Horace Silver is one of the last giants remaining from the incredible flowering and creative extension of bebop music that became known as "hard bop" in the 1950s. This freewheeling autobiography of the great composer, pianist, and bandleader takes us from his childhood in Norwalk, Connecticut, through his rise to fame as a musician in New York, to his comfortable life "after the road" in California. During that time, Silver composed an impressive repertoire of tunes that have become standards and recorded a number of classic albums. Well-seasoned with anecdotes about the music, the musicians, and the milieu in which he worked and prospered, Silver's narrative--like his music--is earthy, vernacular, and intimate. His stories resonate with lessons learned from hearing and playing alongside such legends as Art Blakey, Charlie Parker, and Lester Young. His irrepressible sense of humor combined with his distinctive spirituality make his account both entertaining and inspiring. Most importantly, Silver's unique take on the music and the people who play it opens a window onto the creative process of jazz and the social and cultural worlds in which it flourishes.Let's Get to the Nitty Gritty also describes Silver's spiritual awakening in the late 1970s. This transformation found its expression in the electronic and vocal music of the three-part work called The United States of Mind and eventually led the musician to start his own record label, Silveto. Silver details the economic forces that eventually persuaded him to put Silveto to rest and to return to the studios of major jazz recording labels like Columbia, Impulse, and Verve, where he continued expanding his catalogue of new compositions and recordings that are at least as impressive as his earlier work.

Table of Contents

foreword Joe Zawinul preface acknowledgments chapter one Childhood chapter two Dreaming My Dreams: Teenage Years chapter three Lady Music and the Messengers: Early Adult Years chapter four The Quintet chapter five Westward Bound: Middle Years chapter six Off the Merry-Go-Round: Later Years epilogue afterword Phil Pastras discography Eric B. Olsen recordings honoring Horace Silver a select bibliography of music publications awards index

About the Author

Horace Silver was born in Norwalk, Connecticut in 1928. He now lives in Malibu, California. Phil Pastras is Assistant Professor of English at Pasadena City College and author of Dead Man Blues: Jelly Roll Morton Way Out West (California, 2002).

Reviews

Silver's contributions as pianist, producer, bandleader, composer and lyricist have catapulted him into the pantheon of jazz legends. Finding an "inner source of inspiration" for his music in dreams, tea kettle whistles, cricket chirps and the spirit world, Silver is an innovator whose musical influences include the blues as well as gospel, Latin, symphonic, Broadway shows and folk music. Painting a colorful backdrop of the jazz scene over six decades, Silver reveals the events behind songs like "Se?or Blues" and "Song for My Father" as he traces his musical development from his youth in Norwalk, Conn. Following gigs in high school, he toured with Stan Getz, arriving in New York to team with top talents on club dates, recording sessions and radio broadcasts. In 1952, he began a 28-year association with Blue Note Records and then ran Silveto, his own independent record label, during the 1980s. Silver, now 78, has an astonishing recall of every musician he ever encountered, prompting plenty of anecdotes amid the solid self-insights. The critical afterword by Pastras (Dead Man Blues) analyzes Silver's "steadfast refusal to let a groove become a rut." 17 b&w photos not seen by PW. (Mar. 6) Copyright 2006 Reed Business Information.

Composer, pianist, and bandleader Silver has been credited with being one of the founding members of the 1950s hard bop movement, and this autobiography should do well to illuminate some of the ideas that helped spawn that continuing musical movement. Silver describes his early years growing up in Norwalk, CT; his ascension to New York City's jazz scene; his move to California; and his spiritual awakening, which led to a change in his music that alienated some of his listeners (and the record companies). Editor Pastras (Dead Man Blues: Jelly Roll Morton Way Out West) discusses the legacy of Silver's post-1970 work in the afterword, arguing that it deserves to be reevaluated. Though there is little on Silver's stint with Art Blakey and the Jazz Messengers (which he cofounded)-an area of great interest to jazz fans-considering that there aren't a lot of books on Silver and hard bop, this is a welcome addition to any jazz collection. Recommended for academic and public libraries.-Ronald S. Russ, Arkansas State Univ. Lib., Beebe Copyright 2006 Reed Business Information.