HORACE SILVER QUINTET "THE TOKYO BLUES" AP, 2LP, 45RPM, LE, NE, SO, NEW/SEALED
$
120
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Description
THE HORACE SILVER QUINTET "THE TOKYO BLUES"
2009 ANALOGUE PRODUCTIONS "THE BLUE NOTE REISSUES", 2LP, 45RPM, 180G VIRGIN VINYL, CATALOG NUMBER AP-84110, #558 OF A SOLD-OUT LIMITED EDITION OF 2,500 COPIES, RECORDED BY RUDY VAN GELDER, MASTERED BY KEVIN GRAY AND STEVE HOFFMAN, AT ACOUSTECH-USING THE ORIGINAL ANALOG BLUE NOTE TAPE, PRESSED AT RTI, CAMARILLO, CA.
"TOKYO BLUES", A QUINTESSENTIAL MID-60'S BLUE NOTE SESSION, IS HORACE SILVER'S TRIBUTE TO THE JAPANESE PEOPLE WHO HAVE LONG SUPPORTED HIS FUNKY, LATIN-FLAVORED MODERN JAZZ. AMERICAN JAZZ HAS ALWAYS BEEN WILDLY POPULAR IN JAPAN, AND THIS ALBUM IS SILVER'S HOMAGE TO THE MANY FANS THAT HE HAS ENCOUNTERED ON VARIOUS TRIUMPHANT TOURS OF THE ISLAND NATION. WHILE SILVER'S TRADEMARK FUNKY LATIN/SWING IS AT THE FOREFRONT, THE INSPIRATION OF EASTERN DELIGHTS IS CLEARLY EVIDENT IN ALL ASPECTS OF THIS GROOVING DATE."
"FOLLOWING A SERIES OF CONCERT DATES IN TOKYO LATE IN 1961 WITH HIS QUINTET, HORACE SILVER RETURNED TO THE U.S. WITH HIS HEAD FULL OF THE JAPANESE MELODIES HE HAD HEARD DURING HIS VISIT, AND USING THOSE AS A SPRINGBOARD, HE WROTE FOUR NEW PIECES, WHICH HE THEN RECORDED AT SESSIONS HELD ON JULY 13 AND 14, 1962, ALONG WITH A VERSION OF RONNELL BRIGHT'S LITTLE KNOWN BALLAD "CHERRY BLOSSOM". ONE WOULD NATURALLY ASSUME THE RESULTING LP WOULD HAVE A JAPANESE FEEL, BUT THAT REALLY ISN'T THE CASE. USING LATIN RHYTHMS AND THE BLUES AS A BASE, SILVER'S TOKYO-INFLUENCED COMPOSITIONS FIT RIGHT IN WITH THE SUBTLE CROSS-CULTURAL BUT VERY AMERICAN HARD BOP HE'D BEEN DOING ALL ALONG. USING HIS USUAL QUINTET (BLUE MITCHELL ON TRUMPET, JUNIOR COOK ON TENOR SAX, GENE TAYLOR ON BASS) WITH DRUMMER JOE HARRIS (HE IS LISTED AS JOHN HARRIS, JR. FOR THIS SET) FILLING IN FOR THE AILING ROY BROOKS), SILVER'S COMPOSITIONS HAVE A LIGHT, AIRY FEEL, WITH PLENTY OF SPACE, AND NO ONE USED THAT SPACE BETTER AT THESE SESSIONS THAN COOK, WHOSE TENOR SAX LINES ARE SIMPLY WONDERFUL, ADDING A STURDY, RELIABLE BRIGHTNESS."
"THE CENTERPIECE ARE THE TWO STRAIGHT BLUES, "SAYONARA BLUES' AND "THE TOKYO BLUES", BOTH OF WHICH HAVE A DELIGHTFULLY NATURAL FLOW, AND THE BUILDING, PATIENT TAKE ON BRIGHT'S "CHERRY BLOSSOM", WHICH SILVER TAKES PAINS TO MAKE SURE SOUNDS LIKE A BALLAD AND NOT A BARELY RESTRAINED MINOR-KEY ROMP. THE BOTTOM LINE IS THAT "THE TOKYO BLUES" EMERGES AS A FAIRLY TYPICAL SILVER SET FROM THE ERA AND NOT AS A GRANDIOSE FUSION EXPERIMENT WELDING HARD BOP TO JAPANESE MELODIES. THAT MIGHT HAVE BEEN VERY INTERESTING, CERTAINLY, BUT SILVER OBVIOUSLY ASSIMILATED THINGS DOWN TO A DEEPER LEVEL BEFORE HE WROTE THESE PIECES, AND THEY FEEL LIKE A NATURAL EXTENSION OF HIS WORK RATHER THAN AN EXPERIMENTAL DETOUR."-STEVE LEGGETT, ALL MUSIC
1) TOO MUCH SAKE 2) SAYONARA BLUES 3) THE TOKYO BLUES 4) CHERRY BLOSSOM 5) AH! SO
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