Honest Jon's
278 Portobello Road
London
W10 5TE
England

Monday-Saturday 10 till 6; Sunday 11 till 5

Honest Jon's
Unit 115
Lower Stable Street
Coal Drops Yard
London
N1C 4DR

Monday-Saturday 11 till 6; Sunday 11 till 5

+44(0)208 969 9822 mail@honestjons.com

Established 1974.

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Horace Silver

Serenade To A Soul Sister

Blue Note

‘Classic Vinyl.’

Horace Silver

Song For My Father

Blue Note

Featuring the almightily beloved, filial jazz standard.
Stevie nicked the horn riff for Don’t You Worry ‘Bout A Thing. (Steely Dan and Madlib followed suit.)
The great pianist in between bands in 1963-4, with Joe Henderson and Carmell Jones. Monumental hard bop; a key Blue Note.
‘Classic Vinyl Series.’

Horace Silver

Silver's Serenade

Blue Note / Tone Poet

Horace Silver

Doin' The Thing

Blue Note

Horace Silver

Six Pieces Of Silver

Blue Note

From 1956, recycling the previous year’s Jazz Messengers, subbing Louis Hayes for Blakey. Apparently Silver wasn’t planning on becoming a bandleader, but the success of Señor Blues propelled him forwards. Hank Mobley and Donald Byrd in full effect.

Horace Silver

Further Explorations

Blue Note

Horace Silver

The Tokyo Blues

Blue Note / Tone Poet

Horace Silver

Live New York Revisited

Ezz-Thetics

Terrific recordings commemorating three nightclub engagements in 1964-66.
Horace is sparklingly excursive and dead funky; Joe Henderson is grooving, raucous, and reaching. The great Carmell Jones is here, subbed twice by Woody Shaw. Altogether the playing has an immediacy and abandon you only get live.
The repertoire is killer diller; cherry-picked from a string of stone classic LPs — Song For My Father, Tokyo Blues, The Cape Verdean Blues, Six Pieces, and Senor Blues. The sound is superbly restored to the label’s customary high standards by Michael Brändli.

‘Long before his death in 2014, Silver’s reputation had become occluded, or tarnished with the notion that he was a relatively slight figure, more of an entertainer than an innovator… His habit of quoting other songs in his solos, often dismissed as a shallow, crowd-pleasing trick, is a forerunner of sampling culture and hip-hop. It’s also an acknowledgement of how profoundly knowledgeable Silver was about the canon and its evolution. Here’s a line of mine, he might say, and here’s where it came from, but also here and here. His only mistake in this regard was to smile while he was playing… a challenge to the really rather recent notion that jazz should be deadly serious and played with a pained rictus.’

Warmly recommended. Do yourselves a favour.

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