Horace Silver Quintet Anthology feat. The Brecker Brothers, Billy Cobham etc. 1968 ~ 1973. A collection of Horace Silver Quintet FM broadcasts.

01. Nutville
02. Song For My Father
03. Psychedelic Sally
04. Introduction
05. The Preacher
06. The Cape Verdean Blues
07. Psychedelic Sally
08. Song For My Father
09. ?
10. Liberated Brother
11. In Pursuit Of The 27th Man
12. Big Business
13. Acid, Pot Or Pills
14. Gregory Is Here
15. Song For My Father

Bass: Bob Cranshaw (tracks: 13 to 15), John Williams (tracks: 01 to 03, 05 to 09), Will Lee (tracks: 10 to 12).
Drums: Al Queen (tracks: 10 to 12), Billy Cobham (tracks: 01 to 03, 05 to 09), Mickey Roker (tracks: 13 to 15).
Piano: Horace Silver (tracks: 01 to 03, 05 to 15).
Saxophone: Bennie Maupin (tracks: 01 to 03, 05 to 09).
Tenor Saxophone: Michael Brecker (tracks: 10 to 15).
Trumpet: Randy Brecker (tracks: 01 to 03, 05 to 15).

Konzerthaus, Wien, Austria on November 3rd, 1968 (tracks 01 to 03).
Philharmonie Berlin, Berlin, W. Germany on November 10th, 1968 (tracks 04 to 07).
International Jazz Festival, Juan-les-Pins, Antibes, France on July 26th, 1969 (tracks 08, 09).
Jazz Workshop, Boston, MA on March 27th, 1973 (tracks 10 to 12).
8th International Jazz Festival, Pori, Finland on April 14th, 1973 (tracks 13 to 15).
(discogs).


Horace Silver (born September 2nd, 1928, Norwalk, Connecticut, U.S.—died June 18th, 2014, New Rochelle, New York) was an American jazz pianist, composer, and bandleader, exemplary performer of what came to be called the hard bop style of the 1950s and ’60s. The style was an extension of bebop, with elements of rhythm and blues, gospel, and Latin-American music added. The style was marked by increased interest in composing original tunes with unusual structures, in place of the bebop practice of loosely basing improvisations on the chord progressions of a few favourite pop tunes such as “I Got Rhythm,” “Indiana,” and “What Is This Thing Called Love?”.
During the mid-1950s Silver was heard on records with Stan Getz, Miles Davis, and Art Blakey, and he cofounded the most typical hard bop group of the 1950s—the Jazz Messengers—with the latter. Silver then formed his own series of excellent quintets. Instead of having ensemble statements only at the beginning and end of a piece, the middle being simply a container for improvised solos, Silver wrote ensemble passages positioned within and between improvised solos, and he further arranged his music by using repeating accompaniment patterns instead of conventional “comping” (sporadic, syncopated bursts of chording that flexibly respond to the directions indicated by the improvising soloist). He also wrote bass lines to fit his left-hand piano figures. The harmonies he wrote for saxophone and trumpet, often fourths and fifths, made the quintet sound much larger than most bebop quintets. Silver’s piano solos were exceptionally clear and melodic, and he was not given to the standard practice, typified by his prime influence (Bud Powell), of improvising long, complex lines of eighth notes.
Silver’s best-known and longest-lived quintet (1958–64) had trumpeter Blue Mitchell and tenor saxophonist Junior Cook, but over the years Silver also employed many other outstanding musicians, including saxophonists Joe Henderson and Michael Brecker, trumpeters Art Farmer and Randy Brecker, and drummers Roy Brooks and Al Foster. Silver’s best-known compositions include “The Preacher,” “Señor Blues,” “Song for My Father,” “Sister Sadie,” “Nica’s Dream,” and “Filthy McNasty.” Silver exerted a wide influence, touching many pianists and jazz organists with the blues-derived aspects of his playing.
(britannica.com).

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