A Remembrance: Horace Silver

Horace Silver – another of the great American jazz musicians from the dawn of Bebop has passed.

The International Review of Music

By Devon Wendell

When I think of Horace Silver I think of how challenging it must have been to bring that old style of blues and gospel back into jazz during the heyday of bebop. Sure the blues was a part of bop; Bird, Dizzy, Miles, and Monk loved it, played it, and used it in their compositions but in a more abstract and modern fashion. Silver’s blues, even when mixed with Latin jazz and bebop was more “old timey” or “back home” blues that many lovers (and some of the players) of the newer jazz sound veered away from and even felt ashamed of.

Horace Silver Horace Silver

I first heard Horace Silver in high school on the album A Night At Birdland By The Art Blakey Quintet on Blue Note Records with Lou Donaldson, Clifford Brown, Curley Russell, and Blakey of course. His style jumped out at me. A young…

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Blue Note and Electronically Rechanneled Stereo


  Blue Note Fake Stereo ’70s reissues: a public-interest post.

Electronic-warning-1600For the Blue Note collector with a limited budget, and that is most of us I guess, reissues are an inevitable fact of life. It is also inevitable they will come across reissues which claim to be  “stereo”, however that claim is not always to be taken at face value. There are recordings made originally in mono which were later subjected to a form of torture known as “fake stereo”

The problem of fake stereo Blue Notes is  largely though not exclusively in Liberty and United Artists reissues of the early 1500 Blue Note series, which RVG recorded exclusively in mono. Van Gelder started out recording in the technology of the day, mono. Some time around July 1957, with BLP 1554 Art Blakey Orgy in Rhythm Vol1, Van Gelder  introduced simultaneous mono and stereo two-track recording from the same board, meaning a stereo tape exists for many subsequent recordings, whether or…

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Miles Davis: Water Babies (1967) Columbia

Some reflection



Selection: Sweet Pea (Shorter) – 1967 quintet: somnambulant floating groove,  immersive, pensive, no-bop.


Side 1: Miles Davis (trumpet) Wayne Shorter (tenor saxophone) Herbie Hancock (piano) Ron Carter (bass) Tony Williams (drums) recorded Columbia 30th Street Studios, NYC, June 7,13 and 23, 1967
Side 2: Miles Davis (trumpet) Wayne Shorter (tenor saxophone) Chick Corea, Herbie Hancock (electric piano) Dave Holland (bass) Tony Williams (drums) recorded Columbia Studio B, NYC, November 11-12, 1968, recording engineer Stan Tonkel.

Water Babies condemned by Allmusic

 ” not an essential set, this album fills in some gaps during Davis’s transitional period from adventurous acoustic playing to early electric performances”


water babies allmusic rating

Fills some gaps? Sorry, Scott Yanow – users bumped it up an extra star, perhaps a little more appreciated than you thought. Still, he’s not the only one making mistakes.

LJC-DunceA record I had mistakenly avoided. Released in 1976 I thought it sat in Miles electric period of which…

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Is Keith Jarrett a jazz musician?

I was just listening to Keith Jarrett – The Koln Concert on Rdio, and they only allow sampling.  I don’t know why.  It is not important right now.

My question to the community is do you consider Keith Jarrett a jazz musicians?

He is without doubt, a fabulous  musician, and has open doors of this fascinating music to so many, who would not otherwise have listened.

I for one, own nothing by him, but this is about to change with his The Koln Concert, which I find very inchanting.

The Jazz Collector