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Horace Silver might tout
Bud Powell as an early--and even decisive--influence. Silver might even sound a bit bullish on Bud, especially on his debut recording, a rare trio date that foreshadows lots of the physically demanding piano the younger ivory tickler came to exercise throughout the 1950s and 1960s. But over the course of its four CDs,
Retrospective goes well beyond Bud. You hear Silver and
Art Blakey kick-starting hard bop with their strong melodies and minimized bebop stair climbs. The music becomes quickly rhythmic, a churning funnel of energy that Silver seems--decades late, even--intent on drawing and redrawing constantly. His piano playing is big on large, hard-hit chords and notes, pile-ups that recall boogie-woogie, and when calm, a lovely sense of mood that flexes from the composure of "Peace" to the bounce of "Psychedelic Sally." Silver stayed at Blue Note records longer than any of the label's other artists, and while there, he made the jazz quintet--with a tenor sax and trumpet front line--
his vehicle. With his long tenure at Blue Note, it's no surprise the label opted for a multi-CD anthology rather than a mega-multi-CD "complete" set. The picks are each solid, demonstrating that Silver rarely miscued between 1953 and 1978. Sure, the last CD sags a tad under Silver's Fender Rhodes and Bob Cranshaw's electric bass. No matter the instrument or the vibe, though, there is an undertow that pulls you in on each of these tracks. Never mind the elegance of "Song for My Father" or the hustle of "Sister Sadie." It's all gold in Silver's groove.
--Andrew Bartlett