Mulgrew Miller on Horace Silver

Filmmaker's Blog #2

Photo: Jean Francois Laberine

Mulgrew Miller was an extraordinary pianist and a remarkable individual. It was an honor to count him as a friend. His prolific contributions, both as a sideman and as a leader, continue to influence successive generations of jazz musicians.

Mulgrew was celebrated for his sophisticated technique, expressive performances, and fluent improvisation skills. His style, deeply rooted in the bebop and post-bop traditions, also incorporated modern elements, making his music a bridge between traditional and contemporary jazz.

He crafted solos uniquely, blending complex chords, intricate melodies, and rhythmic finesse. His approach created a link between the veteran jazz pianists like McCoy Tyner and the newer styles, positioning his work as a crucial reference for aspiring pianists.

Throughout his career, Mulgrew was a prolific performer and recording artist. He released numerous albums as a bandleader, each showcasing his skill, versatility, and creative vision. His work on albums such as "Keys to the City" and "The Countdown" is deemed essential by jazz piano enthusiasts.

As a sideman, Mulgrew's contributions were significant. He collaborated with leading figures in jazz, including Betty Carter, Woody Shaw, Art Blakey's Jazz Messengers, and Tony Williams. His ability to adapt and make substantial contributions to various ensembles highlighted his mastery and versatility.

Mulgrew Miller was highly respected by his peers, and his passing in 2013 marked a substantial loss to the jazz community. His legacy continues through his recordings, his influence on other musicians, and the deep respect he garnered as one of his generation's premier jazz pianists.

Not surprisingly, Mulgrew remains an iconic figure in the jazz world, revered for his musical brilliance, his impact on the evolution of jazz piano, and his mentorship of upcoming musicians.

In 2008, when I resided in Tucson, Mulgrew visited the city and performed with his ensemble. The following day, he conducted a workshop at the University of Arizona. Afterward, we spent some time together. During an interview, he shared insightful comments on Horace Silver.

When we started, I told Mulgrew that the Cape Verdean Blues was the first Horace Silver recording I purchased.

I am crowdfunding my Horace Silver documentary currently in production, as I’ve done with my three previous documentary features. If you’d like to help, please visit: It’s Got To Be Funky