Horace Silver and the Jazz Messengers
- Tenor Saxophone: Hank Mobley
- Trumpet: Kenny Dorham
- Piano: Horace Silver
- Bass: Doug Watkins
- Drums: Art Blakey
The pianist Horace Silver was rather casually to Blue Note; he participated in Lou Donaldson's first session in 1952. As the saxophonist had to postpone a planned second session, Silver was asked by Alfred Lion, whether he would accept this appointment as a bandleader. On the resulting 10 -inch LP was the first time the classic Quicksilver to hear on the next trio album ( Horace Silver Trio BLP 1520) the following year, Opus De Funk. Towards the end of 1954 Lion wanted to record a new album with Silver, this time with horns. The pianist at that time had a quartet, with which he played in Minton 's Playhouse in Harlem; his teammates were the saxophonist Hank Mobley and bassist Doug Watkins. The compiled from Silver cast of Mobley and Watkins was supplemented by the trumpeter Kenny Dorham, and Art Blakey on drums. The band went on November 13th 1954 to the studio and recorded four pieces for a 10 -inch LP; it has been published under the name Horace Silver Quintet Vol 1 ( BLP 5058 ). One of the pieces was " Doodlin ' ", a sophisticated blues mid-tempo with a backbeat and a relaxed soulful mood. The piece has been interpreted in the 1950s to one of the most well-known title of the Soul Jazz shaft and from a variety of artists such as Ray Charles and Chet Baker. The other pieces of the November session were the Blues " Creepin ' In ," " Room 608 " and "Stop Time". Room 608 and Creepin ' In released as a single ( Blue Note 45-1631 ).
On February 6, 1955 Silver, Mobley, Dorham, Watkins and Blakey went back into the studio at Rudy Van Gelder, to take another 10 -inch album under Silvers line ( Horace Silver Quintet Vol 2, 5062 ); There were four more titles of the pianist, including "The Preacher", which coupled with Doodlin ' as a single ( Blue Note 45-1630 ) and immediately became a Jazzhit. Horace Silver later told Michael Cuscuna that Lion and Francis Wolff asked him at the rehearsals to replace the title by an ordinary blues. The Preacher based on an old number that was played at the end of each dance evenings; Lion and Francis Wolff found the piece but too banal. As Art Blakey stepped in and said, Horace Silver should prevail and do what he thought as an artist right. Since the admission date to write a new piece would have to be moved, Lion finally gave in; " The Preacher " was such a success that he helped the Jazz Messengers to their breakthrough and financially plug end in a precarious position company Blue Note rescued from imminent bankruptcy. So that the record label could even dare to step into the business with the new 30 -inch discs; under the design of the newly added graphic artist Reid Miles then the new edition of the album was released under its final title.
The quintet recordings of pianist Horace Silver count for jazz critics Richard Cook and Brian Morton of the essential works of the early hard bop; they rated the album with the second highest score. The music of the album mixes bebop influences with blues and gospel feeling. Brian Priestley raises in the Rough Guide Jazz Sessions and the importance of its personnel for the creation of the Jazz Messengers forth, for in November 1955 took Art Blakey under this one, taken over from the legendary Silver name live album At the Café Bohemia in the same occupation on.
10 -inch LP ( LP 5058 )
- Horace Silver Quintet - November 13, 1954
10 -inch LP
- Horace Silver Quintet - February 6, 1955
12-inch LP / CD
- Horace Silver and the Jazz Messengers ( Blue Note BLP 1518 / CP 32-5223 )