Let's Get to the Nitty Gritty: The Autobiography of Horace Silver

by Horace Silver, Joe Zawinul (Foreword), Steve Isoardi (Introduction)

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.

Genres: Music, Jazz

282 pages, Hardcover

First published January 1, 2006

Reviews

[Donna Lewis · Rating 4 out of 5]

I had to give this book 4 stars because Horace Silver is one of my favorite musicians. I had to laugh at his commenting that in the 1950s, he would stand at the bar in the jazz clubs on 52nd St (NYC) and listen to the musicians...it was cheaper than sitting at a table. Well in the 1970s I did the same thing on 52nd St to hear Horace Silver. It always amazes me that all good jazz musicians know all the other good jazz musicians, and played with most of them. They know each musician’s style because they played with or listened to them at one time. Because jazz musicians were always being ripped off, he warned all musicians who wrote music to publish and copyright all their own material, as he did. I also found it interesting that he although he admired Miles Davis, he did not particularly care for his fusion music. He also admired Ornette Coleman and Don Cherry, but did not connect with their style of jazz. I actually feel the same way. It is nice to know he was a kindred spirit. The book was interesting, especially for a jazz audience. Silver left a large body of music. He passes away of Alzheimer’s disease. A sad ending, but a marvelous life.

[Barry Hammond · Rating 4 out of 5]

Jazz great, Horace Silver, lived from 1924 to 2014 and composed scores of standards along the way: Senor Blues, Doodlin', Song For My Father, Sister Sadie, Opus de Funk, and Peace to name only a few. He co-founded The Jazz Messengers with Art Blakey and toured the world with variations of his own quintet. Although known today mainly as a composer he was also a gifted pianist and played on sessions with many of the great names in jazz. This book tells his story in his own words. - BH.

[Mitchell Wittenberg · Rating 4 out of 5]

Gets right to the nitty gritty of the life of jazz piano maestro Horace Silver--puts you right into the middle of the action as Silver helps establish "hard bop". The book loses a little steam when Silver talks about his rather crunchy granola personal philosophy, but his jazz anecdotes and descriptions of the New York jazz scene in the 1950's more than compensates.

[Forrest · Rating 2 out of 5]

So disappointing. Horace Silver is one of my favorite musicians, but this memoir is dull, dull, dull. A liberal sprinkling of good anecdotes can't quite compensate for the rambling, disorganized structure, repetitious style, and near-total lack of musical insight here. This book sat on my shelf for five years before I finally got around to it. I should have left it there.

[Renato · Rating 4 out of 5]

What I find so enjoyable about autobiographies is you're not only getting the subject's perspective on their life/career, you're getting firsthand insight into how they tick. What they value most and how that informs their life, opinions on a variety of musicians or subjects, etc.

In that respect, I think this autobiography succeeds. It was interesting to learn Horace's perspective on spirituality, for example, like when he refers to a person's death as "making their transition" or communication with the afterlife. This was something that bothered people about the autobiography, but honestly, I don't mind, despite my personal disbelief. I'd rather Horace be honest about who he is and what he believes.

I also found his accounts of harassment by the police very relevant in today's political climate. The idea of jazz musicians being presumed drug felons by law enforcement until proven innocent is an angering and sad thing to read about. Imagining the man who did some of my favorite jazz music having to consent to constant police searches and stops is infuriating. And of course, when he was the only black person living in a white building, he had to deal with more day-to-day racism in his life.

But, it's the music that makes us buy a book like this, and he has plenty of fascinating stories to tell. About his influences (Jimmie Lunceford, Herman Chittison), his upbringing, getting started, New York in the 50's, all the way up to Art Blakey.

The section after the Horace Silver Quintet struck me as shorter than it could be. I had hoped for a similar level of depth that he provided for his pre-quintet career. But, I did enjoy what was there.

My biggest takeaway from this book is his post-quintet work. I didn't think Horace was very active as a composer/bandleader once the 70's came. So much of this work I had never heard of, particularly The United States of Mind. Having listened to some of it, I think it really is a shame that it is so overlooked.

My suspicion is that if you like Horace Silver's music, you'll enjoy getting to know him in 180 pages. I mean, it's Horace Silver talking about his life and music; it has to be worth a read.

[David Scoggin · Rating 3 out of 5]

I love Horace so much I'd like to give this 5 stars, but is really the most unorganized (and repetitive) book I've ever read. Still, it is full of good info and some good philosophy... I'm resisting the 2 I'd give it if I wasn't such a fan.

[Cliff · Rating 5 out of 5]

A great look into the history of jazz and it's fall from the leading edge of popular music.

[Glynn · Rating 5 out of 5]

This was a fun and fascinating autobiography of one of the jazz legends. Horace Silver really does get down to the nitty gritty in this book with his many anecdotes of growing up and living the jazz life. He introduces us to many of the jazz greats he worked with and gives us a view of many aspects of the music industry. This book also has a huge discography and and excellent afterward by Phil Pastras. Highly recommended to anyone interested in music and in jazz in particular.

[Amir · Rating 4 out of 5]

...loaded with many insights into the era, music, and the NYC scene. Biggest Flaw; not one mention of bassist, Bob Cranshaw !?!