Filthy McNasty is track from the 1961 album, Doin' the Thing by jazz pianist Horace Silver. Released on the Blue Note label it featured performances by Silver with Blue Mitchell, Junior Cook, Gene Taylor and Roy Brooks and was recorded live at the Village Gate in New York City. Described by one reviewer, the album has the power to transport one back in time to the smoky room at the Village Gate, where one feels the raw energy of the live performance.
Filthy McNasty is track from the 1961 album, Doin' the Thing by jazz pianist Horace Silver. Released on the Blue Note label it featured performances by Silver with Blue Mitchell, Junior Cook, Gene Taylor and Roy Brooks and was recorded live at the Village Gate in New York City. Described by one reviewer, the album has the power to transport one back in time to the smoky room at the Village Gate, where one feels the raw energy of the live performance.
Horace Ward Martin Tavares Silver (1928–2014) was an American jazz pianist, composer and arranger, particularly famed for the hard bop style that he helped pioneer in the 1950s. After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing.
Recording as a sideman for jazz greats such as Sonny Stitt, Art Farmer, Miles Davis and Milt Jackson in the mid-1950s helped further his reputation, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver's first hit, "The Preacher". After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver's popularity, even through changes of personnel. As a player, Silver transitioned from bebop to hard bop by stressing melody rather than complex harmony and combined clean and often humorous right-hand lines with darker notes and chords in a near-perpetual left-hand rumble. His compositions similarly emphasised catchy melodies, but often also contained dissonant harmonies. Silver's legacy as a composer may be greater than as a pianist, because his works, many of which are jazz standards continue to be performed and recorded worldwide.
