglected because of its tremendous possibilities of different tonal colors, dynamics, ranges and voicings. He wanted to get away from the brassy sound of the usual jazz band of this size. Gigi was consciously striving for something that every type of listener could enjoy, something that would not all fall into any one category. 

Gigi describes (the quartet sessions) as one of the most relaxed recording sessions in which he has ever played. After setting up the themes, everything was spontaneous even to the length of the solos. There is much to be gleaned, as always, from Monk's originals and the one which Gigi contributed is up to his usual high standard. 

The interplay between Gigi and Monk creates much excitement. In many instances, they take turns at carrying the harmony.Monk's presence alone was inspiring to Gigi. They first met in Boston in 1949 when they played together at the Hi Hat. Since then they have stayed in touch musically and socially. *Ira  Gitler (from the liner notes)*

On the first six, Gigi heads a unit consisting of Art Farmer, trumpet; Eddie Bert, Jimmy Cleveland, trombones; Danny Bank, Cecil Payne, baritones; Gunther Schuller, Julius Watkins, French horns; Bill Barber, tuba; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, Kenny Clarke, drums; and on two, Ernestine Anderson, vocalist. The only weak band is Gigi's ballad, "The One I Love". It's rather routine melodic profile and surprisingly cliche-filled lyrics don't belong in this set although the attractively sounding Miss Anderson does the best she can. She is better served by Gigi's "Social Call", to which Jon Hendricks had added apt lyrics.

The remainder of the side is marked by the freshness of Gigi’s writing (and of the one Horace Silver original), the quality of the solos, and the swinging ensemble empathy of all concerned. (Listen to the band especially on "Smoke Signal").

The differently exciting second side consists of a quartet date with Gigi, Thelonious Monk, Percy Heath, and Art Blakey. The first three characteristic originals are by Monk while the last is Gigi's. On both sides, Gigi blows some of his best alto on record. He has learned to discipline his improvising imagination while retaining his swinging passion. Monk is in fine, relaxed, incisive form. Heath is excellent and Blakey constantly cooks (and solos well in "Nica's Tempo").

As is Signal’s custom, the album is very well recorded, lucidly annotated (by Ira Gitler), and faced with a distinguished cover (by Harold Feinstein). Strongly recommended.

*Nat Hentoff (Down Beat, March 7, 1956)*

Side 1

The Gigi Gryce Orchestra

1 - Speculation

(Horace Silver)

2 - In A Meditating Mood

(Gigi Gryce)

3 - Social Call

(G. Gryce, J. Hendricks)

4 - Smoke Signal

(Gigi Gryce)

5 - (You'll Always Be) The One I Love

(Gigi Gryce)

6 - Kerry Dance

(J. Molloy)

Side 2

The Gigi Gryce Quartet

7 - Shuffle Boil

(Thelonious Monk)

8 - Brake's Sake

(Thelonious Monk)

9 - Gallop's Gallop

(Thelonious Monk)

10 - Nica's Tempo

(Gigi Gryce)

#1, #2, #4, #6:

Gigi Gryce (alto sax), Art Farmer (trumpet), Jimmy Cleveland [as "James Van Dyke"] (trombone),

Gunther Schuller (french horn), Bill Barber (tuba), Danny Bank (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Kenny Clarke (drums).

#3, #5: 

Gigi Gryce (alto sax), Art Farmer (trumpet), Eddie Bert (trombone),

Julius Watkins (french horn), Bill Barber (tuba), Cecil Payne (baritone sax),

Horace Silver (piano), Oscar Pettiford (bass), Art Blakey (drums), Ernestine Anderson (vocals).

#7 to #10: 

Gigi Gryce (alto sax), Thelonious Monk (piano), Percy Heath (bass), Art Blakey (batería).

Recorded at Rudy Van Gelder Studio, Hackensack, New Jersey,

October 15 (#7 to #10) and October 22 (#1 to #6), 1955.

Stan Getz And Horace Silver - Pair Of Kings

It is easy to distinguish between hot water and cool water. If you step into a bathtub full of what you think is cool water and it turns out to be boiling hot, it is particularly easy to distinguish the difference.

If, however, you have spent many months or years or even decades listening to hot jazz, on stepping into the less torrid waters provided by music such as you will hear on these sides, the contrast may be far less easy to define. Indeed, few of the jazz experts themselves are in agreement on what constitutes cool jazz, or whether it is an outgrowth of bop, or whether it it an extension or even a synonym for it. 

If the experts themselves can't agree, then how can you, the average listener, possibly know the answer? Well, at least your ears will provide you with certain unmistakable clues. Reacting to many years during which excitement and an aggressive, hard-driving spirit seemed to be essential to a great deal of what was then known as hot jazz, some modern musicians during the middle 1940s rejected this concept in favor of a smoother, subtler approach. The horns, particularly the saxophones, tended toward a softer, gentler tone; the drummers, instead of using the bass drum for regular accents, transferred the bulk of the beat to the cymbal; though syncopation was still in general use, there was more extensive use of even, legato phrasing.

Stan Getz in the archetypical musician of the cool school. Born February 2, 1927 in Philadelphia he lived in New York City from the age of ten. 

After flirting briefly with the bass and bassoon, he took up the saxophone while playing in New York's all-city orchestra. Leaving James Monroe High School in the Bronx, he joined an orchestra led by one Stinky Rogers but was promptly ordered to return to school.

Though the original model of all the "Brothers" was unmistakably Lester Young and their styles at first seemed largely similar, it was Getz who emerged first to form his own combo and establish himself as one of the great individualists of the cool generation.

Horace Silver, a native of Norwalk, Connecticut, born there in 1928. Horace was a tenor saxophonist like Stan when he first played local gigs, but he had switched to piano when Stan Getz heard him one evening in Hartford and was soon invited to join the Getz quintet, with which he remained on tour for a year. It was during this period that six of these titles were recorded. 

Silver's piano style, which is finally receiving the recognition it deserves, is a result not of outward striving towards atonalities and modern classical complexities, but of an inner development and search for deeper "soul" and meaning to the blues roots of jazz. Words like "funk" and "soul" are open to many subjective interpretations, let's suggest that you listen awhile and discover that whatever the word, or the tune, Silver plays real swinging piano. *(Liner notes)*

These recordings, which originally appeared on Roost Records, are all Stan Getz showpieces, some of which were described by Down Beat editor and critic Nat Hentoff as "among the classic products of our contemporary jazz era". Discussing further the special qualities of Stan's playing on these records, Hentoff wrote: "Much has been written about his 'sound' of almost unprecedentedly piercing purity. There is also the Getz way with a melody as he often sculpts a melodic line with the sinuous care of a Martha Graham... Most important from a jazz viewpoint is that he swings. Sometimes vigorously, sometimes exceedingly gentle, he always moves". *Paul Shapler* 

Side 1

1 - Yvette

(Gigi Gryce)

2 - Wild Wood

(Gigi Gryce)

3 - Melody Express

(Gigi Gryce)

4 - Penny

(Horace Silver)

5 - Potter's Luck

(Horace Silver)

6 - Split Kick

(Horace Silver)

Side 2

7 - Rubber Neck

(Frank Rosolino)

8 - Mosquito Knees

(Gigi Gryce)

9 - Sweetie Pie

(John Jacob Loeb)

10 - Hershey Bar

(Johnny Mandel)

11 - Tootsie Roll

(Stan Getz)

12 - For Stompers Only

(Stan Getz)

#1 to #6:

Stan Getz (tenor sax), Jimmy Raney (guitar), Horace Silver (piano), Tommy Potter (bass), Roy Haynes (drums).

Recorded in New York City, August 15 (#1, #2, #3, #5) and March 1 (#4, #6), 1951.

#7 and #8:

Stan Getz (tenor sax), Jimmy Raney (guitar), Al Haig (piano), Teddy Kotick (bass), Tiny Kahn (drums).

Recorded live at Storyville Club, Boston, October 28, 1951.

#9 and #10:

Stan Getz (tenor sax), Al Haig (piano), Tommy Potter (bass), Roy Haynes (drums).

Recorded in New York City, May 17, 1950.

#11 and #12:

Stan Getz (tenor sax), Horace Silver (piano), Joe Calloway (bass), Walter Bolden (drums).

Recorded in New York City, December 10, 1950.

Al Cohn Quintet - Progressive Al Cohn

Here's Al Cohn wailing as you never heard him wail before. He leads the quintet in his arrangements of four new originals.

On trumpet Nick Travis, now a star in the Sauter-Finegan band, takes some amazing solos.

The rhythm section is star studded with Max Roach, today’s top drummer, Horace Silver, a flashing new pianist, and Curly Russell, a solid rock on bass.

This is Al Cohn, ‘Mr. Music’, as you like him. *Gus Grant (liner notes)*

Backed by some of the top bop players of the day, Al Cohn stretches out here for a program heavy with up-tempo swingers. Cut in 1953, Progressive Al Cohn finds the usually more mellow tenor great feeding off the driving drum work of Max Roach. The four-track set is all Cohn originals done in a Lester Young-on-the-West Coast style. Also featuring the talents of pianist Horace Silver, this early Cohn release is at once hot and cool, vigorous and lithe. *Stephen Cook*

Side 1

1 - That's What You Think

2 - Ah-Moore

Side 2

3 - I'm Tellin' Ya

4 - Jane Street

(All compositions by Al Cohn)

 Al Cohn (tenor sax), Nick Travis (trumpet), Horace Silver (piano), Curley Russell (bass), Max Roach (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, June 23, 1953.

Kenny Dorham - Afro-Cuban

McKinley Howard Dorham is a trumpet player who was taken for granted. 

For several years, mainly the halcyon years of the bop movement, Kenny was Mr. Available for every trumpet chair in every band and combo. If Dizzy wasn't around and Howard McGhee was out of town, there was always Kenny. And so it went from about 1945 to '51, always in the shadow of those who had been first to establish themselves in the vanguard of the new jazz. 

Slowly, in the past few years, Kenny has emerged from behind this bop bushel to show the individual qualities that were ultimately to mark him for independent honors. Numerous chores as a sideman on record dates for various small companies led to his inclusion in the important Horace Silver Quintet dates for Blue Note, and, as a result of his fine work on these occasions, to the signing of an exclusive Blue Note contract and his first date for this label as a combo leader on his own. 

For this session with its Afro-Cuban rhythmic motif, Kenny says "I tried to write everything so that the rhythm would be useful throughout and would never get in the way". As a consequence, the Cuban touch sounds as if it is a part of the whole, rather than something that has been superimposed on a jazz scene, as is sometimes the case.

Kenny Dorham's Blue Note debut as a leader marks an important phase in his career. After hearing these sides, the fans who for so long had been only vaguely aware of his real capabilities will learn that here is a soloist and a composer whose sound and pen are destined from now on to play a lively and stimulating role on the jazz stage. *Leonard Feather*

There are good names here, and an often exciting brand of jazz over a mostly Cuban rhythm. Dorham is a fine modern trumpeter and then there are J. J. Johnson, trombone; Hank Mobley, tenor; Horace Silver, piano; Oscar Pettiford, bass; Art Blakey, drums, etc., all of whom have plenty to say. If pushed, this could sell nicely to modern. *Billboard, November 5, 1955*

Considered Kenny Dorham's finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging "La Villa" with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces "K.D.'s Motion", "Venita's Dance", and "Echo of Spring/K.D.'s Car Ride" display great group empathy and seem effortless, though they're not. It's the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie's. Payne's robust bari ignites the hip call-and-response motif of "Afrodisia", while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper "Basheer's Dream". Two takes of "Minor's Holiday" are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham's clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos "Patato" Valdes is the perfect spice added to this dish. The lone ballad, "Lotus Flower", is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers. *Michael G. Nastos*

Title is only half true, for one side of this collection spots straight jazz blowing with a quintet running thru fleet, if boppish. Dorham originals. Trumpeter Dorham is in fine form thruout; more colorful within Afro-Cuban rhythmic frame. These tracks spot Blakey, J. J. Johnson, Mobley, etc. Latter have been released before; quintet sides are new. Worth price for solo and rhythmic. Should be able to find buyers among both Latin and jazz clientele. *Billboard, May 20, Mayo 1957*

1 - Afrodisia

(Kenny Dorham)

2 - Lotus Flower

(Kenny Dorham)

3 - Minor's Holiday

(Kenny Dorham)

4 - Basheer's Dream

(Gigi Gryce)

5 - K.D.'s Motion

(Kenny Dorham)

6 - La Villa

(Kenny Dorham)

7 - Venita's Dance

(Kenny Dorham)

8 - Echo Of Spring (aka K.D.'s Cab Ride)

(Kenny Dorham)

9 - Minor's Holiday (alternate take)

(Kenny Dorham)

Kenny Dorham (trumpet); J.J. Johnson (trombone [#1 to #4, #9]); Hank Mobley (tenor sax); Cecil Payne (baritone sax); Horace Silver (piano); Oscar Pettiford [#1 to #4, #9], Percy Heath [#5 to #8] (basses); Art Blakey (drums); Carlos "Patato" Valdes (congas [#1 to #4, #9]); Richie Goldberg (cowbell [#1 to #4, #9]).

Recorded at Van Gelder Studio, Hackensack, New Jersey, January 30 (#5 to #8) and March 29, 1955 (#1 to #4, #9). 

Miles Davis All Stars - Walkin'

Walkin' (PRLP 7076) is a Miles Davis compilation album released in March 1957 by Prestige Records. The album compiles material previously released on two 10 inch LPs in 1954 (Miles Davis All-Star Sextet and Side One of Miles Davis Quintet, dropping "I'll Remember April" from Side Two (which had been on the 12" LP Blue Haze, released the previous year, itself a collection of tunes from previous 10" LPs) and replacing it with the previously unreleased "Love Me or Leave Me" recorded at the same session. Here credited to the "Miles Davis All-Stars", the songs were recorded on 3 April and 29 April 1954 by two slightly different groups led by Davis. Both sessions were recorded at Rudy Van Gelder's home studio.

The earlier session was a quintet with David Schildkraut on alto saxophone, and produced the three tracks on side two. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. Two of these tracks were originally released on the 10" LP Miles Davis Quintet, Prestige PRLP 185. The earlier release also included "I'll Remember April", recorded at the same time, now found on the Prestige album Blue Haze (PRLP 7054). Another tune from this session, "Love Me or Leave Me", was previously unreleased and substituted here for "I'll Remember April".

The second session, which makes up all of side one, was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone. The rhythm section was the same as the earlier session. These two tracks were originally issued on the 10" LP Miles Davis All-Star Sextet, Prestige PRLP 182. The album's title track, a staple of Davis's live set for many years, was key to the emerging hard bop approach developed in the mid-1950s, Davis providing it with an anthem. The composition has been attributed by various sources to Jimmy Mundy, Miles Davis, and Gene Ammons. The copyright registration listed the composer as Richard E. Carpenter, a businessman and artist manager who had professional relationships with Mundy and Tadd Dameron, and was not known to be a musician or composer. "Solar" was attributed to Davis and copyrighted in his name in 1963. Evidence revealed in 2012 showed that it is nearly identical to "Sonny", a piece written by guitarist Chuck Wayne in the 1940s, so Wayne is regarded as the composer of "Solar". *wikipedia.org*

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'N' Boogie", adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music - as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'N' Boogie". The improvisation yields some truly memorable solos and exchanges between Davis and Johnson - who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning". "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me", gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. *Lindsay Planer*

1 - Walkin'

(Richard Carpenter)

2 - Blue 'N' Boogie

(Gillespie, Paparelli)

3 - Solar

(Miles Davis)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Love Me Or Leave Me

(Donaldson, Kahn)

Miles Davis (trumpet), J.J. Johnson (trombone [#1, #2]), Lucky Thompson (tenor sax [#1, #2]), David Schildkraut (alto sax [#3, #4, #5]), Horace Silver (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 3 (#3, #4, #5) and April 29 (#1, #2), 1954.

Horace Silver - Silver's Blue

Horace Ward Martin Tavares Silver is the most important new keyboard comet to flash across the jazz firmament in recent years. This statement, though it may sound like a publicity blurb, happens to reflect the opinion of an authoritative body of prominent musicians.

Here is an album that presents one of the brightest, hardest-swinging groups in contemporary jazz. There may be many items in your collection that you would gladly be willing to trade for these seven pieces of Silver. *Leonard Feather (liner notes [1956])*

Silver’s Blue was basically a Jazz Messengers record, but since Art Blakey wasn’t on it and since he was so vital a component of the original Messengers, it was decided that this was to be a Horace Silver Quintet album. But the elements of the record are the same — some original tunes, some treatments of standards and good, solid playing from everyone. My influences have always been the same — the best in American music. Gospel, blues, bebop, show tunes, Latin rhythms, even American classical music show up in my writing.

*Horace Silver (liner notes [2005])*

In my late twenties and early thirties, most of the jazz record companies wanted their artists to record standard compositions that people were familiar with. They would allow you to record some original compositions, but their main thrust was the standards. I recorded an album called Silver's Blue for Epic Records in 1956. George Avakian was the producer. I approached him with six originals that I wanted to record. He wanted me to do three standards and three originals. I reviewed some of my favorite standard compositions and chose three to arrange for the session. The session came off well, and I am proud of it.

*Horace Silver (from Let’s Get to the Nitty Gritty: The Autobiography of Horace Silver)*

Two sessions (sic) in the mid-'50s produced the material for this album, which despite or perhaps because of being one of the historical early recordings of the Horace Silver Quintet, was later treated to a confusing mess of reissues, some of which never really mentioned what was so historic about the material in the first place. Maybe there was no reason to, since by the new millennium the type of groovy, funky jazz Silver was famous for had become so in demand that any recording of the authentic item was considered coated with golden fairy dust. In the late '80s, when this particular imprint was released on the public, just the fact that it was a reissue of something old seemed to be enough. The liner notes begin with a pretentious description of the lengths to which the geniuses who remastered this went, in order to not only preserve the integrity of the original tapes but to bring them up to the standards of the era. Which everyone knows were no standards and, anyway, these tapes sounded fantastic in the first place.

First off, the liner notes should have said, "Listen to Hank Mobley". The tenor saxophonist is the first to solo on the title track, and what a beautiful improvisation it is, always centered around the blues but twisting through some melodic turns of phrases that reference folk songs and who knows what else. Besides the pianist, who is in his usual tasty form, it is Mobley who makes this álbum really breathe, as neither trumpeter Will really knock one's socks off. Joe Gordon is a bit undersung, true, but he also has a pinched sound in the upper register and a habit of noodling his way from change to change as if he felt inspiration was just around the corner. For the second sesión he is replaced by Donald Byrd, who has his moments despite relying on stock phrases at times when the intensity of his solo is just building up. The arrangement of "How Long Has This Been Going On?" is refreshingly quiet and gentle, showing that Silver had more than one direction and bringing forth another type of tone from Mobley, all velvet and feathers. Songwriter Frank Loesser's "I'll Know" is also given a bright, catchy arrangement. The theme is stated in a series of slowly unfolding pronouncements building up to a great moment right before the solos start, when a strong medium-tempo groove comes in. On his solo, the pianist lays out his notes like a casino dealer providing cards all around to all the players, following blues licks with rapid chromatic bop devilments. The original "Shoutin' Out" is the kind of stuff Silver is really known for, and it is fantastic. The fine drummer Kenny Clarke, who always played well with Silver, is on hand throughout.

*Eugene Chadbourne*

The Horace Silver Quintet

Silver's Blue

1 - Silver's Blue

(Horace Silver)

2 - To Beat Or Not To Beat

(Horace Silver)

3 - How Long Has This Been Going On?

(Ira and George Gershwin)

4 - I'll Know

(Frank Loesser)

5 - Shoutin' Out

(Horace Silver)

6 - Hank's Tune

(Hank Mobley)

7 - The Night Has A Thousand Eyes

(Buddy Bernier, Jerry Brainin)

Horace Silver (piano); Joe Gordon [#2, #5], Donald Byrd [#1, #3, #4, #6,#7] (trumpets); Hank Mobley (tenor sax); Doug Watkins (bass); Kenny Clarke [#2, #5], Art Taylor [#1, #3, #4, #6,#7] (drums).

Recorded at Columbia Studio "D", New York City, July 2 (#2, #5), July 18 (#3, #6, #7) and July 19 (#1, #4), 1956.

Sonny Stitt - Playing Arrangements From The Pen Of Johnny Richards

Here are eight new Sonny Stitt sides guaranteed to please the most discreet jazz audience. If you like jazz, then this album will be one of your favorites because it is one of Sonny's swingin'est. 

At a time when "devices" are affecting the entire musical world, with echo chambers in the pop field and the odd combinations of instruments to create a "new" sound in the jazz field, it is refreshing to hear simplicity. 

In this album, you’ll hear the arrangements of Johnny Richards, considered one of the most outstanding contemporary composers of modern music. Formerly the arranger of the Boyd Raeburn Band, he also wrote for Paramount Studios. In the past year, most of his composition activity has centered with the Stan Kenton Band and at present he is free-lancing. 

This album is great for three reasons — the fine arranging of Johnny Richards, the musical prowess of the Sidemen appearing here, and the ever great saxophone of Sonny Stitt. If there be a third dimension in the musical world, it would be Stitt whose baritone, tenor and alto saxophone talent are such that he is acclaimed throughout the jazz world. *Shirley Hoskins (Liner notes)*

One of the most important Sonny Stitts albums. Backing his superb work on alto and tenor are a band conducted by Johnny Richards, one of the finest jazz arrangers. Two sessions from 1953, where Richards provides interestingly harmonized ensemble colours, and though Stitt gets most of the solo space, Kai Winding, Don Elliott, and the rhythm section also deliver some of the sets most memorable moments.

With the power of his playing, the irresistible impact of his emotion, and the implacable certainty of his beat, Stitt proved to be the best of all those who blew directly in the Parker idiom. *Jordi Pujol*

Sonny blowing clean and soulfully, over larger arrangements by Johnny Richards – in a format that's quite different than any of his other records! The Richards touch is wonderful here – mellow and warm, with some Kentonite styles, but cleaner and leaner, in a way that works perfectly with Stitt's horn. Titles include "Hooke's Tours", "Loose Walk", "Pink Satin", "Opus 202", "Sweet And Lovely", and "Sancho Panza".  Stitt's in top form, and solos with creativity and imagination that show him at the top of his talents!  *dustygroove.com*

Side 1

1 - Sancho Panza

(J. Richards)

2 - Sweet And Lovely

(Amheim, Daniels, Tobias)

3 - Hooke's Tours

(Stitt, Richards)

4 - If I Could Be With You (One Hour Tonight)

(Creamer, Johnson)

Side 2

5 - Loose Walk

(Stitt, Richards)

6 - Pink Satin

(Stitt, Richards)

7 - Shine On Harvest Moon

(Bayes-Norworth)

8 - Opus 202

(Stitt, Richards)

Johnny Richards (arrangements, conductor)

#1 to #4:

Sonny Stitt (alto and tenor saxes), Don Elliott (mellophone), Kai Winding (trombone), Sid Cooper (tenor sax, piccolo), George Berg (baritone sax), Horace Silver (piano), Charles Mingus (bass), Don Lamond (drums).

Recorded at Coastal Recording, New York City, March 18, 1953.

#5 to #8:

Sonny Stitt (alto and tenor saxes), Don Elliott (mellophone), Kai Winding (trombone), Jerry Sanfino (tenor sax, piccolo), George Berg (baritone sax), Al Williams (piano), Charles Mingus (bass), Jo Jones (drums), Santos Miranda (conga).

Recorded at Fulton Studios, New York City, November 16, 1953.