# xmcd
#
# Track frame offsets: 
#        150
#        8423
#        56580
#        113758
#        159668
#        233825
#
# Disc length: 3842 seconds
#
# Revision: 1
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.95b4
#
DISCID=3c0f0006
DTITLE=Horace Silver / Paris Blues
DYEAR=1962
DGENRE=Jazz
TTITLE0=Introductions By Norman Granz And Horace Silver
TTITLE1=Where You At
TTITLE2=The Tokyo Blues
TTITLE3=Filthy McNasty
TTITLE4=Sayonara Blues
TTITLE5=Doin' The Thing
EXTD=c 1962 Pablo\n\nRoy Brooks  -  Drums \nJunior Cook  -  Sax (Tenor
EXTD=) \nBlue Mitchell  -  Trumpet \nHorace Silver  -  Piano \nNorman 
EXTD=Granz  -  Producer \nGene Taylor Band  -  Bass \nJamie Putnam  - 
EXTD= Art Direction \nJan Persson  -  Photography \nDeb Sibony  -  Des
EXTD=ign \nJoe Tatantino  -  Digital Editing, Mastering, Transfers \nB
EXTD=ob Bernotas  -  Liner Notes
EXTT0=Review (AMG Guide)\n\nHorace Silver is not only important becaus
EXTT0=e of his contributions as a pianist/composer; he's also been a f
EXTT0=irst-rate talent scout (much like Miles Davis, Chick Corea, and 
EXTT0=Art Blakey). From Donald Byrd to Joe Henderson to Tom Harrell, s
EXTT0=o many of Silver's sidemen have come to be recognized as serious
EXTT0= jazz heavyweights. The hard bopper led his share of five-star g
EXTT0=roups  especially in the '50s and '60s  but if any one Silver co
EXTT0=mbo went down in history as his most important, it was the 1959-
EXTT0=1964 quintet with trumpeter Blue Mitchell, tenor saxman Junior C
EXTT0=ook, bassist Gene Taylor, and drummer Roy Brooks. And that cohes
EXTT0=ive group is the one that Silver leads on Paris Blues, which con
EXTT0=tains previously unreleased performances from an October 6, 1962
EXTT0=, appearance at the Olympia Theater in Paris. The concert was a 
EXTT0=Norman Granz presentation, and like a lot of Granz-produced conc
EXTT0=erts, it was taped. However, the recording remained in the can f
EXTT0=or 40 years, and didn't see the light of day until Fantasy relea
EXTT0=sed Paris Blues on Pablo in 2002. Pablo is an appropriate place 
EXTT0=for the CD because Pablo, like Verve, is a label that Granz foun
EXTT0=ded. Silver's quintet is in good form during an hourlong set tha
EXTT0=t boasts extended performances of "Filthy McNasty," "Doin' the T
EXTT0=hing," and "Where You At" as well as "The Tokyo Blues" and "Sayo
EXTT0=nara Blues." All of the tunes last at least ten minutes, and "Sa
EXTT0=yonara Blues" lasts no less than 16 minutes  no one can claim th
EXTT0=at Silver and his sidemen don't have enough room to stretch out.
EXTT0= Paris Blues isn't quite essential, but it's still an enjoyable 
EXTT0=hard bop CD that Silver's more devoted fans will welcome with op
EXTT0=en arms.  Alex Henderson
EXTT1=Horace Silver\n\nFrom the perspective of the late '90s, it is cl
EXTT1=ear that few jazz musicians have had a greater impact on the con
EXTT1=temporary mainstream than Horace Silver. The hard bop style that
EXTT1= Silver pioneered in the '50s is now dominant, played not only b
EXTT1=y holdovers from an earlier generation, but also by fuzzy-cheeke
EXTT1=d musicians who had yet to be born when the music fell out of cr
EXTT1=itical favor in the '60s and '70s. \nSilver's earliest musical i
EXTT1=nfluence was the Cape Verdean folk music he heard from his Portu
EXTT1=gese-born father. Later, after he had begun playing piano and sa
EXTT1=xophone as a high schooler, Silver came under the spell of blues
EXTT1= singers and boogie-woogie pianists, as well as boppers like The
EXTT1=lonious Monk and Bud Powell. In 1950, Stan Getz played a concert
EXTT1= in Hartford, Connecticut, with a pickup rhythm section that inc
EXTT1=luded Silver, drummer Walter Bolden, and bassist Joe Calloway. S
EXTT1=o impressed was Getz, he hired the whole trio. Silver had been s
EXTT1=aving his money to move to New York anyway; his hiring by Getz s
EXTT1=ealed the deal. Silver worked with Getz for a year, then began t
EXTT1=o freelance around the city with such big-time players as Colema
EXTT1=n Hawkins, Lester Young, and Oscar Pettiford. In 1952, he record
EXTT1=ed with Lou Donaldson for the Blue Note label; this date led him
EXTT1= to his first recordings as a leader. In 1953, he joined forces 
EXTT1=with Art Blakey to form a cooperative under their joint leadersh
EXTT1=ip. The band's first album, Horace Silver and the Jazz Messenger
EXTT1=s, was a milestone in the development of the genre that came to 
EXTT1=be known as hard bop. Many of the tunes penned by Silver for tha
EXTT1=t record  "The Preacher," "Doodlin'," "Room 608"  became jazz cl
EXTT1=assics. By 1956, Silver had left the Messengers to record on his
EXTT1= own. The series of Blue Note albums that followed established S
EXTT1=ilver for all time as one of jazz's major composer/pianists. LPs
EXTT1= like Blowin' the Blues Away and Song for My Father (both record
EXTT1=ed by an ensemble which included Silver's longtime sidemen Blue 
EXTT1=Mitchell and Junior Cook) featured Silver's harmonically sophist
EXTT1=icated and formally distinctive compositions for small jazz ense
EXTT1=mble. \n\nSilver's piano style  terse, imaginative, and utterly 
EXTT1=funky  became a model for subsequent mainstream pianists to emul
EXTT1=ate. Some of the most influential horn players of the '50s,'60s,
EXTT1= and '70s first attained a measure of prominence with Silver  mu
EXTT1=sicians like Donald Byrd, Woody Shaw, Joe Henderson, Benny Golso
EXTT1=n, and the Brecker brothers all played in Silver's band at a poi
EXTT1=nt early in their careers. Silver has even affected members of t
EXTT1=he avant-garde; Cecil Taylor confesses a Silver influence, and t
EXTT1=rumpeter Dave Douglas played briefly in a Silver combo. \n\nSilv
EXTT1=er recorded exclusively for Blue Note until that label's eclipse
EXTT1= in the late '70s, whereupon he started his own label, Silveto. 
EXTT1=Silver's '80s work was poorly distributed. During that time he b
EXTT1=egan writing lyrics to his compositions; his work began to displ
EXTT1=ay a concern with music's metaphysical powers, as exemplified by
EXTT1= album titles like Music to Ease Your Disease and Spritualizing 
EXTT1=Your Senses. In the '90s, Silver abandoned his label venture and
EXTT1= began recording for Columbia. With his re-emergence on a major 
EXTT1=label, Silver is once again receiving a measure of the attention
EXTT1= his contribution deserves. Certainly, no one has ever contribut
EXTT1=ed a larger and more vital body of original compositions to the 
EXTT1=jazz canon.  Chris Kelsey
EXTT2=
EXTT3=
EXTT4=
EXTT5=
PLAYORDER=
