{"id":1281,"date":"2013-03-25T15:20:14","date_gmt":"2013-03-25T19:20:14","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=1281"},"modified":"2019-09-12T18:08:04","modified_gmt":"2019-09-12T22:08:04","slug":"celebrate-cecil-taylor-birthday-84","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/03\/celebrate-cecil-taylor-birthday-84.html","title":{"rendered":"Celebrate Cecil Taylor, birthday 84"},"content":{"rendered":"
\"ct<\/a>

Cecil Taylor by Mick Canterella (mick@mickphoto.com)<\/p><\/div>\n

One-of-a-kind American master musical artist Cecil Taylor turns 84 today, March 25, and deserves our culture’s gratitude. His life has been one of relentless, intense, sweeping creativity, which has driven global developments in composition, improvisation, performance, attire and contemporary lifestyle to a much greater degree than has been much acknowledged — \u00c2\u00a0although Taylor does<\/em> have many\u00c2\u00a0staunch proponents<\/a> and has<\/em> received high honors<\/a>.<\/p>\n

On piano, solo or in duos, trios, bands, with orchestras, he has consistently and constantly presented challenges to himself and everyone in his attendance with the scope, density and impassioned lyricism of his unique and inimitable sound. I hate to keep writing so grandiosely of Taylor’s music, but that is indeed how it has struck me since I first stumbled into an audio revelation, awed by a flash of understanding of the unprecedented architecture — no, calculus — of Unit Structures<\/a>,<\/em>\u00c2\u00a0still radical intellectually and emotionally, 47 years after its recording in 1966. That whole story is in my book after which this blog is named: Miles Ornette Cecil — Jazz Beyond Jazz.<\/em><\/a><\/p>\n

I have been an ardent listener to Taylor since my teens (an unusual condition then as now), and have been compelled to get ever more curious and absorbed in what he has done and does, without ever being able to say that I have grasped it. \u00c2\u00a0I have favorites among his recordings, but even those I consider less fulfilling have their fascinations. It has been too long now since I’ve heard him — last time, he was interpolating remarkably gentle, lingering passages of pianistic poetry amid the percussive flurries and octave bounding throw-downs for which he’s famous. The lion in winter — that was the theme of my 1995 profile of Cecil Taylor for The Wire, the estimable UK magazine (for which I’ve just written about Karl Berger and the 40th anniversary of Creative Music Studio — see the May issue). Here it is, to honor a lion two extraordinary decades more experienced, exploratory, accomplished.<\/p>\n

Cecil Taylor at 65? The small, exquisitely spry man with greying
\ndreadlocks and penetrating gaze, this man of cosmopolitan intelligence,
\nexpansive thought and unrivalled intensity, this artist long outcast
\nthough lately much honoured, has the air of a lion in early winter.<\/p>\n

Onstage at a solo concert at Lincoln Center’s Avery Fisher Hall in New
\nYork back in March, he was robed in splendour and mesmerising in
\nperformance. He knew so many ways to approach, press, caress and pummel
\nthe piano’s keys, so many methods of chasing an idea through music’s
\nlabyrinths, so deep an understanding of his (and our) moment and its
\ncelebratory potential that one dared hope this is what aging is about:
\nmastery and the courage to deny it in the push ever onward.<\/p>\n

That’s what Taylor has achieved in a musical life spanning some 40 years, more than 50 recordings, and the globe. The amazing technique he has constructed has never been an end in itself – his lightning speed, revolutionary finger work, utter control over vast dynamics, and his distinctly personal vocabulary involving myriad echoes, cross-references and reflections all seem to be at the service of an all-consuming quest.<\/p>\n

His musical energy – though it may sometimes have seemed
\nself-aggrandizing – has focused on intellectual, aesthetic,
\nphilosophical, spiritual, mystical and mythological investigations at
\nthe core of all enduring artistic endeavours. From Jazz Advance<\/em>, which
\nTaylor issued on his own Transition label in 1956, to the new FMP trio
\nrelease, Celebrated Blazons<\/em>, Taylor has made enemies of polite
\nconventions, standard operating procedures, received opinions and
\ndiscouraging words. In the process he has gained many fascinated
\nfollowers – including this writer, who sat on a floor in Taylor’s
\nsumptuously furnished Brooklyn brownstone earlier this year, listening
\nwhile he conjured pearls of wisdom and offered them with evident
\nsatisfaction.<\/p>\n

*<\/p>\n

Taylor has spent the last six months living in New York. It’s the
\nlongest period he has stayed in the city in eight years. For much of the
\n90s he has been living and performing in Europe and Asia. In 1990 he
\nreceived a grant from the German government to stay, compose and perform
\nin the country for a year. A year and a half ago he went to Japan to
\nperform with Min Tanaka and do other concerts. A few months after that
\nhe took his band to perform at the Miro Museum on the island of
\nMallorca. Taylor had met Miro at the Foundation Maeght in 1969; the
\nartist gave each member of Taylor’s group at that time – Jimmy Lyons,
\nSam Rivers and Andrew Cyrille – an original lithograph (“Same design but
\ndifferent colors for each,” says Taylor) and he left it in his will
\nthat the pianist should be the first to play at the museum when it was
\ncompleted. “We’ve had a very interesting artistic career outside of this
\ncountry,” says Cecil.<\/p>\n

Is it the kind of career he envisioned for himself?<\/p>\n

“You never know. You just try to prepare yourself, and there are
\npolitical or economic signs in any culture or civilisation that give you
\na clue as to where you’re going to be placed in that milieu. You just do
\nthe work, then the opportunities come about that allow you to see what
\nyou have achieved in your time.<\/p>\n

“You know, when you see a really great artist, all time stops. The
\nlargesse of their spirit lights you inside, your inner sensibilities, so
\nyou recognise this is a vision, a spiritual presence, that can only
\nfurther your own development as an artist. Empires fall, but the highest\u00c2\u00a0achievements of empires are really what the artists create within them.\u00c2\u00a0Some art work transcends the dominance of empires.<\/p>\n

“When you attempt to build through composition – and when I use that
\nword I mean a kind of architecture by using sonorities to create the
\nthree dimensions – there is a commitment, and the commitment comes from\u00c2\u00a0sources you’re not even aware of. Since it is not intellectually
\naccountable, then it must be a repository of one of the greatest forces
\nof nature that come to realisation within oneself. Since we are, after
\nall, human beings who are co-existing with plants and animals, mountains\u00c2\u00a0and rivers and streams, perhaps one of the purposes of our life is to\u00c2\u00a0achieve the nobility of that moment through transcendence in which we
\nreturn to the point of our beginnings.<\/p>\n

“So poets who perhaps attempt to levitate – the process to achieve that,
\nthe thing that all poets have in common, the internal material – is the
\ndevelopment of the senses to respond to the particular media you’re
\nworking in. And since that kind of work has no basis in commercial
\nreality, then the activity must be about developing those monuments to
\nthe flowering of the senses. When you’re talking about dealing with
\nthat, the next level would be the transcendent one, which, if it is
\nachieved, is the purpose for one’s living. And it has ramifications in
\nterms of one’s humanity.<\/p>\n

“Of course, I can only speak for myself, but music, which in many ways
\nsaved my life, led me to literature, to dance, to architecture, finally
\nto people. So if you make a commitment to one, you begin to see there is
\nno single art, and if you get into different kinds of art they nurture
\nyou. If you’re fortunate, they lead to an expansion of your knowledge.
\nAnd it’s like a river or an ocean, it continues to move. So that one’s
\nlife is more rewarding as one is allowed to get older. There is a deeper
\njoy, and because of the joy there is an understanding.”<\/p>\n

Is that what he tries to communicate to audiences? “There are two things
\nwe start to realise when we get older: that there is a duty to serve –
\nthe inner self, but also to serve those who would be listening – and
\nthat the reason one serves is because one wants to express the joy of
\nliving, and so it becomes a celebration of life. The parameters of that
\ngo beyond the viability of that which is commercial.”<\/p>\n

Even disregarding the question of commercial viability, some people are
\nunprepared to confront the complexities and possibilities in Taylor’s
\nmusic. How does he respond to this? “There are generations of listeners
\nwho know the music that they know, and they are quite cognizant of all
\nthe levels of music that they’re into. Indeed, I’ve found many times
\nfriends who I’ve known over the years had a very interesting perception
\nof music which always fascinated me because they weren’t musicians but
\nit seemed to me they grasped in their own way a fullness of the dynamics
\nwithin the sound structures that was always appealing and enchanting
\nbecause it was arrived at through their love, and that love furnished
\nthem with insight that could not be denied. On many occasions I’ve found
\nmyself reacting to a poignant sound the same way they did.”<\/p>\n

Are there limits to his musical interests? “I’m interested in only one
\nthing: music that is good. Definitions of music should perhaps be left
\nto those who really love it. That doesn’t necessarily mean musicians. I
\nmean, Stevie Wonder wrote incredible music at one time. Aretha Franklin
\nwas an incredible musician and did extraordinary work, and then we get
\nto men like James Brown and Marvin Gaye, who certainly were without
\npeers, for me at least, in that division of the music. All of the music
\nthat I love, there are common touchstones to it, you see.”<\/p>\n

And is he\u00c2\u00a0part of that musical continuum? “Oh, I don’t question that.”<\/p>\n

*<\/p>\n

Many of Taylor’s works, particularly the mid-60s albums Unit Structures<\/em>
\nand Conquistador<\/em>, seem to be so much about planes, architectures… “I
\nfind I get more gratification out of looking at an architectural drawing
\nthan I do most musical scores. The point being that for me there is not
\nmuch mystery in looking at a musical score, because the process becomes
\npretty much the same. If you look at one, you know the procedures. The
\npoint is really: does music exist as a note, or does it take its point
\nof beginning, its genesis, from someplace else? One of the distractions
\nhas been this idea of written music. It divides the senses, though some
\npeople might say it increases the options. But I mean if you look at a
\npiece of music – notes – that means your eye must be directed outside
\nthe body.<\/p>\n

“There’s always been this wildly inaccurate way of describing people who
\nplay by ear. What other way is there to play? One can add things to it.
\nBut there seems to be a bit of misconception about what constitutes
\nmusical literature. What is this mythology about composition? What is
\nthe body supposed to be doing while one is performing?”<\/p>\n

Does he have a rigorous practice routine? “I don’t know if I’d call it\u00c2\u00a0rigorous. There are certain procedures one must exhibit, and it’s a\u00c2\u00a0matter of preparation. One gets up in the morning, then one must work at\u00c2\u00a0developing the mind. There are certain things one must study in order to\u00c2\u00a0write words, then there is usually at least an hour spent doing various\u00c2\u00a0exercises for the body. Then the most glorious meal of the day, for me,
\nwhich is breakfast. I might mop floors. See what the telly is saying.\u00c2\u00a0And then one composes, one practises, and one has achieved a state of\u00c2\u00a0highness. That’s the way I enrich my life.”<\/p>\n

How often does he practice?<\/p>\n

“Every day is different. This is a very intense time because I’m
\npreparing for something specific. But after all, it is my life’s work.
\nIt’s a heightened time now, a time of spiritual intake. I practise to be
\nable to perform.”<\/p>\n

*<\/p>\n

Taylor is an avid consumer of the performing arts. What has he seen
\nrecently that has excited him? “In the last two or three months? I went
\nto see the originator of the Butoh at the Japan Society, a very
\ninteresting gentleman, 87 years old, who was incredible. About two weeks
\nago I went to see Abbey Lincoln at the Blue Note. There are many riches
\none can take part in, and that is a nurturing experience, too.<\/p>\n

“I like the voice. The voice was either the first or the second
\ninstrument. Certainly Lena [he has a photograph of singer Lena Horne on
\nthe wall] is a very interesting performer. I first saw her in the stage
\nwhen I was 12; she had just done Cabin In The Sky<\/em> and Stormy Weather,<\/em>
\nand remembering how Lena looked in Hollywood films – but to see her on
\nstage, it was amazing. I can still remember when she came out the
\naudience gasped. See, there are no margins when you’re really dealing
\nwith something so close to perfection. Certainly Marvin Gaye was a man
\nwho fully transcended boundaries, in terms of his continuous
\ndevelopment. I have many favourites.”<\/p>\n

Taylor’s favourites in his own constituency of black free jazz (or at
\nleast the music that has developed out of what was called black free
\njazz during the 60s) include Bill Dixon, Sunny Murray, Don Cherry, Butch
\nMorris, Reggie Workman, William Parker, Charles Gayle. “These people are
\nall extraordinary,” he says. “It would be interesting if the corporate
\nmoguls who determine who attains visibility were clever enough to be
\nopen to the expansion of their economic field.<\/p>\n

“But I think that those who determine what is commercially viable are on
\na different plane. That’s not what I’m interested in, and when one
\nrealises finally the nature of the ingredients that go into that kind of
\nmentality, you realise what it is that has given you the most joy, and
\nyou continue to do that. And that brings development in your own mind
\nand feeling. When one realises that, that’s when generation begins. The
\nimportant thing is to realise that no matter where you live, the world
\nis available.”<\/p>\n

Taylor refers to those musicians who had an early or long and profound
\ninfluence on his work as “my nurturers”, and goes on to cite Benny
\nGoodman’s pianist and arranger Mary Lou Williams, arranger Gil Evans and
\npercussionist Max Roach, with whom he recorded the 1979 Historic<\/em>
\n Concerts<\/em> (recently reissued on Soul Note). He calls Roach “one of the
\nfinest percussionists the world has ever known.” Did he absorb specific
\nrhythmic impulses from working with Roach?<\/p>\n

“I think the manifestation of rhythm is the reason that life begins.
\nRhythm never stops. It is perhaps – at least – one of the most vital
\naspects and one of the compositional grids that shapes the nature of a
\nculture’s music.” What about melody? “There are different kinds of
\nmelody. If you hear Coptic or mbouti [pygmy] melody, or kabuki, you
\nrealise it’s unbounded. Same with harmony. The organisation of vertical
\nstructures is in ongoing change.”<\/p>\n

Would he like to have an influence on younger musicians? “I don’t have
\nany aspirations there. For those who would be interested, if I can
\nassist them in any way… The first obligation is to the music, and the
\nhopeful development therein, and that is part of the personal legacy
\nthat goes into the continuum. The thing that has shaped my particular
\nattitude is people like Duke Ellington, Fats Waller, and certainly
\nBillie Holiday. That which has saved us – we are responsible to it and
\nwe cannot defame it by doing less than we feel is our all.”<\/p>\n

And those who don’t walk it like they talk it?<\/p>\n

“As one grows older one becomes more understanding of it all,
\nand then one understands it is not easy,\u00c2\u00a0but it is so worthwhile and brings so much joy. One can only hope that\u00c2\u00a0those who are not will eventually see that if it is not a noble pursuit, then it is not worthy of human effort.<\/p>\n

Does he ever get frustrated about documentation of his work, or the lack\u00c2\u00a0of it?<\/p>\n

“No. No… One of the things you realise is you just do the work,
\nand you prepare for the most beneficial events in relation to the things
\nthat happen. For instance, those 12 CDs that I did with Jost Gebers of
\nFMP – what is that popular song, “The Best Is Yet To Come”? One becomes
\naware of good fortune, that spirits have been kind enough to endow you
\nwith the ability to continue working, and the personal sense of
\nfulfilment, and the want to continue. It is enough. That which is
\nexternal to that perhaps could be Machiavellian. What is important is
\nthat when light is thrust out, it has no parameters. And when the time
\nis right, when it is to happen, these things do happen.”<\/p>\n

It feels like I’ve caught Taylor in a mellow mood. “I’m under the
\nspirituality of all this work I’m doing. I’m very excited by it; I try
\nnot to think too much about it. Now I’ll get up, make a soothing tea,
\nand get back into it again.”<\/p>\n

Does he still get stage nerves? “The most\u00c2\u00a0difficult time for me will be in the limousine going to the concert. Of\u00c2\u00a0the beneficial things that spirituality has given me, the concept of\u00c2\u00a0ritual – which is very much a part of my performance – is the one which\u00c2\u00a0takes the effervescence out of the stomach.”<\/p>\n

This article first appeared in issue 124 (June 94).<\/p>\n

\u00c2\u00a9 1998 The Wire.<\/p><\/blockquote>\n

howardmandel.com<\/a><\/p>\n

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One-of-a-kind American master musical artist Cecil Taylor turns 84 today, March 25, and deserves our culture’s gratitude. His life has been one of relentless, intense, sweeping creativity, which has driven global developments in composition, improvisation, performance, attire and contemporary lifestyle to a much greater degree than has been much acknowledged — \u00c2\u00a0although Taylor does have […]<\/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":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":{"0":"post-1281","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-kF","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2431,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/04\/cecil-taylor-dead-at-89-celebrated-nine-years-ago.html","url_meta":{"origin":1281,"position":0},"title":"Cecil Taylor, dead at 89, as celebrated when he’d turned 80","author":"Howard Mandel","date":"April 6, 2018","format":false,"excerpt":"The brilliant, challenging, perplexing and incomparable pianist\/improviser\/composer Cecil Taylor died April 5, 2018, at age 89. Here's what I wrote of him to celebrate his 80th birthday: Cecil Taylor, unique and predominant, 80 years old 3 27 09 Cecil Taylor\u00c2\u00a0is the world's predominant pianist by virtue of his technique, concept\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/04\/CecilTaylor-nea-jazz-master-2014-santa-300x297.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1384,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/06\/my-bbc-newshour-riff-on-cecil-taylor-kyoto-award-winner.html","url_meta":{"origin":1281,"position":1},"title":"My BBC Newshour riff on Cecil Taylor, Kyoto Award winner","author":"Howard Mandel","date":"June 22, 2013","format":false,"excerpt":"Last night I improvised a profile of Cecil Taylor\u00c2\u00a0for BBC Newshour\u00c2\u00a0(June 21, \"Severe Flooding in India\"), on the announcement that the great pianist\/composer\/improviser has been honored with the prestigious, $500,000 Kyoto Award. My triptych\u00c2\u00a0Miles Ornette Cecil - Jazz Beyond Jazz, of course, includes a lot of my writing\/thinking on Cecil\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"newshour","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/06\/newshour.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":173,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/03\/cecil_taylor_turns_80.html","url_meta":{"origin":1281,"position":2},"title":"Cecil Taylor, unique and predominant, 80 years old","author":"Howard Mandel","date":"March 27, 2009","format":false,"excerpt":"Cecil Taylor\u00c2\u00a0is the world's predominant pianist by virtue of his technique, concept and imagination, and one of 20th-21st Century music's magisterial modernists. A figure through whose challenges I investigate the avant garde in\u00c2\u00a0Miles Ornette Cecil -- Jazz Beyond Jazz,\u00c2\u00a0he turned 80 on March 25 (or maybe on the 15th), and\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":227,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/08\/best_review_ever_of_miles_orne.html","url_meta":{"origin":1281,"position":3},"title":"best review ever of Miles Ornette Cecil — Jazz Beyond Jazz","author":"Howard Mandel","date":"August 2, 2009","format":false,"excerpt":"I'm humbled by writer-poet-performance artist\u00c2\u00a0Kirpal Gordon's appreciation of and insight into my book on the avant garde through the models of Miles Davis, Ornette Coleman and Cecil Taylor, in the just-posted NOLA issue of Big Bridge magazine. He's captured my intent and says I accomplished what I meant to. See\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1381,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/06\/kyoto-prize-to-pianistimproviser-cecil-taylor.html","url_meta":{"origin":1281,"position":4},"title":"Kyoto prize to pianist\/improviser Cecil Taylor","author":"Howard Mandel","date":"June 21, 2013","format":false,"excerpt":"Cecil Taylor, whose intense, lengthy and complex piano improvisations have redefined jazz and redesigned his instrument, has been awarded the 2013 Kyoto Prize for \"Arts and Philosophy: Music.\"\u00c2\u00a0Former recipients include Olivier Messiaen, John Cage, Iannis Xenakis, Gy\u00c3\u00b6rgy Ligeti, Pierre Boulez, Witold Lutoslawski and Nikolaus Harnoncourt -- all\u00c2\u00a0musicians\/composers of Western European\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":175,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/04\/cecil_taylors_most_recent_reco.html","url_meta":{"origin":1281,"position":5},"title":"Cecil Taylor’s most recent recording, free mp3","author":"Howard Mandel","date":"April 1, 2009","format":false,"excerpt":"Pianist Cecil Taylor, live at the Village Vanguard from July 2008 with drummer Tony Oxley, was recorded for a 2-lp vinyl album titled Ailanthus\/Alitssima, and one cut of it is being offered as an MP3 for a limited time, free, by the website Destination-out.com.\u00c2\u00a0Word is\u00c2\u00a0only 475 copies of the lp\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1281","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=1281"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/1281\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=1281"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=1281"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=1281"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}