Horace Silver • There's No Need To Struggle

 

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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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 por el que Silver fue pionero en los años 50 ahora es dominante, interpretado no solo por vestigios de una generación anterior, sino también por músicos de mejillas difusas que aún no habían nacido cuando la música perdió el favor de la crítica en los años 60 y 70.

La primera influencia musical de Silver fue la música folclórica caboverdiana que escuchó de su padre nacido en Portugal. Más tarde, después de comenzar a tocar el piano y el saxofón cuando era estudiante de secundaria, Silver cayó bajo el hechizo de cantantes de blues y pianistas de boogie-woogie, así como de boppers como Thelonious Monk y Bud Powell. En 1950, Stan Getz tocó en un concierto en Hartford, Connecticut, con una sección rítmica que incluía a Silver, el baterista 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 Getz selló el trato.

Silver trabajó con Getz durante un año, luego comenzó a trabajar independientemente por la ciudad con jugadores tan importantes como Coleman Hawkins, Lester Young y Oscar Pettiford. En 1952 grabó con Lou Donaldson para el sello Blue Note; esta fecha lo llevó a sus primeras grabaciones como líder. En 1953, unió fuerzas con Art Blakey para formar una cooperativa bajo su liderazgo conjunto. 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. Muchas de las canciones escritas por Silver para ese disco ," The Preacher", "Doodlin'", "Room 608", se convirtieron en clásicos del jazz. Para 1956, Silver había dejado a los Messengers para grabar por su cuenta. La serie de álbumes de Blue Note que le siguieron lo estableció para siempre como uno de los principales compositores/pianistas de jazz. LP como Blowin ' the Blues Away y Song for My Father (ambos grabados por un conjunto que incluía a Blue Mitchell y Junior Cook, acompañantes de Silver desde hace mucho tiempo) presentaban composiciones armónicamente sofisticadas y formalmente distintivas de Silver para pequeños conjuntos de jazz.

El estilo pianístico de Silver, conciso, imaginativo y completamente funky, se convirtió en un modelo a emular para los pianistas convencionales posteriores. Algunos de los trompetistas 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 en un momento temprano de sus carreras. Silver incluso ha afectado a miembros de la vanguardia; Cecil Taylor confiesa una influencia Plateada, y el trompetista Dave Douglas tocó brevemente en un combo Plateado.

Silver grabó exclusivamente para Blue Note hasta el eclipse de ese sello a fines de los 70, momento en el que fundó su propio sello, Silveto. El trabajo de Silver en los 80 estaba mal distribuido. Durante ese tiempo comenzó a escribir letras de sus composiciones, y su trabajo comenzó a mostrar una preocupación por los poderes metafísicos de la música, como lo ejemplifican los títulos de álbumes como Music to Ease Your Disease y Spiritualizing the Senses. En los años 90, Silver abandonó su empresa discográfica y comenzó a grabar para Columbia. Con su resurgimiento en un sello importante, Silver recibió una vez más la atención que merecen sus contribuciones. Ciertamente, nadie contribuyó nunca con un cuerpo más grande y vital de composiciones originales 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

Tracks:
A1 - I Don't Know What I'm Gonna Do - 4:15
A2 - Don't Dwell On Your Problems - 5:35
A3 - Everything's Gonna Be All Right - 4:53
A4 - There's No Need To Struggle - 4:58
B1 - Seeking The Plan - 4:57
B2 - Discovering The Plan - 4:06
B3 - Fulfilling The Plan - 4:43
B4 - Happiness And Contentment - 5:15


Credits:
    Bass – Bob Maize
    Design [Album Cover] – Sylvester Brown (2)
    Drums – Carl Burnett
    Engineer [Recording And Mixing] – Jim Mooney
    Photography By – Don Williams (28)
    Piano, Vocals – Horace Silver
    Producer, Lyrics By, Music By, Arranged By – Horace Silver
    Tenor Saxophone, Vocals – Eddie Harris
    Trumpet – Bobby Shew
    Vocals – Feather

Label:    Silveto Records – SPR 103
Released:    1984
Genre:    Jazz
Style:    Soul-Jazz
https://www.discogs.com/release/4011939-Horace-Silver-Theres-No-Need-To-Struggle

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