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Alan Silva

A free jazz and improvisational musician, American composer/orchestral leader Alan Silva is a master of numerous instruments, among them the violin, cello, synthesizer, piano, and, especially, the double bass. His performances and recordings as a bassist, particularly in the 1960s and 1970s, are legendary. During this period, he helped record some of the most explorative releases in improvised music, working with the likes of Cecil Taylor, Sun Ra, Albert Ayler, Archie Shepp, Sunny Murray, Bill Dixon, Frank Wright, Andrew Hill, and Jimmy Lyons. In 1969 he founded his own ensemble, the Celestial Communication Orchestra, organized sessions for smaller group settings, and tried his decidedly uncompromising, fresh approach to music on other instruments, most recently the keyboards.

A British citizen prior to the age of 18, Alan Silva was born in Bermuda on January 22, 1939. His father was originally from Africa, while his mother was a native of Portugal. At age five, he relocated with his family to the New York, spending the remainder of his childhood in Harlem. Influenced by the rich musical culture of the neighborhood, Silva collected jazz recordings and, because he was too young to attend club performances, listened to bebop on the radio. Around 1950 he started taking piano and drum lessons from various musicians who enjoyed the same style. "The Ellington band played our church when I was 12," he recalled in an interview with Dan Warburton for the Wire magazine. "Harlem was progressive

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Album Review

Albert Ayler: Live Greenwich Village to Love Cry Revisited

Read "Live Greenwich Village to Love Cry Revisited" reviewed by Giuseppe Segala


Nel 1996, quando fu pubblicata la prima edizione della sua biografia dedicata ad Albert Ayler, Spirits Rejoice!, il contrabbassista e musicologo tedesco Peter Niklas Wilson scriveva nella prefazione: “La sua musica resta controversa: per alcuni fu un profeta, per altri un ciarlatano. (...) Ayler resta oggi tanto controverso quanto esile è la base per una discussione obiettiva sul suo contributo alla musica degli anni Sessanta." Anche tra i colleghi musicisti c'era chi ne apprezzava la potenza innovativa e propulsiva e ...

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Album Review

Cecil Taylor: Live At Fat Tuesday's February 9, 1980 First Visit

Read "Live At Fat Tuesday's February 9, 1980 First Visit" reviewed by Giuseppe Segala


Nel periodo di passaggio tra gli anni Settanta e Ottanta, Cecil Taylor è stato oggetto di numerose attenzioni da parte di etichette europee, che ne hanno lodevolmente documentato esibizioni dal vivo assai significative. Tra queste, alcune presentano la formazione Unit in differenti organici strumentali, che esprimono con dovizia un momento di impeto formidabile e di incredibile intesa creativa. Ne sono esempio le registrazioni in Germania del giugno 1978 Live in the Black Forest e One Too Many Salty Swift and ...

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Album Review

Cecil Taylor: Live At Fat Tuesday's February 9, 1980 First Visit

Read "Live At Fat Tuesday's February 9, 1980 First Visit" reviewed by John Eyles


For some years, Werner X. Uehlinger's Ezz-thetics label has been bringing smiles to the faces of countless lovers of free jazz by re-releasing albums featuring such luminaries as Albert Ayler, John Coltrane, Bill Evans, Jimmy Giuffre, Sun Ra, Cecil Taylor (to name but a few of many) all with state-of-the-art sound quality. The label's distinctive orange lettering over black and white period images of the featured artists has made its albums instantly recognisable. Until now. The current album has blue ...

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Album Review

Cecil Taylor Unit: Live At Fat Tuesday's February 9,1980 First Visit

Read "Live At Fat Tuesday's February 9,1980 First Visit" reviewed by Chris May


More faux-intellectual codswallop has been written about Cecil Taylor than about any other jazz musician, dead or alive. He has been, and continues to be, misrepresented as an arcane Einsteinian theorist by a cult whose members are afraid of visceral reactions to his art (or to anyone else's). But Taylor's work demands a visceral response. It has nothing to do with rational thought and everything to do with emotion and physicality. Sadly, the nonsense that has been written about his ...

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Album Review

Cecil Taylor: With (Exit) To Student Studies Revisited

Read "With (Exit) To Student Studies Revisited" reviewed by Mark Corroto


Documenting the evolution of Cecil Taylor is an undertaking that is way beyond the pay grade of most listeners. Just as in the study of homo sapiens (yes, us) where there is no critical moment (the missing link) that we can definitely pinpoint where our ancestors established language, art and importantly, abstract thought, Taylor's music can be thought of in similar terms. Obviously his approach didn't emerge fully formed. Or did it? No, that is an irrational thought, but a ...

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Album Review

Cecil Taylor: Mixed to Unit Structures Revisited

Read "Mixed to Unit Structures Revisited" reviewed by Chris May


This story has been revisited before, in the context of an Albert Ayler review, but good stories bear repeating, particularly when they are instructive ones. So here it is again... During a May 2021 interview with All About Jazz, the reed player Shabaka Hutchings was asked to name six albums which had made a more than usually deep impression on him. One of those Hutchings chose was Cecil Taylor's Silent Tongues: Live At Montreux '74 (Freedom, 1975). “This ...

Album Review

Cecil Taylor: Mixed to Unit Structures Revisited

Read "Mixed to Unit Structures Revisited" reviewed by Giuseppe Segala


La pubblicazione di Mixed To Unit Structures, nella meritevole collana Revisited Series della Ezz-thetics, sotto-etichetta della svizzera Hat Hut, riunisce due date di registrazione importanti nella vicenda di Cecil Taylor, distribuite tra l'ottobre 1961 e il maggio 1966. La prima, composta dai tre brani “Pots," “Bulbs" e “Mixed," era stata pubblicata dall'etichetta Impulse! nel disco Into the Hot, a nome di Gil Evans. I successivi quattro pezzi costituivano il disco Unit Structures, siglato originariamente da Blue Note. ...

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Recording

Alan Silva's Celestrial Communication Orchestra and the Big Box Set

Alan Silva's Celestrial Communication Orchestra and the Big Box Set

Source: Gapplegate Music Review by Grego Edwards

Bassist, key- boardist, sometimes violinist, composer, bandleader, father-figure of the new thing, Alan Silva cannot be dismissed and will not go away. You don't like avant jazz? That's your business. But to anyone else, he's been a seminal force in the new jazz (now coming onto 50 years of age) from the very beginning, playing bass with the greats, giving the music a personal stamp on his small-group recordings, and leading off and on one of the titanic avant big ...

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Recordings: As Leader | As Sideperson

Live Greenwich...

Ezz-thetics
2024

buy

With (Exit) To...

Ezz-thetics
2022

buy

Mixed to Unit...

Ezz-thetics
2021

buy

Plug In

Unknown label
2013

buy

Parallel Worlds

Unknown label
2012

buy

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