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Father of funk, symbol of soul, and high priest of hard bop, Horace
Silver combined Afrikan rhythms, gospel harmonies, and be-bop progressions
to pioneer a new era in the evolution of jazz music.
During the post-bop period of the mid-‘50s to ‘60s, Silver struck
gold with a successful series of critically acclaimed compositions that
achieved instant inclusion in the classification system of jazz standards.
His most renowned compositions in this category are “The Preacher,”
“Senor Blues,” “Sister Sadie,” “Filthy McNasty,” and “Song for My Father.”
In a salute to the music of Horace Silver, bassist Larry Ridley and
the Jazz Legacy Ensemble chose not to feature the favorites but to instead
present a program of Silver’s lesser known gems, focusing more on his
peerless artistry than his popular appeal.
The compositions selected for the presentation were primarily
culled from “The Jody Grind” recording with the addition of two earlier
compositions, “Mexican Hip Dance,” “The Jody Grind,” “Mary Lou,” “Blue
Silver,” “Grease Piece,” “Dimples,” “Peace,” and “Room 608.”
Moreover, the Jazz Legacy Ensemble is not only an all-star group,
but most of the members have a special affinity for the music of Horace
Silver. The group, a sextet,
consists of Virgil Jones (trumpet), James Spaulding (alto saxophone and
flute), Charles Davis (tenor saxophone), Ronnie Matthews (piano), Larry
Ridley (bass), and Alan Nelson (drums).
Spaulding, Davis, and Ridley recorded with Horace Silver, while
Matthews was Silver’s pianist of choice to substitute for him when unable
to make an engagement.
It was clear that the October 29th audience at
Schomburg’s Sunday Sounds program were Silverologists in good standing.
The attentiveness and applause throughout the concert continuously
confirmed an allegiance to and appreciation of the artistry of Horace
Silver as one of the greatest composers of all time.
The ensemble’s first composition was “Mexican Hip Dance.”
The melody combined a south-of-the-border staccato swing with a
north of the border legato blues.
All the soloists stayed within the context of the composition by
keeping their minds in
Mexico and their feet in Memphis.
Next up was “The Jody Grind,” an idiomatic lesson in inner-city
life with a streetcorner statement about the science of signifying and the
art of attitude.
Davis
took the first solo, having surrendered ego as a sacrifice for expression.
He became the blues; the blues became him.
He exuded perfection.
Jones followed with a funk a la mode manifesto mix of straight-ahead soul
and hard bop. Spaulding
spirited excellence into every note and into the spaces between the notes.
Matthews mesmerized with fingers of fire and in flight.
The program continued to simultaneously spotlight the superior
sound of Silver’s compositions and the academic artistry of the ensemble.
In actuality, the musicians were six scientists on an archeological
dig who became prospectors in the process by striking Silver.
This six-member team was no presenting a small part of their mother
lode to the masses of treasure seekers.
The music continued.
“Mary Lou,” structured on a strong and striking bass line while the horns
scaled the underside of mellow, spotlighted a sterling silver solo by
Spaulding on flute.
At this point, Ridley mad mention of the Million Man March by
informing us that although the Jazz Ensemble did not attend it physically,
they were there in spirit (Spaulding was there in body as well).
Furthermore, at the exact time of the March, they were in Senegal, West Afrika, on Goree Island,
in the slave house, holding hands in silence and support for the March.
The music of Horace Silver is consistently clinical, meticulous,
comprehensive and meaningful.
The Jazz Legacy Ensemble, in presenting the immortal work of this living
genius, has provided a service that is worth its weight in gold.
Author:
GEORGE EDWARD TAIT
Publication
Name: NEW YORK AMSTERDAM NEWS
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