Review by Scott Yanow
The 1957 Horace Silver Quintet (featuring trumpeter Art Farmer and tenor saxophonist Hank Mobley) is in top form on this date, particularly on "My One and Only Love" and their famous version of "Home Cookin'." All of Silver's Blue Note quintet recordings are consistently superb and swinging and, although not essential, this is a very enjoyable set.
https://www.allmusic.com/album/the-stylings-of-silver-mw0000223931
Biography by Chris Kelsey
From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
Silver's earliest musical influence was the Cape Verdean folk music he heard from his Portuguese-born father. Later, after he had begun playing piano and saxophone as a high schooler, Silver came under the spell of blues singers and boogie-woogie pianists, as well as boppers like Thelonious Monk and Bud Powell. In 1950, Stan Getz played a concert in Hartford, Connecticut, with a pickup rhythm section that included Silver, drummer Walter Bolden, and bassist Joe Calloway. So impressed was Getz, he hired the whole trio. Silver had been saving his money to move to New York anyway; his hiring by Getz sealed the deal.
Silver worked with Getz for a year, then began to freelance around the city with such big-time players as Coleman Hawkins, Lester Young, and Oscar Pettiford. In 1952, he recorded with Lou Donaldson for the Blue Note label; this date led him to his first recordings as a leader. In 1953, he joined forces with Art Blakey to form a cooperative under their joint leadership. The band's first album, Horace Silver and the Jazz Messengers, was a milestone in the development of the genre that came to be known as hard bop. Many of the tunes penned by Silver for that record -- "The Preacher," "Doodlin'," "Room 608" -- became jazz classics. By 1956, Silver had left the Messengers to record on his own. The series of Blue Note albums that followed established him for all time as one of jazz's major composer/pianists. LPs like Blowin' the Blues Away and Song for My Father (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 jazz ensemble.
Silver's piano style -- terse, imaginative, and utterly funky -- became a model for subsequent mainstream pianists to emulate. Some of the most influential horn players of the '50s, '60s, and '70s first attained a measure of prominence with Silver -- musicians like Donald Byrd, Woody Shaw, Joe Henderson, Benny Golson, and the Brecker Brothers all played in Silver's band at a point early in their careers. Silver has even affected members of the avant-garde; Cecil Taylor confesses a Silver influence, and trumpeter Dave Douglas played briefly in a Silver combo.
Silver recorded exclusively for Blue Note until that label's eclipse in the late '70s, whereupon he started his own label, Silveto. Silver's '80s work was poorly distributed. During that time he began writing lyrics to his compositions, and his work began to display a concern with music's metaphysical powers, as exemplified by album titles like Music to Ease Your Disease and Spiritualizing the Senses. In the '90s, Silver abandoned his label venture and began recording for Columbia. With his re-emergence on a major label, Silver once again received a measure of the attention his contributions deserve. Certainly, no one ever contributed a larger and more vital body of original compositions to the jazz canon. Silver died in New York on June 18, 2014 at the age of 85.
https://www.allmusic.com/artist/horace-silver-mn0000267354/biography
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Reseña de Scott Yanow
El Horace Silver Quintet de 1957 (con el trompetista Art Farmer y el saxofonista tenor Hank Mobley) está en plena forma en esta fecha, especialmente en "My One and Only Love" y su famosa versión de "Home Cookin'". Todas las grabaciones del quinteto de Blue Note de Silver son siempre magníficas y con mucho swing y, aunque no es esencial, este es un conjunto muy agradable.
https://www.allmusic.com/album/the-stylings-of-silver-mw0000223931
Biografía de Chris Kelsey
Desde la perspectiva del siglo XXI, está claro que pocos músicos de jazz tuvieron un mayor impacto en la corriente principal contemporánea que Horace Silver. El estilo hard bop del que Silver fue pionero en los años 50 es ahora dominante, interpretado no sólo por los remanentes de una generación anterior, sino también por músicos de mejillas difusas que aún no habían nacido cuando la música cayó en desgracia en los años 60 y 70.
La primera influencia musical de Silver fue la música folclórica de Cabo Verde que escuchó de su padre, nacido en Portugal. Más tarde, después de empezar a tocar el piano y el saxofón cuando iba al instituto, Silver cayó bajo el hechizo de los cantantes de blues y los pianistas de boogie-woogie, así como de músicos como Thelonious Monk y Bud Powell. En 1950, Stan Getz dio un concierto en Hartford (Connecticut) con una sección rítmica que incluía a Silver, el batería Walter Bolden y el bajista Joe Calloway. Getz quedó tan impresionado que contrató a todo el trío. Silver había estado ahorrando su dinero para mudarse a Nueva York de todos modos; su contratación por parte de Getz selló el trato.
Silver trabajó con Getz durante un año, y luego empezó a trabajar por su cuenta en la ciudad con músicos tan importantes como Coleman Hawkins, Lester Young y Oscar Pettiford. En 1952, grabó con Lou Donaldson para el sello Blue Note; esta fecha le llevó a sus primeras grabaciones como líder. En 1953, unió fuerzas con Art Blakey para formar una cooperativa bajo su dirección conjunta. El primer álbum de la banda, Horace Silver and the Jazz Messengers, fue un hito en el desarrollo del género que llegó a conocerse como hard bop. Muchos de los temas escritos por Silver para ese disco - "The Preacher", "Doodlin'", "Room 608"- se convirtieron en clásicos del jazz. En 1956, Silver dejó los Messengers para grabar por su cuenta. La serie de álbumes de Blue Note que siguieron le consagraron para siempre como uno de los principales compositores y pianistas de jazz. LPs como Blowin' the Blues Away y Song for My Father (ambos grabados por un conjunto que incluía a Blue Mitchell y Junior Cook, compañeros de Silver desde hacía mucho tiempo) presentaban las composiciones armónicamente sofisticadas y formalmente distintivas de Silver para pequeños conjuntos de jazz.
El estilo pianístico de Silver -conciso, imaginativo y totalmente funky- se convirtió en un modelo a imitar por los pianistas posteriores de la corriente principal. Algunos de los pianistas más influyentes de los años 50, 60 y 70 alcanzaron cierta prominencia con Silver: músicos como Donald Byrd, Woody Shaw, Joe Henderson, Benny Golson y los Brecker Brothers tocaron en la banda de Silver al principio de sus carreras. Silver incluso ha afectado a miembros de la vanguardia; Cecil Taylor confiesa una influencia de Silver, y el trompetista Dave Douglas tocó brevemente en un combo de Silver.
Silver grabó exclusivamente para Blue Note hasta el eclipse de este sello a finales de los 70, tras lo cual creó su propio sello, Silveto. El trabajo de Silver en los 80 tuvo poca distribución. En esa época comenzó a escribir las letras de sus composiciones, y su obra empezó a mostrar una preocupación por los poderes metafísicos de la música, como demuestran títulos de álbumes como Music to Ease Your Disease y Spiritualizing the Senses. En los años 90, Silver abandonó su aventura discográfica y comenzó a grabar para Columbia. Con su reaparición en un sello importante, Silver volvió a recibir la atención que merecen sus contribuciones. Sin duda, nadie ha aportado un conjunto de composiciones originales más grande y vital al canon del jazz. Silver murió en Nueva York el 18 de junio de 2014 a la edad de 85 años.
https://www.allmusic.com/artist/horace-silver-mn0000267354/biography
Tracklist:
1 - No Smokin' - 5:30
2 - The Back Beat - 6:20
3 - Soulville - 6:14
4 - Home Cookin' - 6:26
5 - Metamorphosis - 7:15
6 - My One And Only Love - 6:59
Credits:
Bass – Teddy Kotick
Composed By – Horace Silver (tracks: 1 to 5)
Design [Cover] – Reid Miles
Drums – Louis Hayes
Photography By [Cover And Liner] – Francis Wolff
Piano – Horace Silver
Producer – Alfred Lion
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Hank Mobley
Trumpet – Art Farmer
Notes
Recorded on May 8, 1957 at the Van Gelder Studio, Hackensack, New Jersey
Recorded At – Van Gelder Studio, Hackensack, New Jersey
Recorded By, Remastered By [2002] – Rudy Van Gelder
Label: Blue Note – 7243 5 40034 2 4
Series: RVG Edition –
Released: 2002
Genre: Jazz
Style: Hard Bop, Soul-Jazz
https://www.discogs.com/The-Horace-Silver-Quintet-The-Stylings-Of-Silver/release/769852
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thank for the original uploader
Thanks for Horace.
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