Horace Silver

Art by Tim Foley

Horace Silver

Piano · born 2 September 1928 died 18 June 2014

Click for Richard Cook Bio

Horace Ward Martin Tavares Silver began playing locally in Connecticut clubs at the end of the 40s, and he was heard in this capacity by a visiting Stan Getz, who subsequently hired the pianist and used him on some of the saxophonist's early sessions for the Roost label. Silver joined forces with Art Blakey in 1952 in the prototype Jazz Messengers in New York: though initial recordings were under Blakey's name, by the time the personnel settled down in 1954 they were called the Jazz Messengers. Silver stayed two further years and contributed extensively to the band's book, but after he left he went on to form his own quintets, which played in much the same style, although leavened by his own good humour. He had already begun recording for Blue Note while with Blakey, and that association grew warmer and more dependable as time went on: Silver stayed with the 'old' Blue Note longer than any other artist, still recording with the company until well into the 70s, and he became the musician who was Alfred Lion's closest confidant.

Meanwhile, his working group – always two horns and a rhythm section – began to personify what would become the standard hard-bop small-band setting. Throughout a long career, he has almost exclusively used his own originals rather than relying on any standards, and his writing in the 50s soon established the blueprint for his idiom. It was a logical progression from the cooling of bop's original helter-skelter first phase: the rhythm section still played in a taut, bebop style, but the convoluted melodies of bop were traded for much simpler, almost motif-like tunes (one of his early successes, The Preacher, was actually hated by Alfred Lion at first, and it took a bit of subterfuge by Horace – saying that if they abandoned it, it would mean more studio time spent – to get it past his producer). They added a melodious bounce to a sound that was still unimpeachably modern, and hip. Silver employed a procession of outstanding horn players for the next 20 years, including Carmell Jones, Hank Mobley, Kenny Dorham, Art Farmer, Blue Mitchell, Junior Cook, Joe Henderson, Woody Shaw, Clifford Jordan and Randy Brecker, and his Blue Note albums were a remarkably consistent lot: the sequence he cut at the end of the 50s, in what was a glorious spell for jazz on record, included The Stylings Of Silver, Further Explorations, Finger Poppin' and the quite flawless Blowin' The Blues Away, and is still an enthrallingly fresh listen, even after some five decades of similar music-making by others following the formula.

Silver's own playing helped keep his groups on their toes, pushing and thrusting whether in solo or accompaniment and constantly varying the pace with a stock of ingenious licks. Aside from a break in the early 70s, he kept touring the group and, although some of his latter-day Blue Note sets have some modish and misconceived trappings, he was one of the few old-stagers who left the label with his honour intact, not tempted by fusion. He subsequently founded his own label in the 80s and toured with new groups, although there were spells when he was off the scene due to illness or family matters. He later signed again to both Columbia and Impulse!, now a godfather of his idiom, and perhaps the only sour note of the period was his decision not to appear at the celebratory concerts which relaunched Blue Note in the middle 80s: if one musician's work sums up the ideals and rewards of that label, it is Silver's.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.