{"id":7815,"date":"2016-09-12T14:17:38","date_gmt":"2016-09-12T21:17:38","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7815"},"modified":"2016-09-12T14:17:38","modified_gmt":"2016-09-12T21:17:38","slug":"monday-recommendation-shirley-horn","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/09\/monday-recommendation-shirley-horn\/","title":{"rendered":"Monday Recommendation: Shirley Horn"},"content":{"rendered":"<p><strong>Shirley Horn<\/strong> <a href=\"http:\/\/amzn.to\/2cjoY8n\">Live at the 4 Queens<\/a> (Resonance)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-7816\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/09\/Horn-4-Queens.jpg\" alt=\"horn-4-queens\" width=\"215\" height=\"215\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/09\/Horn-4-Queens.jpg 215w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/09\/Horn-4-Queens-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/09\/Horn-4-Queens-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/09\/Horn-4-Queens-200x200.jpg 200w\" sizes=\"auto, (max-width: 215px) 100vw, 215px\" \/>The Resonance label continues its parade of previously unissued recordings with this jewel by Shirley Horn, a supremely gifted pianist and singer (1934-2005). By the time of the 1988 performance in the music room of her favorite Las Vegas hotel, Ms. Horn, bassist Charles Ables and drummer Steve Williams had honed themselves into a group of uncommon tightness and empathy. They generated seductive swing at the slowest tempos, as in this album\u00e2\u20ac\u2122s vocal versions of Lil Armstrong\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Just For a Thrill\u00e2\u20ac\u009d and Antonio Carlos Jobim\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Meditation.\u00e2\u20ac\u009d In outright piano trio swing, Horn is at her peak in Randy Weston\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Hi-Fly,\u00e2\u20ac\u009d an extended \u00e2\u20ac\u0153Isn\u00e2\u20ac\u2122t It Romantic,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Blues for Big Scotia\u00e2\u20ac\u009d by her early piano influence Oscar Peterson, and an amused romp through Cole Porter\u00e2\u20ac\u2122s \u00e2\u20ac\u0153You\u00e2\u20ac\u2122d Be So Nice to Come To.\u00e2\u20ac\u009d This is a welcome addition to Horn\u00e2\u20ac\u2122s discography.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shirley Horn Live at the 4 Queens (Resonance) The Resonance label continues its parade of previously unissued recordings with this jewel by Shirley Horn, a supremely gifted pianist and singer (1934-2005). By the time of the 1988 performance in the music room of her favorite Las Vegas hotel, Ms. Horn, bassist Charles Ables and drummer [&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":[5],"tags":[],"class_list":{"0":"post-7815","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7815","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=7815"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7815\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}