The Horace Silver Quintet – Silver's Serenade
Regular price
€55,00
AVERAGE SHIPPING TIME : 2 TO 4 WORKING DAYS
Delivery time depends on country of delivery
VAT included in price for European Union countries, may be adjusted based on delivery country at check out.
Shipping is free within European Union (except for specific territories) above 99€ purchase up to 50kg. Shipping costs on quote above 50kg – quote request to be send to : contact@audiosoundmusic.com. No return policy for countries outside of European Union
Piano – Horace Silver [click here to see more vinyl featuring Horace Silver]
Trumpet - Blue Mitchell [click here to see more vinyl featuring Blue Mitchell]
Bass – Gene Taylor
Drums – Roy Brooks
Saxophone – Junior Cook
Written by Horace Silver
1 LP, Gatefold Jacket
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33RPM
Size : 12”
Stereo
Studio
Record Press : Record Technology Incorporated
Label : Blue Note Tone Poet
Original Label : Blue Note
Recorded May 7 & 8, 1963 at Van Gelder Studio, Englewood Cliffs, New Jersey
Recorded by Rudy Van Gelder
Original session produced by Alfred Lion
Reissue produced by Joe Harley
Mastered by Kevin Gray at Cohearent Audio
Liner Notes by Joel Dom
Photography by Reid Miles
Originally released in August 1963
Reissued in April 2024
Tracks :
Side A :
- Silver's Serenade
- Let's Get to the Nitty Gritty
Side B :
- Sweet Sweetie Dee
- The Dragon Lady
- Nineteen Bars
Reviews :
“Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track. However, "Let's Get to the Nitty Gritty" has one of those beautiful winding heads, beginning so slowly and then jumping a notch in both tempo and intensity. By the time the tune gets to full steam, though there are short stops, the joint is swinging in blues -- check Mitchell's solo on this tune and how he keeps returning to Silver's theme as the root for his blowing. "Sweetie Sweetie Dee" moves from hard bop to funky bop. The dissonant chords that open "The Dragon Lady" have an Eastern tinge. The tune's head is spacious and breezy within a minute, and the tune begins to swing. Silver returns to those chords again and again as if to keep the players inside the mode he's created, letting them solo for only a bit at a time. The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet. The 2006 Rudy Van Gelder Edition features no bonus tracks, but sound fanatics will be pleased by the clarity and separation here." AllMusic Review by Thom Jurek
"Early, 1950 to 1960—The Early Show marked Pepper's first recording as leader. This period included his affiliation with Savoy, Blue Note, and Contemporary Records. It saw the release of the truly legendary recordings Art Pepper Meets The Rhythm Section and Art Pepper + Eleven: Modern Jazz Classics. Pepper's early tone was cool, dry-ice with impeccable intonation and vibrato. Early Art ended with Pepper walking out of the Contemporary recording studio November 25, 1960 and preparing for an extended prison stay. That recording session resulted in Intensity and it would be some 15 years before Pepper would lead a combo in the studio again.
Middle, 1960 to 1975—A mostly musical fallow period characterized by Pepper's multiple prison and drug rehabilitation stays. There was some notable biodiscographics to consider. Pepper's playing had come under the spell of John Coltrane, an influence heard in abundance on the horribly recorded Art Pepper Quartet Live in San Francisco, 1964 and the recently released Renascence, recorded live 1975. Pepper's tone began to fray, betraying the naked emotion he would emit from his horn during the end of his life.
Late, 1975 to 1982—The Götterdammerung of the Jazz life, Pepper is fully reconstructed and infinitely impassioned. He released Living Legend in 1975, beginning a string of excellent recordings that included The Trip, No Limit, and his famous first East Coast recordings at the Village Vanguard. Pepper's later career was marked by a switch to Galaxy Records where he produced his famous Maiden Voyage Sessions, his strings recording, Winter Moon and his final duets with his favorite pianist George Cables, Goin' Home and Tête-à-Tête.
Art Pepper's tone and performance at his life's end were devastating-both to him and his fans. He concluded his life as the World's Greatest Alto Saxophonist." C. Michael Bailey – Allaboutjazz.com
Ratings:
Discogs : 4.4 / 5 , AllMusic : 4 / 5 , The Penguin Guide to Jazz : 3 / 5 , The Rolling Stone Jazz Record Guide : 3 / 5