Horace Silver

Horace Ward Martin Tavares Silver[note 1] (September 2, 1928

Horace Silver
– June 18, 2014) was an American jazz pianist, composer, and
arranger, particularly in 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. Frequent sideman recordings in the mid-1950s
helped further, 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 Silver by Dmitri Savitski, 1989
in 1956, Silver formed his own quintet, with what became the
Background information
standard small group line-up of tenor saxophone, trumpet, piano,
bass, and drums. Their public performances and frequent Born September 2, 1928
recordings for Blue Note Records increased Silver's popularity, Norwalk,
even through changes of personnel. His most successful album Connecticut, U.S.
was Song for My Father, made with two iterations of the quintet
Died June 18, 2014
in 1963 and 1964.
(aged 85)
Several changes occurred in the early 1970s: Silver disbanded his New Rochelle, New
group to spend more time with his wife and to concentrate on York, U.S.
composing; he included lyrics in his recordings; and his interest Genres Jazz, hard bop,
in spiritualism developed. The last two of these were often mainstream jazz,
combined, resulting in commercially unsuccessful releases such
soul jazz, jazz fusion
as The United States of Mind series. Silver left Blue Note after 28
years, founded his own record label, and scaled back his touring Occupation(s) Musician, composer,
in the 1980s, relying in part on royalties from his compositions arranger
for income. In 1993, he returned to major record labels, releasing Instruments Piano
five albums before gradually withdrawing from public view
because of health problems. Years active 1946–2004
Labels Blue Note, Silveto,
As a player, Silver transitioned from bebop to hard bop by Emerald, Columbia,
stressing melody rather than complex harmony, and combined
Impulse!, Verve
clean and often humorous right-hand lines with darker notes and
chords in a near-perpetual left-hand rumble. His compositions Associated acts Art Blakey, Junior
similarly emphasized catchy melodies, but often also contained Cook, Miles Davis,
dissonant harmonies. Many of his varied repertoire of songs, Art Farmer, Joe
including "Doodlin'", "Peace", and "Sister Sadie", became jazz Henderson, Blue
standards that are still widely played. His considerable legacy Mitchell, Hank
encompasses his influence on other pianists and composers, and Mobley
the development of young jazz talents who appeared in his bands
over the course of four decades. Website Official website (htt
p://www.horacesilver.
com)
Contents
Early life
Later life and career
1950–55
1956–69
1970–80
1981–98
1999–2014
Playing style
Compositions
Influence and legacy
Discography
Notes
References
Further reading
External links

Early life
Silver was born on September 2, 1928, in Norwalk, Connecticut.[2] His mother, Gertrude, was from
Connecticut; his father, John Tavares Silver, was born on the island of Maio, Cape Verde, and emigrated to
the United States as a young man.[3][note 2] She was a maid and sang in a church choir;[5] he worked for a
tire company.[6] Horace had a much older half-brother, Eugene Fletcher, from his mother's first marriage,
and was the third child for his parents, after John, who lived to 6 months, and Maria, who was stillborn.[7]

Silver began playing the piano in his childhood and had classical music lessons.[8] His father taught him the
folk music of Cape Verde.[9] At the age of 11 Silver became interested in becoming a musician, after hearing
the Jimmie Lunceford orchestra.[10] His early piano influences included the styles of boogie-woogie and the
blues, the pianists Nat King Cole, Thelonious Monk, Bud Powell, Art Tatum, and Teddy Wilson, as well as
some jazz horn players.[11]

Silver graduated from St. Mary's Grammar School in 1943.[12] From ninth grade he played Lester Young-
influenced tenor saxophone in the Norwalk High School band and orchestra.[13] Silver played gigs locally
on both piano and tenor saxophone while still at school.[14] He was rejected for military service by a draft
board examination that concluded that he had an excessively curved spine,[15] which also interfered with his
saxophone playing.[16] Around 1946 he moved to Hartford, Connecticut to take up a regular job as pianist in
a nightclub.[17]

Later life and career

1950–55
Silver's break came in 1950, when his trio backed saxophonist Stan Getz at a club in Hartford: Getz liked
Silver's band and recruited them to tour with him.[2] The saxophonist also gave Silver his recording debut, in
December 1950, for a quartet album.[18] After about a year, Silver was replaced as pianist in Getz's band and
he moved to New York City.[19] There, working as a freelance, he quickly built a reputation, based on his
compositions and bluesy playing.[20][21] He worked for short periods with tenor saxophonists Lester Young
and Coleman Hawkins,[22] before meeting altoist Lou Donaldson, with whom he developed his bebop
understanding.[23] Donaldson made his first recording on Blue Note Records in 1952, with Silver on piano,
Gene Ramey on bass and Art Taylor on drums.[23] Later that year, another Blue Note quartet session was
booked for Donaldson, with Art Blakey replacing Taylor, but the saxophonist withdrew and producer–owner
Alfred Lion offered Silver the studio time for a trio recording.[24] Most of the tracks recorded at it were
Silver originals,[2] and he went on to stay with Blue Note as a leader for the following 28 years.[22]

Silver was also busy recording as a sideman. In 1953, he was pianist on sessions led by Sonny Stitt, Howard
McGhee, and Al Cohn, and, the following year, he played on albums by Art Farmer, Miles Davis, Milt
Jackson and others.[25] Silver won the Down Beat critics' new star award for piano players in 1954,[26] and
appeared at the first Newport Jazz Festival, substituting for John Lewis in the Modern Jazz Quartet.[27]
Silver's early 1950s recordings demonstrate that Powell was a major pianistic influence, but this had waned
by the middle of the decade.[28]

In New York, Silver and Blakey co-founded the Jazz Messengers, a cooperatively-run group that initially
recorded under various leaders and names.[29] Their first two studio recordings, with Hank Mobley on tenor
saxophone, Kenny Dorham on trumpet, and Doug Watkins on bass, were made in late 1954 and early 1955
and were released as two 10-inch albums under Silver's name,[30] then soon thereafter as the 12-inch Horace
Silver and the Jazz Messengers.[2] This album contained Silver's first hit, "The Preacher".[31] Unusually in
Silver's career, recordings of concert performances were also released at this time, involving quintets at
Birdland (1954) and the Café Bohemia (1955).[32] This set of studio and concert recordings was pivotal in
the development and defining of hard bop,[33] which combined elements of blues, gospel, and R&B, with
bebop-based harmony and rhythm.[34] The new, funky hard bop was commercially popular,[35] and helped
to establish Blue Note as a successful business.[36]

1956–69

Silver's final recordings with the Jazz Messengers were in May 1956.[37] Later that year, he left Blakey after
one and a half years,[34][38] in part because of the heroin use prevalent in the band,[2] which Silver did not
want to be involved in.[39] Soon after leaving, Silver formed his own long-term quintet, after receiving
offers of work from club owners who had heard his albums.[40] The first line-up was Mobley (tenor
saxophone), Farmer (trumpet), Watkins (bass), and Louis Hayes (drums).[40] The quintet, with various line-
ups, continued to record, helping Silver to build his reputation.[41] He wrote almost all of the material they
played, and, in concert, he "won over the crowds through his affable personality and all-action approach. He
crouched over the piano as the sweat poured out, with his forelock brushing the keys and his feet
pounding."[2]

After more than a dozen sideman recording sessions in 1955 and a similar number in 1956–57, Silver's
appearance on Sonny Rollins, Vol. 2 in April 1957 was his last for another leader, as he opted to concentrate
on his own band.[22][42] For several years from the late 1950s, this contained Junior Cook (tenor
saxophone), Blue Mitchell (trumpet), Gene Taylor (bass), and either Hayes or Roy Brooks (drums). Their
first album was Finger Poppin', in 1959.[43] Silver's tour of Japan early in 1962[44][45] led to the album The
Tokyo Blues, recorded later that year.[46] By the early 1960s, Silver's quintet had influenced numerous
bandleaders and was among the most popular performers at jazz clubs.[5] They also released singles,
including "Blowin' the Blues Away", "Juicy Lucy", and "Sister Sadie", for jukebox and radio play.[47][48]
This quintet's sixth and final album was Silver's Serenade, in 1963.[49]

Around this time, Silver composed music for a television commercial for the drink Tab.[50] Early in 1964,
Silver visited Brazil for three weeks,[51] an experience he credited with increasing his interest in his
heritage.[50] In the same year, he created a new quintet, featuring Joe Henderson on tenor saxophone and
Carmell Jones on trumpet.[52] This band recorded most of Silver's best-known album, Song for My
Father,[52] which reached No. 95 on the Billboard 200 in 1965,[9] and was added to the Grammy Hall of
Fame in 1999.[53] Recordings and personnel changes – sometimes expanding the band to a sextet –
continued in the mid-1960s.[54] In 1966, The Cape Verdean Blues charted at No. 130.[9] The liner notes to
the album Serenade to a Soul Sister (1968) included lyrics (written but not sung), indicating a new interest
for Silver.[55] His quintet, by then including saxophonist Bennie Maupin, trumpeter Randy Brecker, bassist
John Williams, and drummer Billy Cobham, toured parts of Europe in October and November 1968,
sponsored by the U.S. government.[56][57] They also recorded one of Silver's last quintet albums for Blue
Note, You Gotta Take a Little Love.[58] The Penguin Guide to Jazz's retrospective summary of Silver's main
Blue Note recordings was that they were of a consistently high standard: "each album yields one or two
themes that haunt the mind, each usually has a particularly pretty ballad, and they all lay back on a deep pile
of solid riffs and workmanlike solos."[46]

1970–80

At the end of 1970, Silver broke up his regular band, to concentrate on

composing and to spend more time with his wife.[59] He had met
Barbara Jean Dove in 1968 and married her two years later.[60] They
had a son, Gregory.[61] Silver also became increasingly interested in
spiritualism from the early 1970s.[2][62]

Silver included lyrics in more of his compositions at this point,

although these were sometimes regarded as doggerel or
proselytizing.[2][34] The first album to contain vocals, That Healin'
Feelin' (1970[63]), was commercially unsuccessful and Silver had to
insist on the support of Blue Note executives to continue releasing
music of the same, new style.[34] They agreed to a further two albums
that contained vocals and Silver on an RMI electric keyboard; the three
were later compiled as The United States of Mind, but were soon
dropped from the catalog.[64]
Silver at Keystone Korner, San
Silver reformed a touring band in 1973.[59] This contained brothers
Francisco in 1978
Michael and Randy Brecker.[65] Around this time, according to
saxophonist Dave Liebman, Silver's reputation among aspiring young
jazz musicians was that he was "a little – not commercial, but not quite the real deal [in jazz]."[66] Silver and
his family decided to move to California around 1974, after a burglary at their New York City apartment
while they were in Europe.[67] The couple divorced in the mid-1970s.[61]

In 1975, he recorded Silver 'n Brass, the first of five Silver 'n albums, which had other instruments added to
the quintet.[68][69] The personnel in his band continued to change, and continued to contain young musicians
who made telling contributions.[70] One of these was trumpeter Tom Harrell, who stayed from 1973 to
1977.[70][71] Silver's pattern in the late 1970s was to tour for six months a year.[72] His final Blue Note
album was Silver 'n Strings, recorded in 1978 and 1979.[73] His stay was the longest in the label's history.[74]
By Silver's account, he left Blue Note after its parent company was sold and the new owners were not
interested in promoting jazz.[75] In 1980, he formed the record label Silveto, "dedicated to the spiritual,
holistic, self-help elements in music", he commented.[34] Silver also formed Emerald at the same time,[75] a
label for straight-ahead jazz, but it was short-lived.[34]

1981–98

The first Silveto release was Guides to Growing Up in 1981, which

contained recitations from actor and comedian Bill Cosby.[76][77] Silver
stated in the same year that he had reduced his touring to four months a
year, so that he could spend more time with his son.[78] This also meant
that he had to audition for new band members on an annual basis.[78]
He continued to write lyrics for his new albums, although these were
not always included on the recordings themselves.[79][80] The song
titles reflected his spiritual, self-help thinking; for example,
Spiritualizing the Senses from 1983 included "Seeing with Perception"
and "Moving Forward with Confidence".[80][81] The next albums were
There's No Need to Struggle (1983) and The Continuity of Spirit
(1985).[82] His band for performances in the UK and elsewhere in 1987
included trumpeter Dave Douglas and saxophonist Vincent
Herring.[83][84] Douglas reported that Silver seldom gave direct verbal Silver in Berkeley, California,
[84] 1983
guidelines about the music, preferring to lead through playing. A
revival of interest in more traditional forms of jazz in the 1980s largely
passed Silver by,[85] and his albums on Silveto were not critical
successes.[5] Its last release was Music to Ease Your Disease, in 1988.[86] By the early 1990s Silver did not
often play at jazz festivals,[87] but his need to tour was limited, as he received steady royalties from his
songbook.[22]

Rockin' with Rachmaninoff, a musical work featuring dancers and narration, written by Silver and
choreographed and directed by Donald McKayle, was staged in Los Angeles in 1991.[88] A recording of the
work was released on Bop City Records in 2003.[89] After a decade of trying to make his independent label
work, Silver abandoned it in 1993, and signed to Columbia Records.[90][91] This also signalled a return to
mostly instrumental releases.[5] The first of these, It's Got to Be Funky, was a rare big band album.[91][92]
Silver came close to dying soon after its release: he was hospitalized with a previously undiagnosed blood
clot problem,[93] but went on to record Pencil Packin' Papa, containing a six-piece brass section, in
1994.[94] That year, he also played as a guest on Dee Dee Bridgewater's album Love and Peace: A Tribute to
Horace Silver.[95]

Silver received a National Endowment for the Arts Jazz Masters award in 1995,[5] and in the following year
was added to Down Beat's Jazz Hall of Fame[96] and received an Honorary Doctorate of Music from
Berklee College of Music.[97] He moved from Columbia to Impulse! Records, where he made the septet The
Hardbop Grandpop (1996) and the quintet A Prescription for the Blues (1997).[98] The former was
nominated for two Grammy Awards: as an album for best instrumental performance, individual or group;
and for Silver's solo on "Diggin' on Dexter".[99] He was again unwell in 1997, so was unable to tour to
promote his records.[93] His final studio recording was made in the following year – Jazz Has a Sense of
Humor, for Verve Records.[100] One continuation from his early career was that Silver recorded his own
compositions for his later albums and they were typically new, rather than re-workings of previous
releases.[101]

1999–2014
Silver performed in public for the first time in four years in 2004, appearing with an octet at the Blue Note
Jazz Club in New York.[102] He was not often seen in public after this.[103] In 2005, the National Academy
of Recording Arts and Sciences awarded him its President's Merit Award.[5][53] In 2006, Let's Get to the
Nitty Gritty: The Autobiography of Horace Silver, was published by the University of California Press.[104]
A 2008 release, Live at Newport '58, from a Silver concert fifty years earlier, reached the top ten of
Billboard's jazz chart.[105]

In 2007, it was revealed that Silver had Alzheimer's disease.[103][106][107] He died of natural causes in New
Rochelle, New York on June 18, 2014.[34] He was survived by his son.[9]

Playing style
Silver's early recordings displayed "a crisp, chipper but slightly wayward style, idiosyncratic enough to take
him out of the increasingly stratified realms of bebop".[108] In contrast to the more elaborate bebop piano, he
stressed straightforward melodies rather than complex harmonies, and included short riffs and motifs that
came and went over the course of a solo.[5][109] While his right hand provided cleanly played lines, his left
added bouncy, darker notes and chords in a near-perpetual rumble.[37][109] Silver "always played
percussively, rarely suggesting excessive force on the keys but mustering a crisp [...] sound."[109] His
fingering was idiosyncratic, but this added to the individuality of his pianism, particularly to the authenticity
of the blues facets of his playing.[110] The Penguin Guide to Jazz gave the overall assessment that "Blues
and gospel-tinged devices and percussive attacks give his methods a more colourful style, and a generous
good humour gives all his records an upbeat feel."[108] Part of the humor was Silver's predilection for
quoting other pieces of music in his own playing.[111]

Writer and academic Thomas Owens stated that characteristics of Silver's solos were: "the short, simple
phrases that all derive from the three-beat figure ♩ ♩ | ♩, or a variant of it; the pianist's 'blue fifth' (those rapid
slurs up to [... a flattened fifth]); and the low tone cluster used strictly as a rhythmic punctuation".[111] He
also employed blues and minor pentatonic scales.[112] Music journalist Marc Myers observed that "Silver's
advantage was pianistic grace and a keen awareness that by resolving dark, minor-passages in airy,
ascending and descending major-key chord configurations, the result could produce an exciting and uplifting
feeling."[41] In his accompanying of a soloing saxophonist or trumpeter, Silver was also distinctive: "Rather
than reacting to the soloist's melody and waiting for melodic holes to fill, he typically plays background
patterns similar to the background riffs that saxes or brasses play behind soloists in big bands."[112]

Compositions
Early in his career, Silver composed contrafacts and blues-based melodies (including "Doodlin'" and "Opus
de Funk").[101] The latter was "a typical Silver creation: advanced in its harmonic structure and general
approach but with a catchy tune and finger-snapping beat."[100] His innovative incorporation of gospel and
blues sounds into jazz compositions took place while they were also being added to rock 'n' roll and R&B
pieces.[113]

Silver soon expanded the range and style of his writing,[101] which grew to include "funky groove tunes,
gentle mood pieces, vamp songs, outings in 3/4 and 6/8 time, Latin workouts of various stripes, up-tempo
jam numbers, and examples of almost any and every other kind of approach congruent with the hard bop
aesthetic."[114] An unusual case is "Peace", a ballad that prioritizes a calm mood over melodic or harmonic
effects.[115] Owens observed that "Many of his compositions contain no folk blues or gospel music
elements, but instead have highly chromatic melodies supported by richly dissonant harmonies".[112] The
compositions and arrangements were also designed to make Silver's typical line-up sound larger than a
quintet.[116]
Silver himself commented that inspiration came from multiple sources: "I'm inspired by nature and by some
of the people I meet and some of the events that take place in my life. I'm inspired by my mentors. I'm
inspired by various religious doctrines. [...] Many of my songs are impressed on my mind just before I wake
up. Others I get from just doodlin' around on the piano".[117] He also wrote that, "when I wake up with a
melody in my head, I jump right out of bed before I forget it and run to the piano and my tape recorder. I
play the melody with my right hand and then harmonize it with my left. I put it down on my tape recorder,
and then I work on getting a bridge or eightbar release for the tune."[118]

Influence and legacy

Silver was among the most influential jazz musicians of his lifetime.[100] Grove Music Online describes his
legacy as at least fourfold: as a pioneer of hard bop; as a user of what became the archetypal quintet
instrumentation of tenor saxophone, trumpet, piano, bass, and drums; as a developer of young musicians
who went on to become important players and bandleaders; and for his skill as a composer and arranger.[119]

Silver was also an influence as a pianist: his first Blue Note recording as leader "redefined the jazz piano,
which up until then was largely modeled on the dexterity and relentless attack of Bud Powell", in Myers'
words.[41] As early as 1956, Silver's piano playing was described by Down Beat as "a key influence on a
large segment of modern jazz pianists."[22] This went on to include Ramsey Lewis, Les McCann, Bobby
Timmons,[119] and Cecil Taylor, who was impressed by Silver's aggressive style.[2]

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.[22] As a composer, he led a return to an
emphasis on melody, observed critic John S. Wilson: for a long time, jazz musicians had written contrafacts
of great technical complexity, but "Silver wrote originals that were not only actually original but memorably
melodic, presaging a gradual return to melodic creativity among writing jazzmen."[120]

Discography

Notes
1. According to Silver, his father's surname was originally "Silva", but was changed upon
marriage to "Silver", while his own baptismal name was "Horace Ward Silver", which then had
his father's middle name added, as well as "Martin" upon his Catholic confirmation, making him
Horace Ward Martin Tavares Silver.[1]
2. This account of his father's early life is widely reported. The U.S. census of 1930 gives his
name as "John M. Silva" and his birthplace as "Porto [Puerto] Rico".[4]

References
1. Silver 2006, p. 3.
2. Atkins, Ronald (June 19, 2014). "Horace Silver Obituary" (https://www.theguardian.com/music/
2014/jun/19/horace-silver). The Guardian.
3. Silver 2006, pp. 1–2.
4. "John M Silva – United States Census, 1930" (https://familysearch.org/ark:/61903/1:1:XMPQ-1
6F). FamilySearch. Retrieved January 5, 2016.
5. Keepnews, Peter (June 18, 2014). "Horace Silver, 85, Master of Earthy Jazz, Is Dead" (https://
www.nytimes.com/2014/06/19/arts/music/horace-silver-85-master-of-earthy-jazz-is-dead.html?
_r=0). The New York Times.
 6. Silver 2006, p. 2.
7. Silver 2006, pp. 2–3.
8. Silver 2006, pp. 8–9.
9. Gallo, Phil (June 19, 2014). "Horace Silver Dies: Hard Bop Jazz Icon Dead at 85" (http://www.b
illboard.com/articles/news/6121641/horace-silver-dead-jazz-pianist-hard-bop-legend-dies).
Billboard.
10. Silver 2006, pp. 12–13.
11. Silver 2006, p. 51.
12. Silver 2006, p. 121c.
13. Silver 2006, pp. 18–19.
14. Silver 2006, pp. 18–20.
15. Morgenstern, Dan (July 1960). "The Rumors and the Facts" (http://hardbop.tripod.com/downbe
at.html). Down Beat. Reproduced at The Hardbop Homepage.
16. Cook 2003, p. 54.
17. Silver 2006, pp. 22–23.
18. Silver 2006, p. 197.
19. Silver 2006, pp. 45–46.
20. Silver 2006, p. 46.
21. Shipton 2001, pp. 669–671.
22. McDonough, John (September 2014). "Horace Silver". Down Beat. 81 (9): 49.
23. Shipton 2001, p. 670.
24. Shipton 2001, pp. 489, 670.
25. Silver 2006, pp. 202–207.
26. Silver 2006, p. 147.
27. "Newport Jazz Festival: 60 Years Young" (https://web.archive.org/web/20151222162758/http://
www.downbeat.com/default.asp?sect=news&subsect=news_detail&nid=2461). Down Beat.
July 29, 2014. Archived from the original (http://www.downbeat.com/default.asp?sect=news&s
ubsect=news_detail&nid=2461) on December 22, 2015.
28. Owens 1996, p. 153.
29. Shipton 2001, pp. 673, 679.
30. Shipton 2001, pp. 672–673.
31. Chilton, Martin (June 19, 2014). "Horace Silver, Pioneer of Jazz Hard Bop, Dies at 85" (https://
www.telegraph.co.uk/culture/music/worldfolkandjazz/10910894/Horace-Silver-pioneer-of-jazz-h
ard-bop-dies-at-85.html). The Daily Telegraph.
32. Cook & Morton 2008, pp. 132–133, 1298–1299.
33. Shipton 2001, p. 679.
34. Stewart, Jocelyn Y. (June 18, 2014). "Horace Silver Dies at 85; Pioneering Jazz Pianist and
Composer" (http://www.latimes.com/local/obituaries/la-me-horace-silver-20140619-story.html#
page=1). Los Angeles Times.
35. Shipton 2001, pp. 671, 674.
36. Cook 2003, p. 101.
37. Shipton 2001, p. 680.
38. "Art Blakey, Horace Silver Now at the PAD". New York Amsterdam News. December 29, 1956.
p. 2.
39. Lees, Gene (1994). Cats of Any Color: Jazz Black and White (https://archive.org/details/catsof
anycolorja00leesg/page/85). Oxford University Press. p. 85 (https://archive.org/details/catsofan
ycolorja00leesg/page/85). ISBN 978-0-19-508448-1.
40. Silver 2006, pp. 90–91.
41. Myers, Marc (June 19, 2014). "Horace Silver (1928–2014)" (https://web.archive.org/web/20140
622063206/http://www.jazzwax.com/2014/06/horace-silver-1928-2014.html). JazzWax.
Archived from the original (http://www.jazzwax.com/2014/06/horace-silver-1928-2014.html) on
June 22, 2014.
42. Silver 2006, pp. 207–218.
43. Huey, Steve. "Horace Silver Quintet – Finger Poppin' with the Horace Silver Quintet" (http://ww
w.allmusic.com/album/finger-poppin-with-the-horace-silver-quintet-mw0000197311). AllMusic.
Retrieved December 19, 2015.
44. "Horace Silver Will Tour Japan Starting on Jan. 1". Chicago Daily Defender. November 27,
1961. p. 16.
45. "Silver at Jazz Gallery". Pittsburgh Courier. February 17, 1962. p. A19.
46. Cook & Morton 2008, p. 1299.
47. Shipton 2001, pp. 681–682.
48. Jurek, Thom. "Blue Note Records Catalog: 45 rpm 1700 Series" (http://www.jazzdisco.org/blue
-note-records/catalog-45-rpm-1700-series/#bn-45-1741). jazzdisco.org. AllMusic. Retrieved
January 6, 2015.
49. Jurek, Thom. "Horace Silver – Silver's Serenade" (http://www.allmusic.com/album/silvers-sere
nade-mw0000031560). AllMusic. Retrieved December 19, 2015.
50. Tiegel, Eliot (May 21, 1966). "The Jazz Beat". Billboard. 78 (21): 8.
51. McMillan, Allan (March 7, 1964). "On Broadway". New Pittsburgh Courier. p. 17.
52. Garland, Phyl (February 13, 1965). "Listening In: Friends of the Turntable". New Pittsburgh
Courier. p. 17.
53. "Horace Silver Dies" (http://www.grammy.com/news/horace-silver-dies). grammy.com. June 18,
2014.
54. Huey, Steve. "Horace Silver – The Jody Grind" (http://www.allmusic.com/album/the-jody-grind-
mw0000265278). AllMusic. Retrieved December 19, 2015.
55. Owens 1996, pp. 221–222.
56. "U.S. Jazz Stars to Tour Europe". The New York Times. October 20, 1968. p. 85.
57. Atkins, Ronald (November 23, 1968). "The Horace Silver Quintet". The Guardian. p. 6.
58. Yanow, Scott. "Horace Silver – You Gotta Take a Little Love" (http://www.allmusic.com/album/y
ou-gotta-take-a-little-love-mw0000559874). AllMusic. Retrieved December 19, 2015.
59. Nolan, Herb (September 13, 1973). "Horace Silver: In Pursuit" (https://web.archive.org/web/20
160211172446/http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&sid=
1262). Down Beat. Archived from the original (http://www.downbeat.com/default.asp?sect=stori
es&subsect=story_detail&sid=1262) on February 11, 2016.
60. Silver 2006, pp. 122–123.
61. Silver 2006, p. 126.
62. Silver 2006, pp. 127–130.
63. Wynn, Ron. "Horace Silver – That Healin' Feelin' " (http://www.allmusic.com/album/that-healin-f
eelin-mw0000909147). AllMusic. Retrieved January 13, 2015.
64. Silver 2006, pp. 134–135.
65. Nolan, Herb (June 1, 1973). "Mike Brecker: Music Is What I Do!" (https://web.archive.org/web/
20151222163946/http://www.downbeat.com/default.asp?sect=stories&subsect=story_detail&si
d=1158). Down Beat. Archived from the original (http://www.downbeat.com/default.asp?sect=s
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66. "Dave Liebman – NEA Jazz Master (2011)" (http://amhistory.si.edu/jazz/Liebman-Dave/Liebma
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er-obituary.html). The Daily Telegraph. June 19, 2014.
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Bibliography

Cook, Richard (2003). Blue Note Records: The Biography (https://archive.org/details/bluenoter

ecordsb00cook_0). Justin, Charles & Co. ISBN 978-1-932112-10-8.
Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (9th ed.).
Penguin. ISBN 978-0-14-103401-0.
Gioia, Ted (2012). The Jazz Standards – A Guide to the Repertoire. Oxford University Press.
ISBN 978-0-19-993739-4.
Owens, Thomas (1996). Bebop – The Music and Its Players. Oxford University Press.
ISBN 978-0-19-510651-0.
 Shipton, Alyn (2001). A New History of Jazz (https://archive.org/details/newhistoryofjazz00shi
p). Continuum. ISBN 978-0-8264-4754-8.
Silver, Horace (2006). Let's Get to the Nitty Gritty: The Autobiography of Horace Silver.
University of California Press. ISBN 978-0-520-25392-6.

Further reading
Silver, Horace (1995). The Art of Small Jazz Combo Playing. Hal Leonard. ISBN 978-0-7935-
5688-5.

External links
Horace Silver Discography at the Hard Bop Home Page (http://hardbop.tripod.com/silver_disco
graphy.html)
Listening In: An Interview with Horace Silver (http://www.bobrosenbaum.com/transcripts/silver
1.pdf) by Bob Rosenbaum, Los Angeles, December 1981 (PDF file)
"The Dozens: Twelve Essential Horace Silver Recordings" (https://web.archive.org/web/20080
924121026/http://www.jazz.com/dozens/the-dozens-horace-silver) by Bill Kirchner

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