{"id":7284,"date":"2016-01-28T11:23:04","date_gmt":"2016-01-28T19:23:04","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7284"},"modified":"2016-01-28T14:24:25","modified_gmt":"2016-01-28T22:24:25","slug":"horace-silver-in-antibes","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/01\/horace-silver-in-antibes\/","title":{"rendered":"Horace Silver At Antibes"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/01\/SILVER.jpg\" alt=\"SILVER\" width=\"200\" height=\"192\" class=\"alignleft size-full wp-image-7285\" \/>Saxophonist Gary Foster sent a link to video from a Facebook post of a seldom seen or heard performance by Horace Silver (pictured). At the 1964 Antibes Jazz Festival in Juan les Pins, France, Silver played a new composition with the latest edition of his quintet. The band was Silver, piano; Carmell Jones, trumpet; Joe Henderson, tenor saxophone; Teddy Smith, bass; and Roger Humphries, drums. The piece was &#8220;Pretty Eyes.&#8221; This is a rare instance of Jones&#8217;s work with Silver.  <\/p>\n<div id=\"fb-root\"><\/div>\n<p><script>(function(d, s, id) {  var js, fjs = d.getElementsByTagName(s)[0];  if (d.getElementById(id)) return;  js = d.createElement(s); js.id = id;  js.src = \"\/\/connect.facebook.net\/en_US\/sdk.js#xfbml=1&version=v2.3\";  fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));<\/script><\/p>\n<div class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"\/100004870568117\/videos\/vb.100004870568117\/350173205155029\/?type=3\">\n<div class=\"fb-xfbml-parse-ignore\">\n<blockquote cite=\"https:\/\/www.facebook.com\/100004870568117\/videos\/350173205155029\/\"><p><a href=\"https:\/\/www.facebook.com\/100004870568117\/videos\/350173205155029\/\">Horace Silver 5tet &#8211; Pretty Eyes [1964]<\/a><\/p>\n<p>Festival de jazz d&#039;Antibes &#8211; Juan les Pins &#8211; France &#8211; 28.07.1964Horace Silver &#8211; PianoJoe Henderson &#8211; Tenor SaxophoneCarmell Jones &#8211; TrumpetTeddy Smith &#8211; Bass Roger Humphries &#8211; Drums<\/p>\n<p>Posted by <a href=\"https:\/\/www.facebook.com\/people\/Kevin-Johnson-Page-II\/100004870568117\">Kevin Johnson Page II<\/a> on Wednesday, November 12, 2014<\/p><\/blockquote>\n<\/div>\n<\/div>\n<p><p>The next year, Silver recorded &#8220;Pretty Eyes&#8221; in his <a href=\"http:\/\/www.amazon.com\/Cape-Verdean-Blues-Horace-Silver\/dp\/B0001CLZP6\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;keywords=horace%20silver%20cape%20verdean%20blues&#038;linkCode=ur2&#038;qid=1403305035&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"><em>Cape Verdean Blues<\/em><\/a> album with Woody Shaw replacing Carmell Jones. It has since become one of the Silver compositions most frequently played by musicians around the world.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Saxophonist Gary Foster sent a link to video from a Facebook post of a seldom seen or heard performance by Horace Silver (pictured). At the 1964 Antibes Jazz Festival in Juan les Pins, France, Silver played a new composition with the latest edition of his quintet. The band was Silver, piano; Carmell Jones, trumpet; Joe [&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-7284","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7284","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=7284"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7284\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7284"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7284"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}