![]() It includes but is not limited to Art Tatum, Teddy Wilson, Nat “King” Cole, and Thelonious Monk. His early influences included the styles of boogie-woogie and the blues. Not just the monotonous tick-tick-tick, tick-tick, the way it’s usually done, but the real bossa nova feeling, which I’ve tried to incorporate into this number.” ![]() Referring to “Song for My Father,” Silver said, “I was very much impressed by the authentic bossa nova beat. Those were happy, informal sessions.” Silver melded additional Lusophone influences into his music directly after his February 1964 tour of Brazil. Some of the family, including my father and my uncle, used to have musical parties with three or four stringed instruments my father played violin and guitar. In the interview for the liner notes to 1964’s Song for My Father (Cantiga Para Meu Pai), however, Silver remarked of the title track, “This tune is an original of mine, but it has a flavor of it that makes me think of my childhood days. His 1965 hit, “Cape Verdean Blues,” is the only clear rhythmic reference to his childhood home where his father and friends jammed, with traditional Capeverdean morna and coladeira as the main fare. Silver tended not to play up that he was proficient in Portuguese, nor draw directly on his rich Lusophone musical upbringing. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), 6 Pieces of Silver (1956) and Blowin’ the Blues Away (1959), which includes his famous, “Sister Sadie.” He also combined jazz with a sassy take on pop through the 1961 hit, “Filthy McNasty”. Along with Silver’s own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Silver’s own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. While Silver’s compositions at this time featured surprising tempo shifts and a range of melodic ideas, they caught the attention of a wide audience. Gospel elements are particularly prominent on one of his biggest hits, “The Preacher”, which Lion thought corny, but Silver persuaded him to record it. During his years with Blue Note, Silver helped to create the rhythmically forceful branch of jazz known as “hard bop”, which combined elements of rhythm-and-blues and gospel music with jazz. He was also a member of the Miles Davis All Stars, recording the crucial Walkin’ in 1954.įrom 1956 onwards, Silver recorded exclusively for the Blue Note label, eventually becoming close to label boss Alfred Lion who allowed him greater input on aspects of album production than was usual at the time. 1) with Russell, Clifford Brown and Lou Donaldson, at the Bohemia with Kenny Dorham and Hank Mobley, and also in the studios. The drummer-pianist team lasted for four years during this time, Silver and Blakey recorded at Birdland (A Night at Birdland Vol. In 19 he recorded three sessions with his own trio, featuring Blakey on drums and Gene Ramey, Curly Russell and Percy Heath on bass. It was in New York that he formed The Jazz Messengers, a co-operatively run group with Art Blakey. He eventually signed with them where he remained until 1980. During that year he met the executives of the label Blue Note while working as a sideman. He moved to New York City in 1951, where he worked at the jazz club Birdland on Monday nights, when different musicians would come together and informally jam. It was with Getz that Silver made his recording debut. ![]() Getz liked Silver’s band and brought them on the road, eventually recording three of Silver’s compositions. Getz was playing at the club with Silver’s trio backing him up. Silver was discovered in the Sundown Club in Hartford, Connecticut in 1950 by saxophonist Stan Getz. His tenor saxophone playing was highly influenced by Lester Young, and his piano style by Bud Powell. Silver began his career as a tenor saxophonist but later switched to piano. His mother was born in New Canaan, Connecticut and was of Irish-African descent. His father, who was known as John Tavares Silva, was from the island of Maio in Cape Verde. He was influenced by a wide range of musical styles, notably gospel music, African music, and Latin American music and sometimes ventured into the soul jazz genre. Silver is known for his distinctive humorous and funky playing style and for his pioneering compositional contributions to hard bop. Horace Silver (born September 2, 1928), born Horace Ward Martin Tavares Silva in Norwalk, Connecticut, is an American jazz pianist and composer.
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