{"id":1312,"date":"2008-04-21T19:03:00","date_gmt":"2008-04-22T02:03:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1312"},"modified":"2008-04-21T19:03:00","modified_gmt":"2008-04-22T02:03:00","slug":"recent_cds_silver","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/04\/recent_cds_silver\/","title":{"rendered":"Recent CDs: Silver"},"content":{"rendered":"<p>Horace Silver, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&amp;location=http%3A%2F%2Fwww.amazon.com%2Fs%3Furl%3Dsearch-alias%253Dpopular%26field-keywords%3DHorace%2BSilver%2BLive%2BAt%2BNewport%2B%252758%26x%3D13%26y%3D18&amp;tag=rifftidougram-20&amp;linkCode=ur2&amp;camp=1789&amp;creative=9325\" target=\"_blank\"><em>Live At Newport &#8217;58 <\/em><\/a>(Blue Note). It is a treat to hear a newly discovered live performance by the pianist, composer and bandleader whose quintets were among the most interesting and stimulating of the so-called hard bop period. Tenor saxophonist Junior Cook and trumpeter Louis Smith had a good day as soloists. It is unlikely that Cook &#8212; consistently excellent, always underrated &#8212; had bad days. Smith was in and out of the band quickly. He is impressive, particularly in the construction of his solo on &#8220;Senor Blues.&#8221; Silver was playing at the top of what producer and annotator Michael Cuscuna calls his &#8220;quoteaceous&#8221; game. He drives along with the yeoman support of bassist Gene Taylor and drummer Louis Hayes, riveting attention on each tune and coming up with a remarkable solo on the final track, &#8220;Cool Eyes.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Horace Silver, Live At Newport &#8217;58 (Blue Note). It is a treat to hear a newly discovered live performance by the pianist, composer and bandleader whose quintets were among the most interesting and stimulating of the so-called hard bop period. Tenor saxophonist Junior Cook and trumpeter Louis Smith had a good day as soloists. It [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1312","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1312","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1312"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1312\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1312"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1312"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}