From his autobiography, Miles Davis recalls his experience meeting and playing with the recently deceased pianist Horace Silver in 1954, a point in time following Miles kicking heroin. Silver played on Rudy Van Gelder-engineered recording sessions with Miles at the time of this Alfred Lion photograph that were released on Miles Davis Volume 3 for Blue Note, and Miles Davis Quartet for Prestige.
The scene in New York had changed since I’d been gone. The MJQ — Modern Jazz Quartet — was big on the music scene then; the kind of “cool” chamber jazz thing they were doing was getting over big. People were still talking about Chet Baker and Lennie Tristano and George Shearing, all that stuff that came out of Birth of the Cool. Dizzy was still playing great as ever, but Bird was all fucked up — fat, tired, playing badly when he bothered to show up for anything. The managers of Birdland even barred him from there after he got into a shouting match with one of the owners — and Birdland had been named for him.
All I could think of when I came back to New York was playing music and making records and making up for all the time I had lost. The first two albums I made that year — Miles Davis, Vol. 2 for Blue Note and Miles Davis Quartet for Prestige — were very important to me. The Prestige contract had not gone into effect yet, that’s why I could make the Blue Note date with Alfred Lion, which I needed to do because my money was still short. I felt I had come on strong on those records. I got Art Blakey on drums, Percy Heath from the MJQ on bass, and a young piano player named Horace Silver, who had been playing with Lester Young and Stan Getz. I think Art Blakey turned me on to Horace, because he knew him real well. Horace was staying at the same hotel I was staying in – the Arlington Hotel on 25th near Fifth – so we got to know each other well. Horace had an upright piano in his room where I would play and compose songs. He was a little younger than me, three or four years younger I think. I used to tell him a few things and show him some shit on the piano. I liked the way Horace played piano, because he had this funky shit that I liked a lot at that time. He put fire up under my playing and with Art on drums you couldn’t be fucking around; you had to get on up and play. But I had Horace playing like Monk on that first album with “Well, You Needn’t” and a ballad accompaniment on “It Never Entered My Mind.” We also did “Lazy Susan.”
Excerpted from Miles: The Autobiography, by Miles Davis with Quincy Troupe
“It Never Entered My Mind”