{"id":2107,"date":"2016-09-14T17:39:26","date_gmt":"2016-09-14T21:39:26","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=2107"},"modified":"2016-09-14T17:39:26","modified_gmt":"2016-09-14T21:39:26","slug":"chi-jazz-fest-2016-details-in-photos-and-words","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2016\/09\/chi-jazz-fest-2016-details-in-photos-and-words.html","title":{"rendered":"Chi jazz fest 2016, details in photos and words"},"content":{"rendered":"<p>My DownBeat <a href=\"http:\/\/www.downbeat.com\/default.asp?sect=news&amp;subsect=news_detail&amp;nid=3463\">overview of the 38th annual Chicago Jazz Festival<\/a>, comprehensive as I could make it, didn&#8217;t\u00c2\u00a0go into depth on any of the couple dozen performances I heard from Sept 1 through 4 in downtown<\/p>\n<div id=\"attachment_2116\" style=\"width: 384px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2116\" class=\"wp-image-2116\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m-228x300.jpeg\" alt=\"tatsu969-m\" width=\"374\" height=\"492\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m-228x300.jpeg 228w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m-768x1011.jpeg 768w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m-778x1024.jpeg 778w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Tatsu969-m.jpeg 960w\" sizes=\"auto, (max-width: 374px) 100vw, 374px\" \/><\/a><p id=\"caption-attachment-2116\" class=\"wp-caption-text\">Bassist Tatsu Aoki&#8217;s Myumi Project with pianist Jon Jang, cellist Jaime Kempkers, tenor saxophonists Ed Wilkerson and Francis Wong, baritone saxist Mwata Bowden, Tsukasa Taiko with soloist Kioto. Photo montage by Marc PoKempner.<\/p><\/div>\n<p>Millennium Park and the Cultural\u00c2\u00a0Center.\u00c2\u00a0So here, with imagery by my photojournalist colleagues\u00c2\u00a0and friends <strong><a href=\"http:\/\/www.pokempner.net\/\">Marc PoKempner<\/a><\/strong> and<strong> <a href=\"http:\/\/jackojazz.com\/\">Michael Jackson <\/a><\/strong>(whose photo of drummer Dave King of the Bad Plus graced that DownBeat review) are some previously unreported details.<\/p>\n<ul>\n<li><strong><a href=\"http:\/\/www.tatsuaoki.com\/\">Tatsu Aoki<\/a><\/strong>&#8216;s Miyumi Project continues to evolve as the Tsukasa Taiko Legacy troupe with soloist Kioto leans ever-closer into the rhythms of his jazz-oriented ensemble &#8212; driven by traps drummer Avreeayl Ra and hand-percussionist Coco Elysses. On this date Aoki&#8217;s Bay Area Asian Improv colleagues Jon Jang (piano) and Francis Wong (tenor sax) &#8212; who performed\u00c2\u00a0a stunning mouthpiece-only solo &#8212; joined Jaime Kempkers, cello; Edward Wilkerson, tenor sax; Mwata Bowden, baritone sax, for no-holds-barred give-and-take.<\/li>\n<\/ul>\n<ul>\n<li><a href=\"http:\/\/www.charliehadenmusic.com\/music\/liberation-music-orchestra\"><strong>Charlie Haden&#8217;s Liberation Music Orchestra<\/strong><\/a>, with the late\u00c2\u00a0founder&#8217;s bass chair filled by his one-time student Scott Colley, performed new\u00c2\u00a0<a href=\"https:\/\/www.amazon.com\/Time-Haden-Liberation-Music-Orchestra\/dp\/B01IQECAYU\/?tag=howardmacom-20\">arrangements<\/a>\u00c2\u00a0by conductor <strong>Carla Bley\u00c2\u00a0<\/strong>that managed to be simultaneously free for roaring and transparently structured, genuinely patriotic and suffused with sad\/defiant critical expression. Trumpeter Michael Rodriguez was probing\u00c2\u00a0on most of the brass solos, but his section-mate Seneca Black crowned &#8220;American the Beautiful&#8221; with a gleaming high note.\n<div id=\"attachment_2117\" style=\"width: 288px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2879-m.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2117\" class=\"wp-image-2117 size-medium\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2879-m-278x300.jpeg\" alt=\"mpok2879-m\" width=\"278\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2879-m-278x300.jpeg 278w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2879-m-768x827.jpeg 768w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2879-m.jpeg 827w\" sizes=\"auto, (max-width: 278px) 100vw, 278px\" \/><\/a><p id=\"caption-attachment-2117\" class=\"wp-caption-text\">from left: Curtis Fowlkes, Vincent Chancey, Joe Daley in Charlie Haden&#8217;s Liberation Music Orchestra, arranged and conducted by Carla Bley. Photo by Marc PoKempner<\/p><\/div>\n<p>Tenor saxophonists Tony Malaby and Chris Cheek presented a contrast of solo styles &#8212; the former voluble and gruff, the latter selective and bell-toned. Bley was understated when conducting, and deliberate at the piano; her charts applied\u00c2\u00a0high and low voices artfully, for clarity. Alto saxist Loren Stillman, guitarist Steve Cardenas, drummer Matt Wilson should not go unmentioned; trombonist Curtis Fowlkes, french horn player Vincent Chancey and tuba player Joe Daley supplied colorful depths.<\/li>\n<\/ul>\n<ul>\n<li>Ornette Coleman&#8217;s 1971 album <a href=\"https:\/\/www.amazon.com\/Complete-Science-Fiction-Sessions\/dp\/B00138KLN4\/?tag=howardmacom-20\"><em>Science Fiction<\/em><\/a> is one of my all time favorites, as related\u00c2\u00a0in\u00c2\u00a0<a href=\"https:\/\/www.amazon.com\/Miles-Ornette-Cecil-Jazz-Beyond\/dp\/0415967147\/?tag=howardmacom-20\"><em>Miles Ornette Cecil &#8211; Jazz Beyond Jazz<\/em><\/a>. <strong><a href=\"http:\/\/www.thebadplus.com\/\">The Bad Plus<\/a> with guests Tim Berne (alto sax), Ron Miles (trumpet) and Sam Newsome (soprano sax)<\/strong> did a <a href=\"http:\/\/www.thefreedictionary.com\/mitzvah\"><em>mitzvah<\/em><\/a> bringing to life Coleman&#8217;s seldom-attempted compositions &#8220;Law Years,&#8221; &#8220;Civilization Day,&#8221; &#8220;Street Woman,&#8221; as well as two originally sung by <strong>Asha Puthli<\/strong>, &#8220;All My Life&#8221; and &#8220;What Reason Could I Give.&#8221; Those two unusual ballads are gorgeous, were capably sung by Bad Plus bassist Reid Anderson (who does not usually sing in performance),\u00c2\u00a0and pianist\n<div id=\"attachment_2118\" style=\"width: 425px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/resized-MJacko-Bad-Plus_edited-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2118\" class=\"wp-image-2118\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/resized-MJacko-Bad-Plus_edited-1-300x200.jpg\" alt=\"resized-mjacko-bad-plus_edited-1\" width=\"415\" height=\"276\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/resized-MJacko-Bad-Plus_edited-1-300x200.jpg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/resized-MJacko-Bad-Plus_edited-1.jpg 420w\" sizes=\"auto, (max-width: 415px) 100vw, 415px\" \/><\/a><p id=\"caption-attachment-2118\" class=\"wp-caption-text\">from left: Ethan Iverson, Sam Newsome, Ron Miles, Tim Berne, Reid Miles, Dave King.\u00c2\u00a0Photo by Michael Jackson, who despairs of the image&#8217;s size.<\/p><\/div>\n<p>Ethan Iverson performed an awesome episode on &#8220;Reason,&#8221; stating the melodic theme slowly with his left hand while with his right, independent of his bass rhythm, he touched on\u00c2\u00a0high notes as if lighting stars.<\/li>\n<li><a href=\"http:\/\/www.npr.org\/event\/music\/456650692\/sabertooth-or-the-23-year-midnight-gig\"><strong>Cameron Pfiffner<\/strong> <\/a>and five other Chicago-identified reedists in his occasional group\n<div id=\"attachment_2119\" style=\"width: 315px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Cameron-Pfiffner-and-HM.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2119\" class=\"wp-image-2119 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Cameron-Pfiffner-and-HM-288x300.jpeg\" alt=\"cameron-pfiffner-and-hm\" width=\"305\" height=\"318\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Cameron-Pfiffner-and-HM-288x300.jpeg 288w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Cameron-Pfiffner-and-HM.jpeg 480w\" sizes=\"auto, (max-width: 305px) 100vw, 305px\" \/><\/a><p id=\"caption-attachment-2119\" class=\"wp-caption-text\">Cameron Pfiffner in Preston Bradley Hall of the Chicago Cultural Center, Howard Mandel listening &#8212; photo by Marc PoKempner<\/p><\/div>\n<p><strong>Adolph&#8217;S\u00c2\u00a0AX<\/strong>\u00c2\u00a0blew without amplification, walking through the crowd under the Tiffany dome at Chicago&#8217;s Cultural Center, to explore the glorious room&#8217;s acoustic properties. Although it may look otherwise from my expression, I was intrigued, not displeased.<\/li>\n<li>Africa and <a href=\"https:\/\/never-the-same.org\/interviews\/maggie-brown\/\">Maggie Brown,<\/a> daughters\u00c2\u00a0of the late singer-songwriter <strong>Oscar Brown Jr.<\/strong>, sang their father&#8217;s lyrics with delightful high spirits and a casual back-and-forth as if they were in a private home or cabaret.\n<div id=\"attachment_2121\" style=\"width: 280px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2676_1-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2121\" class=\"wp-image-2121 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2676_1-1-248x300.jpeg\" alt=\"mpok2676_1-1\" width=\"270\" height=\"327\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2676_1-1-248x300.jpeg 248w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2676_1-1.jpeg 371w\" sizes=\"auto, (max-width: 270px) 100vw, 270px\" \/><\/a><p id=\"caption-attachment-2121\" class=\"wp-caption-text\">from left, Maggie and Africa Brown, photo by Marc PoKempner<\/p><\/div>\n<p><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2676_1-1.jpeg\"><br \/>\n<\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li>Tenor saxophonist <a href=\"http:\/\/www.bennygolson.com\/\"><strong>Benny Golson<\/strong> <\/a>chose not to play some of his best known compositions &#8212; no &#8220;Killer Joe,&#8221; no &#8220;Along Came Betty,&#8221; no &#8220;I Remember Clifford.&#8221;<\/li>\n<\/ul>\n<div id=\"attachment_2120\" style=\"width: 235px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2867-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2120\" class=\"wp-image-2120 size-medium\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2867-1-225x300.jpeg\" alt=\"mpok2867-1\" width=\"225\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2867-1-225x300.jpeg 225w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK2867-1.jpeg 480w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/a><p id=\"caption-attachment-2120\" class=\"wp-caption-text\">Benny Golson, with Buster Williams; photo by Marc PoKempner.<\/p><\/div>\n<p>But\u00c2\u00a0accompanied by pianist Mike LeDonne, bassist Buster Williams and drummer Carl Allen, Golson did essay a perfectly lovely version of his song &#8220;<a href=\"https:\/\/www.amazon.com\/Whisper-Not-Benny-Golson\/dp\/B00DXIWY2S\/?tag=howardmacom-20\">Whisper Not<\/a>.&#8221; He claimed the title had no specific meaning, that he&#8217;d chosen the words at random. Hard to believe, but he wouldn&#8217;t lie. And if Duke Ellington&#8217;s theme song &#8220;Take the &#8216;A&#8217; Train&#8221; is Golson&#8217;s usual set-ender, at age 87 he&#8217;s got his reasons and they deserve respectful consideration.<\/p>\n<ul>\n<li>\u00c2\u00a0I&#8217;m still trying to figure out how I liked the music\u00c2\u00a0of <strong>Christian Scott a Tunde Adjuah<\/strong>. He&#8217;s a powerhouse on trumpets and bold onstage, which shook things up. His &#8220;<a href=\"https:\/\/www.amazon.com\/Stretch-Music-Introducing-Elena-Pinderhughes\/dp\/B01399S7GC\/?tag=howardmacom-20\">Stretch music<\/a>&#8221; label is supposed to encompass jazz and other genres, though of course\u00c2\u00a0I heard it as jazz <em>beyond<\/em> &#8220;jazz&#8221; &#8212;\n<div id=\"attachment_2122\" style=\"width: 339px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2122\" class=\"wp-image-2122 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1-300x251.jpeg\" alt=\"mpok3288a-1\" width=\"329\" height=\"275\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1-300x251.jpeg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg 573w\" sizes=\"auto, (max-width: 329px) 100vw, 329px\" \/><\/a><p id=\"caption-attachment-2122\" class=\"wp-caption-text\">Christian Scott a Tunde Adjuah, in front of the Pritzker Pavillion&#8217;s giant video screen. Photo by Marc PoKempner<\/p><\/div>\n<p>an attempt to get at the real excitement in the art form&#8217;s essence that is too frequently forgotten\u00c2\u00a0amid the accretion of history, tradition, convention, rote performance, tired blood, call it what you\u00c2\u00a0will. It seems obviously a descendent of Miles&#8217; post-<em>Bitches Brew<\/em>, but more than just that. Flutist Elena Pinderhughes provided a cool contrast to overtly physical Adjuah; pianist Lawrence Fields played one affecting\u00c2\u00a0solo on Rhodes piano. The leader&#8217;s street style and bountiful energy makes him seem outsized.<\/li>\n<\/ul>\n<div id=\"attachment_2123\" style=\"width: 343px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3332-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2123\" class=\"wp-image-2123 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3332-1-300x225.jpeg\" alt=\"mpok3332-1\" width=\"333\" height=\"250\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3332-1-300x225.jpeg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3332-1.jpeg 640w\" sizes=\"auto, (max-width: 333px) 100vw, 333px\" \/><\/a><p id=\"caption-attachment-2123\" class=\"wp-caption-text\">Scofield and Lovano, photo by Marc PoKempner<\/p><\/div>\n<ul>\n<li><a href=\"https:\/\/www.amazon.com\/Past-Present-John-Scofield\/dp\/B014M2LV9U\/r\/?tag=howardmacom-20\">Guitarist <strong>John Scofield<\/strong> and tenor saxophonist <\/a><strong>Joe Lovano,<\/strong> on their final\u00c2\u00a0date of a Stateside tour, kicked out the jams like comfortably rambunctious best old friends. Bill Stewart drummed, Ben Street played bass, Joe and Sco&#8217;s tunes served to get them into and out of the blowing, during which all four seemed connected at the hip (<em>by<\/em> the hip?).<\/li>\n<\/ul>\n<ul>\n<li><strong><a href=\"https:\/\/www.arts.gov\/honors\/jazz\/candido-camero\">Candido Camero<\/a><\/strong>, conguero, capped the festival with Latin jazz all-stars. Conga drums (Sammy Figueroa filling\n<div id=\"attachment_2114\" style=\"width: 366px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2114\" class=\"wp-image-2114 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1-300x200.jpg\" alt=\"chicago-jazz-fest-16-9264-candido-4x6-1\" width=\"356\" height=\"237\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1-300x200.jpg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1-768x512.jpg 768w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1-1024x682.jpg 1024w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/Chicago-Jazz-Fest-16-9264-Candido-4x6-1.jpg 1800w\" sizes=\"auto, (max-width: 356px) 100vw, 356px\" \/><\/a><p id=\"caption-attachment-2114\" class=\"wp-caption-text\">Candido Camero, 95. Photo by Michael Jackson<\/p><\/div>\n<p>in behind Candido) and<em> \u00c2\u00a0clav\u00c3\u00a9 <\/em>are<em>\u00c2\u00a0<\/em>integral to any 21st century fest comprehensive representation of present-day Western Hemisphere music. We got that from a master.<\/li>\n<\/ul>\n<p><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\">howardmandel.com<\/a><br \/>\n<a href=\"http:\/\/www.feedburner.com\/fb\/a\/emailverifySubmit?feedId=1102712&amp;loc=en_US\" target=\"_blank\">Subscribe by Email <\/a> |<\/p>\n","protected":false},"excerpt":{"rendered":"<p>My DownBeat overview of the 38th annual Chicago Jazz Festival, comprehensive as I could make it, didn&#8217;t\u00c2\u00a0go into depth on any of the couple dozen performances I heard from Sept 1 through 4 in downtown Millennium Park and the Cultural\u00c2\u00a0Center.\u00c2\u00a0So here, with imagery by my photojournalist colleagues\u00c2\u00a0and friends Marc PoKempner and Michael Jackson (whose photo [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2122,"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":[1431,1425,1300,1422,48,850,1429,1355,515,1424,1428,1421,1430,1359,1420,1423,1426,1427,1071],"class_list":{"0":"post-2107","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"tag-africa-brown","9":"tag-benny-golson","10":"tag-candido","11":"tag-carla-bley","12":"tag-chicago-jazz-festival","13":"tag-christian-scott","14":"tag-francis-wong","15":"tag-howard-mandel","16":"tag-joe-lovano","17":"tag-john-scofield","18":"tag-jon-jang","19":"tag-liberation-music-orchestra","20":"tag-maggie-brown","21":"tag-marc-pokempner","22":"tag-michael-jackson","23":"tag-ornette-colemans-science-fiction","24":"tag-pritztker-pavillion","25":"tag-tatsu-aoki","26":"tag-the-bad-plus","27":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/09\/MPOK3288a-1.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-xZ","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2310,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/09\/jazz-on-millennium-parks-big-screen-pokempner-photos.html","url_meta":{"origin":2107,"position":0},"title":"Jazz on Millennium Park&#8217;s big screen &#8211; PoKempner photos","author":"Howard Mandel","date":"September 7, 2017","format":false,"excerpt":"A 40-by-22\u00c2\u00bd-foot LED screen is a dominating feature of the stage in the Pritzker Pavilion of Chicago's Millennium Park, difficult to ignore though many try. Photographer Marc PoKempner does the opposite in his shots from the 39th annual Chicago Jazz Festival: he uses what he (and everybody else) sees to\u2026","rel":"","context":"In \"Boom Tic Boom\"","block_context":{"text":"Boom Tic Boom","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/boom-tic-boom"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/09\/MPK5975-e-300x195.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1401,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/09\/chicago-jazz-festival-13-in-marc-pokempners-photos.html","url_meta":{"origin":2107,"position":1},"title":"Chicago Jazz Festival &#8217;13, in Marc PoKempner&#8217;s photos","author":"Howard Mandel","date":"September 4, 2013","format":false,"excerpt":"Photo-journalist Marc PoKempner, a long-time collaborator and one of my bffs, has a clear eye as well as a sharp ear for music. He captured some of the diversity and vigor of the 35th annual Chicago Jazz Festival, August 28 - Sept 1 \u00c2\u00a02013. Click on these photos for the\u2026","rel":"","context":"In &quot;main&quot;","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\/2013\/09\/rudresh-collage-chicago-jazz-fest-2013.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/09\/rudresh-collage-chicago-jazz-fest-2013.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/09\/rudresh-collage-chicago-jazz-fest-2013.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/09\/rudresh-collage-chicago-jazz-fest-2013.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1700,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/08\/chicago-jazz-festival-club-tour-images.html","url_meta":{"origin":2107,"position":2},"title":"Chicago Jazz Festival club tour images","author":"Howard Mandel","date":"August 30, 2014","format":false,"excerpt":"The 36th annual Chicago Jazz Festival (mostly free) kicked off Wednesday with a trolley tour of\u00c2\u00a0neighborhood clubs. Marc PoKempner captured performers' and crowds' spirits in his images: The Jazz Festival continues tonight -- Saturday -- with headlining vibist Gary Burton receiving JJA Jazz Awards for his playing and Best Book\u2026","rel":"","context":"In &quot;main&quot;","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\/2014\/08\/peppers-po.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/08\/peppers-po.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/08\/peppers-po.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/08\/peppers-po.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1707,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/09\/chicago-jazz-fest-highlights-a-la-pokempner-vision.html","url_meta":{"origin":2107,"position":3},"title":"Chicago Jazz Fest highlights a la PoKempner-vision","author":"Howard Mandel","date":"September 2, 2014","format":false,"excerpt":"No one was shot at any jazz festivals held throughout the U.S. over Labor Day weekend, unless artists and audiences captured by photography count. Marc PoKempner was among the expert\u00c2\u00a0photogs creating views of the sounds at the 36th annual Chicago Jazz Festival. Marc is especially good incorporating\u00c2\u00a0into his compositions the\u2026","rel":"","context":"In &quot;main&quot;","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\/2014\/09\/IMG_3456a.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/09\/IMG_3456a.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/09\/IMG_3456a.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/09\/IMG_3456a.jpeg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/09\/IMG_3456a.jpeg?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":1908,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/08\/jazz-images-made-in-chicago-pokempner-sees-steve-coleman-greg-ward-onye-ozuzu-gary-bartz-and-more.html","url_meta":{"origin":2107,"position":4},"title":"Jazz images Made in Chicago: PoKempner sees Steve Coleman, Greg Ward &#038; Onye Ozuzu, Gary Bartz and more","author":"Howard Mandel","date":"August 23, 2015","format":false,"excerpt":"Marc PoKempner may be best known for his photos of pre-presidential Barack Obama, Chicago's reform mayor Harold Washington and the blues -- but his jazz photography illuminates what we hear by refreshing how we see it. Here are some of his complex compositions in bracing color from the Pritzker Pavilion\u2026","rel":"","context":"In &quot;main&quot;","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\/2015\/08\/IMG_0528-1.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/08\/IMG_0528-1.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/08\/IMG_0528-1.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/08\/IMG_0528-1.jpeg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/08\/IMG_0528-1.jpeg?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":2288,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/08\/jazzimprov-chicago-wide-ranging-talents-free-fests-pokempner-pix.html","url_meta":{"origin":2107,"position":5},"title":"Jazz\/Improv Chicago: Wide-ranging talents, free fests, PoKempner pix","author":"Howard Mandel","date":"August 28, 2017","format":false,"excerpt":"Chicago's jazz\/improvised music scene contains multitudes, last week ranging from the wild yet earnest Liberation Music Collective to veteran piano sophisticate Michael Weiss in trio, as two of Marc PoKempner's photos document (and more of his vision, focused on links between local music and politics -- Obama included -- is\u2026","rel":"","context":"In \"Andy's\"","block_context":{"text":"Andy's","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/andys"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/08\/MPK5562m-e-300x180.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2107","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=2107"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2107\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/2122"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=2107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=2107"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=2107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}