Live at Newport '58

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Editorial Reviews

Barnes & Noble - Steve Futterman
Before there was R&B funk as we know it, say, from James Brown and his soulful progeny on, there was funky jazz. And no one mated earthy blues tonality and copasetic rhythms with the harmonic and formal sophistication of modern jazz with more grace than Horace Silver. During his mid-1950s to late-'60s peak, this unique pianist and composer led airtight bands that offered the intricacies of hard-bop improvisation alongside a relentless groove. Each of his classic albums is a considered gem filled with memorable original tunes and superb ensemble interplay, brought to life by handpicked players. Thrown-together product just wasn’t part of Silver’s aesthetic. Which ...
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Editorial Reviews

Barnes & Noble - Steve Futterman
Before there was R&B funk as we know it, say, from James Brown and his soulful progeny on, there was funky jazz. And no one mated earthy blues tonality and copasetic rhythms with the harmonic and formal sophistication of modern jazz with more grace than Horace Silver. During his mid-1950s to late-'60s peak, this unique pianist and composer led airtight bands that offered the intricacies of hard-bop improvisation alongside a relentless groove. Each of his classic albums is a considered gem filled with memorable original tunes and superb ensemble interplay, brought to life by handpicked players. Thrown-together product just wasn’t part of Silver’s aesthetic. Which is why Live at Newport '58 is such a find. Not only does it catch Silver’s quintet in peak form, tearing through a program of exceptional material (including the signature “Senor Blues”); it also preserves a version of the band that never had a chance to formally record. The ringer was Louis Smith, a blistering and now, unfortunately, obscure trumpeter who left the band not long after the Newport show. Silver’s percussive piano work stokes Smith and saxophonist Jr. Cook while establishing a, well, funky foundation with the solid rhythm team of bassist Gene Taylor and drummer Louis Hayes. While tremendously popular in his time, Silver isn’t always immediately mentioned on the modern jazz A-list alongside Thelonious Monk, Miles Davis, Sonny Rollins, and other giants. Newport '58 provides yet more reasons to right that wrong.
All Music Guide - Jeff Tamarkin
With their 1956 Blue Note classic 6 Pieces of Silver, the Horace Silver Quintet had helped establish hard bop as the most exciting new direction in jazz in some years. Only two members of that group, saxophonist Junior Cook and drummer Louis Hayes, remained with pianist Silver when the Quintet took the stage at the Newport Jazz Festival in 1958, and as formidable as the lineup on that record had been, the additions of Louis Smith on trumpet and Gene Taylor on bass for the Newport session gave the Quintet a new ferocity that was only hinted at two years earlier. Smith's tenure in the band was relatively short-lived (he would soon be replaced by Blue Mitchell), and his playing on this date is monstrous, making the discovery of this long-lost, incendiary live set that much more significant. Smith's soloing here is economical yet full of panache, and when he and Cook meet up the sound radiates both coolness and fire, as paradoxical as that may seem. Taylor and Hayes are the model for small group jazz, tight but always one step ahead. And Silver, of course, is pure mastery throughout. There are only four tunes performed here, two of them, "Cool Eyes" and "Señor Blues," are the highlights of the 1956 masterwork. The latter closes out the set and never lets up: Silver, in his extended, perfectly realized solo, buries himself deep within the melody, explores its every nuance, peeks outside of it, and finds his way back in. The saxophone and trumpet offerings are thrill-packed and the bassist and drummer make sweet but dynamic statements. "Tippin'," which opens the show, had, improbably, been the B-side of a 45 rpm single, but here it's a grand tribute to the art of the groove, an exercise in funk long before that term became ubiquitous. It swings madly, lyrical and vibrant, reminding once again why Horace Silver has been, for more than 50 years, one of the defining names in jazz piano, as well as a bandleader who always knew how to get more out of his crew. Silver's only official live recording, Doin' the Thing (At the Village Gate), would be released in 1961, three years after this Newport date, making this the earliest complete Silver live show in circulation. Which pretty much says all that needs to be said.
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Product Details

  • Release Date: 2/5/2008
  • Label: Blue Note Records
  • UPC: 094639807024
  • Catalog Number: 98070
  • Sales rank: 72,775

Tracks

Disc 1
  1. 1 Introduction by Willis Connover - Willis Connover (0:44)
  2. 2 Tippin' (13:10)
  3. 3 The Outlaw (11:47)
  4. 4 Señor Blues (8:42)
  5. 5 Cool Eyes (10:21)
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Album Credits

Performance Credits
Horace Silver Primary Artist, Piano
Junior Cook Tenor Saxophone
Louis Hayes Drums
Louis Smith Trumpet
Gene Taylor Bass
Technical Credits
Horace Silver Composer
Michael Cuscuna Producer, Liner Notes
Mark Wilder Remixing, Mastering
Adjutor Theroux Engineer
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    A fine piece of Silver. A true gem and a fantastic find

    This recently discovered gem, is a fine work, by Horace Silver and his group. I particularly like Senor Blues, but the whole disc is great. Fine solos, well executed playing, and smooth stylings make this a worthy collector's item. I look forward to also listening to, according to KWMU's Dennis Owsley, in Missouri, another fine worth effort: Doin' The Thing, Live At The Village Gate.

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Sort by: Showing 1 Customer Reviews