Matt Silver

Matt Silver is a writer and broadcaster who has been performing, in one way or another, since his grandparents told him as a toddler that singing "Sunrise, Sunset" in rooms full of strangers was the cool thing to do.

His love of jazz comes from his father, Ken, an accomplished clarinetist, bandleader, and educator, who's passed on his extensive knowledge of the Real Book and an abiding love for jazz tunes with Broadway origins.

In addition to writing for WRTI's Arts Desk, Matt can frequently be heard hosting on the jazz side, whistling Gershwin or Bernstein with gusto, or trying to replicate the sounds of Stan Getz and Larry McKenna on his saxophone, which he's found is a good deal harder than it looks.

He is a proud member of that group of hardy souls who got their start at WRTI hosting Jazz through the Night.
 

Ways to Connect

[Originally published in June, 2019] Sometimes in music, especially jazz, we call a particularly ambitious new album “a project,” especially when the music is something more, the perfect vehicle to deliver an impactful story. With 400: An African American Musical Portrait, bassist Avery Sharpe hasn’t just released a new album—he’s unveiled a serious project.

June 22, 2020. Inspired by the protest music of the '60s that helped dismantle the codified racism of that era, bassist Marlene Rosenberg’s latest album, MLK Convergence, released almost exactly a year ago, presents a new catalogue of socially conscious compositions with the exigency of our current moment in mind, taking aim at the vestiges of institutionalized prejudice that continue to link America to its original sin.

June 8, 2020. From founding the Captain Black Big Band in 2009 to replacing Ethan Iverson as The Bad Plus’s pianist in 2018, Philadelphia native Orrin Evans has never shied away from taking a leap into the musical unknown.

May 26, 2020. Assembled here for Voice = Power—the follow-up to bassist Nicholas Krolak’s 2018 debut Chicory Root—are the component parts of the traditional Art Blakey-style hard bop quintet. Combine that with the fact that Krolak’s most notable side work has been with local heavyweights like Larry McKenna, John Swana, and Tony Miceli, and it’d be reasonable to assume the 10 tracks and 50 minutes of Voice = Power would be a mostly straight-forward affair.

April 27, 2020. For a youngish tenor saxophonist, Ken Fowser’s recording output’s been nothing short of prodigious, leading five albums for Posi-Tone Records and co-leading another four with star vibraphonist Behn Gillece. His latest, Morning Light, is further support for the rock-solid reputation the South Jersey native has built since hitting the New York City scene 15 years ago.

April 13, 2020. If the global pandemic has scuttled recent plans for a Parisian vacation, you might find some consolation in the Hot Club of Philadelphia’s latest CD release, Gypsy-Americana.

March 30, 2020. The distinctive feature of T-Man, drummer Jason Tiemann’s debut album as a leader, is that the instrumentation is that of a Hammond organ trio. That was not the original plan, but these are jazz musicians; they improvise.

March 16, 2020. While his better-known brothers, Branford and Wynton, are global phenomena, Delfeayo Marsalis, the trombonist, production whiz and fourth son born into jazz’s first family, has always preferred to keep things mostly about New Orleans.

March 2, 2020. Wayne Shorter’s music has long deserved big band treatment, and in 2015 it finally got it—from the world’s most prestigious big band, the Jazz at Lincoln Center Orchestra (JLCO). Then 81, Shorter joined the Wynton Marsalis-led JLCO on stage for three consecutive nights, producing unforgettable live shows and a new album: The Music of Wayne Shorter.

February 24, 2020. Late in 2018, trumpeter Joe Magnarelli released his latest record, If You Could See Me Now. Curious title—might Magnarelli have been slyly foreshadowing his forthcoming appearance on WRTI’s NPR Live Sessions series? Anything’s possible. Though it’s much more plausible that the album takes its name from the iconic tune Tadd Dameron composed for Sarah Vaughan in 1946.

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