Song for My Father

Song for My Father ( Cantiga para Meu Pai ) is a jazz album by the Horace Silver Quintet, which was taken up to October 1964 in three sessions between October 1963 and 1964, released on the Blue Note label.

The music of the album

It is a lively infectious Hardbopalbum. Only Silvers album Blowin 'the Blues Away still has the same unity of the pieces. The three recording dates for the original LP only two, with different occupations, stem from the fact that Silver just at this time disbanded his quintet and a new put together what the unity but did no damage. Silver mixes here different, infectious rhythms with sophisticated harmonies and melodies. On this album, he knows how best to combine an earthiness with a light spirituality. It always come before the typical Silver interjections of brass. Sure plays Silvers precise and driving comp ( Join ) for the special quality of the solos a role.

After a stay in Brazil, where he lived with Flora Purim, Silver wanted a piece of him in the critically acclaimed Bossa Nova style of writing.

"I started to try a piece with this rhythmic concept to write. I sat down for a few hours at the piano and I managed a piece that used the bossa nova rhythm. Nevertheless, the melody sounded for me not Brazilian. It sounded more like one of the old Cape Verdean melodies that my father had played. My father had asked me again and again to take one of the old Cape Verdean songs and turn them into a jazz processing. The idea did not say to me, but when I realized that I had written a piece with a Brazilian rhythm concept and a Cape Verdean melody concept, I immediately thought to dedicate it to my father. So I called him Song for My Father ( song for my father ). We dropped him for a photo model for the cover of the LP. "

The Jazz Standard Song for My Father appears on the album in its original form. It is a Bossa Nova in AAB form in F minor. In the head part of the piece playing trumpet and saxophone together. This is followed by piano and saxophone solo. The piece had a remarkable influence in pop music. The opening bass notes ( the fifth fc in bossa rhythm ) of the piano has Steely Dan used for his song Rikki Do not Lose That Number, while Stevie Wonder used the Bläserriff at the beginning. The piece is worked on the album Hand on the Torch of US3. According to Horace Silver, the album sold well .. Silver begins with a durchkonzipierten exciting piano solo. Henderson's much copied saxophone solo remains a half A- shape parts close to the melody, and then breaks only playful and finally in the B section with almost unimaginable force to fade away until the transition to the subject after the third chorus.

The Natives Are Restless The very rapid Tonight is a minor blues and the only typical Hardbopstück on the album. It contains beautiful solos, and a sensitive collaboration between Humphries and Jones, an " idling " of the bass player, he plays there only unaccompanied walking bass, and Humphries short solo.

The piece Calcutta Cutie has an eastern Indian airy feel with meditative phases in the improvisations.

Que Pasa? (What is happening here?) Has, as the title suggests, with dotted rhythms, worn sanglicher thoughtful melody and partly hingetupftem piano a mood from the music of Spanish-speaking Central America, and falls again and again in rhythmically driving parts. The piece has change a consistently solid bass over the seventh chord, and is very similar with its considerably quieter mood the title track. Henderson sounds like a deep buzzing mosquito at the beginning of his solo.

The rhythmically challenging and here still catchy The Kicker Joe Henderson has also become the standard - Henderson plays it on his 1967 album of the same name published by Milestone. The driving solos come from Henderson and Jones.

Lonely Woman is a slow lyrical piano ballad in the trio.

The overall impression of the album is warm and inviting, which is unusual for a Hardbopalbum.

On the following album The Cape Verdean Blues is the successful cooperation, in particular by Henderson and Humphries, with other pieces Silvers in this way, but they are calmer, continued.

Title sequence

The title 7 to 10 are not included on the original LP and have been added to various CD reissues.

Genesis

The most successful of Blue Note album of Silver falls for him, who was known for its efficient, well-thought- recording sessions, out of the frame, because the images of two occupations over a period of one year were taken. Originally it was intended as an album for his old longtime quintet with Mitchell and Cook. From the first session in October 1963, the numbers ( 3) and (6) come to (8), of which the Blue Note chief Alfred Lion and later Silver only (3) and (6 ) took over in the original album. The trio version of " Que Pasa " (8) and " Sanctimonious Sam" ( 7) were not published until 1979 Sterling Silver.

In a recording session at Rudy Van Gelder three months later, in January 1964, the remaining pieces should be included; Silver, however, was dissatisfied with the work. Stem from it (9) ( also published on Sterling Silver ) and (10) (first published in 1989 in the reissue of Song for My Father ) After Silvers own statements to Michael Cuscuna, with whom he later the Blue Note archives scoured by veröffentlichungsfähigem material encouraged him Alfred Lion after this session, to create a new, fresher band. With the new, formed in the spring of 1964 quintet around Henderson and Carmel Jones Silver then wanted to import new material live - they planned in August, a longer engagement in Pep's in Philadelphia - and so complete the album. A session in the spring of 1964 failed to Silver partly because that Carmell Jones had to acclimatise in Silver's quintet. In a session at Rudy Van Gelder in October 1964, the planned already for the live recordings pieces (2 ), ( 4), ( 5) and the newly composed of Silver (1), but then introduced. Lion did not want to wait any longer for a new album Silver - he also sensed in "Song for My Father," a hit - and then put together from the first session and the last, the long-playing record. The title track was released as a single from the successful album.

Occupation

Effective history

Downbeat praised the album in its meeting in February 1965: "Obviously love to basic melody is in Silver's piano playing combined with the clever implementation of ideas and an emphatic rhythmic swing, where it is necessary. " Ralf Dombrowski, the Song for My Father of one of the plates of his " base - nightclub jazz " chose, had in addition to the fact that " precisely the art of matching balance the dynamic and song dramaturgical means of expression " ensures that the work " around and the peace within " appears and ultimately " to Silver's best-known album " was.

The listeners of the BBC voted in the 1990s, the album in a survey about The Top 100 Jazz Albums of the 71st place. Richard Cook and Brian Morton included in The Penguin Guide to Jazz Song for My Father and Silver's Blue Note album from 1966, The Jody Grind to Silver's best albums and rated both albums with the highest rating of four stars. Especially with the first album, they praise " the brilliant interplay of Joe Henderson and Carmell Jones ". Brian Priestley mentioned that it probably contains Silvers successful titles, but also on the modal jazz influenced tracks like Que Pasa.

The album was with Lee Morgan also 1964 entstandenem The Sidewinder - also with Joe Henderson - a huge success for Blue Note to the label, paradoxically, to get enough capital to expand, and soon after (1965 ) to Liberty Records sold. Even for those taken recently at Blue Note signed Joe Henderson album was a breakthrough.

The music magazine Jazzwise recorded the album in the list The 100 Jazz Albums That Shook the World; Keith Shadwick wrote:

Record label Blue Note Records Genre List of islands of Cape Verde Gene Taylor (Bassist) Down Beat Richard Cook (journalist) Ian Carr
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