Horace Silver 

Lonely Woman

Song For My Father 

Blue Note,  1965

"When its last call,  the night is turned down, and you feel some sort of way, this song does it for me." 


  • Horace Silver — piano
  • Blue Mitchell — trumpet 
  • Junior Cook — tenor saxophone
  • Gene Taylor — bass
  • Roy Brooks — drums
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I Can’t Breathe

On July 29th, at 6pm WalkRunFly Productions (Warren Adams & Brandon Victor Dixon) partnered with poet Daniel J. Watts, and over 100 Broadway stars, directors, producers, musicians, choreographers, designers and technicians in Times Square to send a message about violence and the killing of Eric Gardner.


WalkRunFly Productions

Produced By
Warren Adams & Brandon Victor Dixon

Poem written and performed by
Daniel J. Watts

Edited by
Darryl Harrison
Visual Architect

Lowell Freedman, Antonio Thompson, Darryl Harrison, And Jesse Guma

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I met Idris through Jimmy Lewis. I needed a drummer. We’d had a drummer onHair when we were doing it downtown. He’d gone out of town, but he wasn’t quite what we wanted anyway. So I asked Jimmy, “Who should we get?” He said, “Idris.” He had worked with Idris as a sessioner and in the King Curtis Band. I think I had Idris come play with us, but it may have been that we went straight into rehearsals. He was great, right from the start. He had a great, strong beat. And he played in the right style. He actually was a jazz drummer but when he heard the music for Hair he didn’t go the wrong way. He went right with it. He stayed in the band for four and a half years. He created a book of drumming, for when he missed the show. [Idris’s subs] had to try to do what he did, and none of them could. He was so powerful; it was unbelievable! After he played that show for about a year, I said, “We’ve got to record this band; they’re so good!” And then we did the First Natural Hair Band LP. “Ripped Open by Metal Explosions” is probably the most funky outing on the record but Idris had a lot of moments in the show that were really terrific. Towards the end of the show it goes into pure rhythm for about twenty minutes. Idris just kept it up, it was great. From one song to the other, with lots of breaks and interesting stuff. I used Idris for other projects, like theWoman Is Sweeter LP, and lots of demos. I used his wife Sakinah too. We all had a close relationship. But after the show closed, he moved out. He was traveling, playing with jazz groups and such. So I started with Bernard [Purdie] again. I’d kept in touch with him anyway during that time. For certain things, I used Bernard. The two are just different. Bernard is very sharp, you know. He plays a lot of interesting rhythms. Idris concentrates not so much on rhythm as on the beat—the actual four beats in the bar. And he generates a terrific momentum, like a train going down a hill. I don’t know anyone who does that better than Idris. And in a show, it’s overwhelming. By the end of the show the audience is breathless, because of this unbelievable drumming. They didn’t know it, but I knew that’s what it was.

–Galt MacDermot

Originally published as “Power of Soul” in Wax Poetics Issue One

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WE LOVE ROLL CALL, Y’ALL! Boogie Down Productions, Rob Base, Dana Dane, Marley Marl, Olatunji, Chuck D, Ray Charles, EPMD, EU, Alberta Hunter, Run-D.M.C., Stetsasonic, Sugar Bear, John Coltrane, Big Daddy Kane, Salt-n-Pepa, Luther Vandross, McCoy Tyner, Biz Markie, New Edition, Otis Redding, Anita Baker, Thelonious Monk, Marcus Miller, Branford Marsalis, James Brown, Wayne Shorter, Tracy Chapman, Miles Davis, Force MDs, Oliver Nelson, Fred Wesley, Maceo, Janet Jackson, Louis Armstrong, Duke Ellington, Jimmy Jam, Terry Lewis, George Clinton, Count Basie, Mtume, Stevie Wonder, Bobby McFerrin, Dexter Gordon, Sam Cooke, Parliament-Funkadelic, Al Jarreau, Teddy Pendergrass, Joe Williams, Wynton Marsalis, Phyllis Hyman, Sade, Sarah Vaughn, Roland Kirk, Keith Sweat, Kool Moe Dee, Prince, Ella Fitzgerald, Dianne Reeves, Aretha Franklin, Bob Marley, Bessie Smith, Whitney Houston, Dionne Warwick, Steel Pulse, Little Richard, Mahalia Jackson, Jackie Wilson, Cannonball AND Nat Adderley, Quincy Jones Marvin Gaye, Charles Mingus AND Marion Williams. We wanna thank you all for makin’ our lives just a little brighter here on We Love Radio! (at Bed-Stuy Brooklyn USA)

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 Señor Blues

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"Jazz is not background music. You must concentrate upon it in order to get the most of it. You must absorb most of it. The harmonies within the music can relax, soothe and uplift the mind when you concentrate upon and absorb it. Jazz music stimulates the minds and uplifts the souls of those who play it was well as of those who listen to immerse themselves in it. As the mind is stimulated and the soul uplifted, this is eventually reflected in the body."

Horace Silver

Horace Silver

(via jazzpages)

(via sheilastansbury)

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Song for my Father 

Horace Silver - Piano 

Bill Hardman - Trumpet 

Bennie Maupin - Tenor 

John Williams - Bass 

Billy Cobham - Drums 

Rest in Peace, Horace Silver

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"Grandpa’s Spells" - Jelly Roll Morton #jazzagelawnparty2014 (at Governors Island Jazz Age Fest)

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Every book, every album, every ingredient, and every piece of advice. I will always hold dear and give my children the same. I am blessed, I am humbled, I am grateful.

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Jaki Byard 

Cinco y Quatro

Here’s Jaki 

Prestige, 1961 

With 24-year-old, metro Detroit bassist Ron Carter and fellow Bostonian, veteran drummer Roy Haynes, pianist Byard has formed a partnership on this recording that effectively grasps modern jazz. This is no standard trio; they’re a collective who romps through these seven selections with a surprise or more a minute.

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