Horace Silver

Horace Ward Martin Tavares Silva was born in Norwalk, Connecticut in 1928. His father John Tavares Silva came from Maio, Cape Verde, and worked in a rubber factory. His mother Gertrude had Irish-African heritage from New Canaan. John taught his son Cape Verdean folk music and played guitar at family jam sessions. The family changed their name from Silva to Silver after Horace’s birth. At age eleven, Horace heard Jimmie Lunceford’s orchestra and decided to pursue music. He played piano and tenor saxophone in local gigs through high school. A childhood diagnosis of spinal curvature hampered his saxophone playing, so Silver focused on piano. He was influenced by Art Tatum, boogie-woogie, blues, Thelonious Monk, and Bud Powell. Saxophonist Stan Getz heard Silver perform in Connecticut and hired him in 1950. This breakthrough year produced Silver’s compositions “Split Kick” and “Potter’s Luck.” Silver moved to New York City in 1951 and worked at Birdland’s Monday night jam sessions. He freelanced with Coleman Hawkins and Lester Young. Lou Donaldson helped him master bebop’s complex harmonies and rhythms. Blue Note Records signed him in 1952, beginning a 28-year relationship that lasted until 1980. Silver co-founded The Jazz Messengers with Art Blakey in 1953, establishing hard bop as a new jazz standard. Their trio recordings featured Gene Ramey, Curly Russell, or Percy Heath on bass. “A Night at Birdland Vol. 1” (1954) featured Clifford Brown and Lou Donaldson. “Horace Silver and the Jazz Messengers” (November 13, 1954) introduced “The Preacher” and first used the Jazz Messengers name. Silver’s Blue Note sessions from 1955 onward produced consistent critical praise and popular appeal. His bands served as breeding grounds for future greats including Bennie Maupin, Junior Cook, Hank Mobley, Blue Mitchell, Louis Hayes, Joe Henderson, Charles Tolliver, Benny Golson, Art Farmer, Stanley Turrentine, Woody Shaw, and the Brecker Brothers. “Song for My Father” recorded in November 1964 and released in 1965 became his most enduring work. He dedicated it to his Cape Verdean father with a melody inspired by Cape Verdean-Portuguese folk music. The opening bass riff later appeared in Steely Dan’s “Rikki Don’t Lose That Number,” bringing Silver’s composition to Top 40 audiences. Other signature compositions included “Senor Blues,” “Doodlin’,” “Sister Sadie,” “Opus de Funk,” and “Nica’s Dream.” In the late 1950s doctors diagnosed Silver with rheumatoid arthritis affecting one hand and a malformed spine from childhood illness. He continued performing and composing. “The Cape Verdean Blues” (1965) further explored his heritage alongside spiritual themes. Later albums shifted toward soul and funk, including “The United States of Mind” where Silver provided vocals on multiple tracks. This drew mixed critical reception. His final Blue Note recordings came in 1980. Silver founded his own labels Silveto and Emerald in 1981. His autobiography “Let’s Get to the Nitty Gritty” edited by Phil Pastras appeared in 2006. The NEA named him a Jazz Master. Silver died from natural causes on June 18, 2014 at age 85 at his New Rochelle home. His influence continues on pianists Bobby Timmons, Les McCann, and Ramsey Lewis.