The Horace Silver Quintet plus J.J. Johnson
The Cape Verdean Blues

Horace Silver, discovered by Stan Getz, became the leader of his own group after a substantial period of various experiences, which contributed to making him one of the first experimenters of the new hard bop language and a "stylist" of jazz piano, an art in which he poured and sublimated all his Latin, gospel, and other influences without reservations. However, this only happened after his necessary apprenticeship in the school ship "Art Blakey - Jazz Messengers." Following a period of more or less uncertain yet extremely useful activity in a trio, he formed his first official quintet, followed by the second quintet (or expanded ensemble) "Blue Note," where Joe Henderson also played for some time. During this peak period, he produced several masterpieces, one of which is undoubtedly "Song For My Father" (Henderson was there too) and another that indeed constitutes a milestone in jazz discography is, without fear of contradiction, "The Capeverdean Blues". From my humble point of view as a simple enthusiast, I will try to identify the reasons for this by listening attentively and analyzing it as far as I am permitted.

1) "The capeverdean blues" is a track where the Central American influence is evident; it is exploited in a joyful and carnivalesque context, with some reference to the blues; albeit not too evident. The Latin beat it is played in is the so-called "montuno." A stylistic exercise not sterile but fully enjoyable, which, when referred to the period of its recording in 1965, gives an idea of how advanced Horace's ideas already were. And it is objectively the first piece of this record to listen to with joy and study!
2) "The African queen" consists of a 4/4 ostinato where Horace, Bob Cranshaw, bassist, and Roger Humpries accompany the theme with utmost concentration; the double bass and the left hand of the piano always on the same 5 notes in each of the 16 measures, obsessively and exasperatingly, before the theme resolves for 4 measures in a passage that gives a hint of release to the swing, then immediately returns "to the hook" and obsesses the jazz enthusiast. On edge and alert. Intelligent, innovative composition characterized by great emotional tension at listening, which extends beyond 9 minutes without fatigue, thanks to the contrast between the obsessive base and the very high quality of the solos. And two!
3) "Pretty eyes" is a ¾ played by the rhythm section as a nice "little waltz... American", with grace and style, while the theme (varied and well-designed) is played in unison by sax and trumpet: yet another refreshing novelty to savor; in a 1965 record! And three!
4) "Nutville" is a piece in 16 measures (8+8), played for the first 8 on a Latin beat (again the montuno, which greatly resembles in construction the calypso, see the standard St. Thomas) but then immediately shifts to a fast swing for 6 measures, closing with the last two with a stop (7th) and the Latin (8th), as a prelude to the start of the next round and so on. I hope I haven't counted wrong: if so, correct me, please!!!. Another piece of collective mastery. And four!
5) "Bonita" is a track that is much influenced by Africanity: a beautiful and simple theme, presented for 80% on a single-note bass pedal, with time skillfully managed by the coral section; for the drums, many drums and few cymbals; only the sparse hi-hat marking time, for much of the development. There is an intelligent piano solo where Horace gives a lesson in intelligence while improvising, clarifying that improvisation is indeed the act of composing music in real time. Beautiful pitch leaps of the piano while the bass remains on the underlying pedal and Africa knocks incessantly at the heart. Jazz manual trombone solo by J.J. Johnson: more than tales and distorted guitars! 08:39 of pure jazz pleasure. And five!
6) "Mo' Joe" is instead a medium-fast piece that presents a complex introductory structure, on which the solos unfold for a fast and liberating swing; a gym to warm up and showcase the group's members' muscles. Again: intelligent composition, a tasteful interlocking of sound colors done in real time. And six!

The lineup that recorded this piece of immortal music is: Joe Henderson on magical tenor sax, Woody Shaw on thrilling trumpet, J.J. Johnson on dignified and composed trombone, plus the aforementioned three rhythms, Bob Cranshaw on sturdy double bass, Roger Humpries on cyclonic drums, and Horace Silver on cosmic piano. Typical wonderful and unsurpassable sixties record. We are, for the writer, at the levels of "Kind of blue"; wanting to draw a sort of stylistic parallel, we could say that Kind of Blue features revolutionary tracks and ideas; much of the noteworthy artistic content is credited to the artists and the spontaneous and genuine session. Here instead, we find a large work of arrangement of the tracks, which are already "strong" in themselves by how they have been written and conceived.

An important, highly enjoyable, and eternal record. To play loud.
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