Jetro Da Silva

  • Career Highlights
    • B.M., Berklee College of Music
    • M.A., theological studies, Andover Newton Theological School
    • Ph.D. candidate, Liverpool Hope University/University of Liverpool, Liverpool England
    • Alumnus, Boston Conservatory of Music
    • Alumnus, University of Rio de Janeiro
    • Diploma, Anglican Studies, General Theological School, New York NY
    • Pianist/keyboardist for Namie Amuro, Ernestine Anderson, Patti Austin, Brandy, Celine Dion, Earth Wind and Fire, Fantasia, Jamie Fox, Faith Hill, Whitney Houston, Kem, Chaka Khan, B.B. King, Gladys Knight, the Laws Family, Brian McKnight, Mary and Mary, Bonnie Raitt, Luther Vandross, and Stevie Wonder
    • Composer/arranger/programmer for Andrae Crouch, Sheila E., and Monica, as well as many Brazilian radio and television commercials and programs
    • Producer of Carlos Felix, George Kim, and Mary Souza
    • Music director and pianist for Patti LaBelle
    • Producer of major label and independent recordings


In Their Own Words

"I focus on creating real-life experiences in the classroom. For instance, I recreate the pressure of learning a great amount of material—and learning to play it well—in a short amount of time. The main goal, though, is to achieve musical excellence."

"When I was a student at Berklee, I learned a lot from teachers and other students. The level of musicianship was incredible. I remember meeting great musicians who became very special friends such as John Blackwell, Abe Laboriel, Jr., Taku Hirano, Kenya Hathway, and many others."

"I've played with some very talented musicians—Patti LaBelle, Chaka Khan, Patti Austin. They were all great gigs, and I learned a lot from each artist. Perhaps the best gig I've had so far was with Gladys Knight. Gladys taught me precision and professionalism. Her performance was always fantastic. One of the greatest lessons I learned from her was that no matter how successful you become, never forget where you came from."

"A professional musician must approach gigs in a businesslike way. The thing is not only to get the call, but to get the call back. As a sideman, I am there to follow instructions from the music director and satisfy the artist. If I am the music director, my job is to make the artist comfortable and ensure that my team supports the artist musically and emotionally. I'm not there to jam. I do my job well, regardless of whether I am playing the easiest or the hardest piece of music. A true professional musician has the ability to play a triad, minor seven flat five chord, or even a sus sharp eleven with the same intensity."