{"id":6745,"date":"2015-06-29T17:46:00","date_gmt":"2015-06-30T00:46:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6745"},"modified":"2015-06-29T22:04:46","modified_gmt":"2015-06-30T05:04:46","slug":"monday-recommendation-george-cables-2","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/06\/monday-recommendation-george-cables-2\/","title":{"rendered":"Monday Recommendation: George Cables"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;TLH1WdYhIVHvwVCAtbPg77SdB0mAcFEh&#8221;]<\/p>\n<p><strong>George Cables<\/strong>, <a href=\"http:\/\/www.amazon.com\/In-Good-Company-George-Cables\/dp\/B00X0UUDF4\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\"><em>In Good Company<\/em><\/a> (High Note)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Cables-good-company.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Cables-good-company.jpg\" alt=\"Cables good company\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-6746\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Cables-good-company.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Cables-good-company-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Cables-good-company-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>The \u00e2\u20ac\u0153Company\u00e2\u20ac\u009d of the title refers to more than Cables\u00e2\u20ac\u2122 trio members, bassist Essiet Essiet and drummer Victor Lewis. It alludes to four fellow pianists whose compositions he plays in addition to two of his own in this relaxed collection. At 70, Cables reflects the values of the jazz mainstream of which he has been a solid part. In decades of work with Art Blakey, Sonny Rollins, Dexter Gordon, Art Pepper, Joe Henderson and others he has been a respected sideman and leader. Between his lengthy opening exploration of \u00e2\u20ac\u0153After the Morning,\u00e2\u20ac\u009d a John Hicks waltz, and the concluding single chorus of Billy Strayhorn\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Day Dream,\u00e2\u20ac\u009d Cables interprets pieces by Duke Ellington and Kenny Barron.  Sparked by Lewis, Cables&#8217; \u00e2\u20ac\u0153Mr. Anonymouse\u00e2\u20ac\u009d is an adventure in kinetic energy.        <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;TLH1WdYhIVHvwVCAtbPg77SdB0mAcFEh&#8221;] George Cables, In Good Company (High Note) The \u00e2\u20ac\u0153Company\u00e2\u20ac\u009d of the title refers to more than Cables\u00e2\u20ac\u2122 trio members, bassist Essiet Essiet and drummer Victor Lewis. It alludes to four fellow pianists whose compositions he plays in addition to two of his own in this relaxed collection. At 70, Cables reflects the values [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6746,"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":[5],"tags":[],"class_list":{"0":"post-6745","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6745","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=6745"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6745\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6746"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6745"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6745"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}