Horace Silver - The Jody Grind (1991)
Horace Silver - The Jody Grind (1991)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 250 MB. & 104 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1991) | Label: Capitol/Blue Note | Catalog# CDP-7-84250-2 | 39:42 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 250 MB. & 104 MB.
300dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (1991) | Label: Capitol/Blue Note | Catalog# CDP-7-84250-2 | 39:42 min.
Review by Steve Huey ~allmusicTracklist:
Following the subtly modern bent of much of The Cape Verdean Blues, Horace Silver recommitted himself to his trademark "funky jazz" sound on The Jody Grind. Yet he also consciously chose to keep a superbly advanced front line, with players like trumpeter Woody Shaw (retained from the Cape Verdean session), altoist/flutist James Spaulding, and tenor saxophonist Tyrone Washington. Thus, of all Silver's groove-centered records, The Jody Grind winds up as possibly the most challenging. It's also one of the most underappreciated; Silver's piano playing is at its rhythmic, funky best throughout, brimming over with confidence and good cheer, and evoking memories of the classic feel of his early-'60s quintet.
His compositions have a similarly bright overtone, which (as the liner notes allude to) was becoming increasingly rare in mid-'60s jazz as the fury of the avant-garde and the Civil Rights upheaval began to seep into jazz's wider consciousness. The title cut is a playful, overlooked classic on the funky side of hard bop; Silver kicks it with a tasty groove, giving the rest of the musicians plenty to play off of. The whole group absolutely burns through "Grease Piece," a terrific hard swinger full of smoking solo statements from just about everyone on down to drum whiz Roger Humphries. Really, the whole album is packed with great grooves and tight solos, epitomizing the best virtues of Silver's music. For those who have digested classics like Song for My Father, Blowin' the Blues Away, and Finger Poppin', The Jody Grind is one of the best places to go next.
01. The Jody Grind (5:50)
02. Mary Lou (7:10)
03. Mexican Hip Dance (5:54)
04. Blue Silver (5:59)
05. Grease Piece (7:32)
06. Dimples (7:18)
Horace Silver - The Jody Grind (1991)
Personnel:
Horace Silver - piano
Woody Shaw - trumpet
James Spaulding - alto saxophone & flute (on #2, 4, 5)
Tyrone Washington - tenor saxophone
Larry Ridley - bass
Roger Humphries - drums
~allAboutJazz
Born: September 2, 1928 | Instrument: Piano
When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of “meaningful simplicity.” The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.
Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde–-and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.
In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).
During these years, Silver helped create the rhythmically forceful branch of jazz known as “hard bop” (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel–-the latter is particularly prominent on one of his biggest tunes, “The Preacher.” While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, “Sister Sadie.” He also combined jazz with a sassy take on pop through the 1961 hit, “Filthy McNasty.”
But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.
Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).
Born: September 2, 1928 | Instrument: Piano
When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of “meaningful simplicity.” The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.
Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde–-and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.
In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).
During these years, Silver helped create the rhythmically forceful branch of jazz known as “hard bop” (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel–-the latter is particularly prominent on one of his biggest tunes, “The Preacher.” While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, “Sister Sadie.” He also combined jazz with a sassy take on pop through the 1961 hit, “Filthy McNasty.”
But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.
As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).
After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.
Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).
Horace Silver - The Jody Grind (1991)
Horace Silver (1928 - …)
All compositions by Horace Silver
Produced by Alfred Lion
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey
Recording Dates: November 2, 1966 (quintet) and November 23, 1966 (sextet)
Recorded by Rudy Van Gelder
Produced for reissue by Michael Cuscuna
Original cover design by Reid Miles
Liner notes by Leonard Feather
EAC extraction logfile from 16. May 2006, 8:09 for CD
Horace Silver / The Jody Grind
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Other options :
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Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000
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Track 6
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Horace Silver / The Jody Grind
Used drive : PLEXTOR CD-R PX-W4824A Adapter: 1 ID: 0
Read mode : Secure with C2, accurate stream, disable cache
Read offset correction : 98
Overread into Lead-In and Lead-Out : Yes
Used output format : C:\Program Files\Exact Audio Copy\flac.exe (User Defined Encoder)
320 kBit/s
Additional command line options : -8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Native Win32 interface for Win NT & 2000
Track 1
Filename E:\05_NEW RIPS\Horace Silver - The Jody Grind\01 - The Jody Grind (Horace Silver - The Jody Grind).wav
Pre-gap length 0:00:02.00
Peak level 89.8 %
Track quality 100.0 %
Test CRC BAA7FD4B
Copy CRC BAA7FD4B
Copy OK
Track 2
Filename E:\05_NEW RIPS\Horace Silver - The Jody Grind\02 - Mary Lou (Horace Silver - The Jody Grind).wav
Pre-gap length 0:00:02.06
Peak level 90.9 %
Track quality 100.0 %
Test CRC 83C0C17F
Copy CRC 83C0C17F
Copy OK
Track 3
Filename E:\05_NEW RIPS\Horace Silver - The Jody Grind\03 - Mexican Hip Dance (Horace Silver - The Jody Grind).wav
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Peak level 89.8 %
Track quality 100.0 %
Test CRC D102BB32
Copy CRC D102BB32
Copy OK
Track 4
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Test CRC 76F82372
Copy CRC 76F82372
Copy OK
Track 5
Filename E:\05_NEW RIPS\Horace Silver - The Jody Grind\05 - Grease Piece (Horace Silver - The Jody Grind).wav
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Peak level 89.2 %
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Test CRC 49D62904
Copy CRC 49D62904
Copy OK
Track 6
Filename E:\05_NEW RIPS\Horace Silver - The Jody Grind\06 - Dimples (Horace Silver - The Jody Grind).wav
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Peak level 90.7 %
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Copy CRC BABDE78E
Copy OK
No errors occured
End of status report
[CUETools log; Date: 29.12.2011 20:58:16; Version: 2.0.9]
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[CTDB TOCID: 9LQk0DRXqWTek1.BzdVnsm8cMlE-] found.
[ CTDBID ] Status
[628138a5] (9/9) Accurately ripped
[AccurateRip ID: 00093ff4-0031a488-4c094e06] found.
Track [ CRC ] Status
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Thanks to the original releaser.
Horace Silver - The Jody Grind (1991)
(flac links are interchangeable, mp3@320 = single link)