{"id":2219,"date":"2017-04-26T15:16:17","date_gmt":"2017-04-26T19:16:17","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=2219"},"modified":"2019-09-12T12:24:45","modified_gmt":"2019-09-12T16:24:45","slug":"how-charles-lloyd-stays-marvelous","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/04\/how-charles-lloyd-stays-marvelous.html","title":{"rendered":"How Charles Lloyd stays marvelous"},"content":{"rendered":"<div id=\"attachment_2227\" style=\"width: 346px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-5.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2227\" class=\"wp-image-2227\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-5.jpg\" alt=\"\" width=\"336\" height=\"210\" \/><\/a><p id=\"caption-attachment-2227\" class=\"wp-caption-text\">Bill Frisell (l) and Charles Lloyd- David Bazemore Photo<\/p><\/div>\n<p>During\u00c2\u00a0the 50 years since his breakthrough album <a href=\"https:\/\/www.amazon.com\/Forest-Flower-Charles-Lloyd-Monterey\/dp\/B00124JDW4\/?tag=howardmacom-20\"><em>Forest Flower<\/em> <\/a>(released in February 1967, recorded live at the Monterey Jazz Festival the summer before) &#8212; comparable in some ways\u00c2\u00a0to <em><a href=\"https:\/\/www.amazon.com\/Epic-Kamasi-Washington\/dp\/B00UV25MY6\/?tag=howardmacom-20\">The Epic<\/a><\/em> success of Kamasi Washington &#8211;\u00c2\u00a0saxophonist-flutist Charles Lloyd has been unusually popular for an adventurous jazzman. He showed how he&#8217;s done that, accomplished\u00c2\u00a0a long career while\u00c2\u00a0expressing himself\u00c2\u00a0freely, with <a href=\"http:\/\/www.charleslloyd.com\/calendar.htm\">his on-tour\u00c2\u00a0Marvels<\/a> at Chicago&#8217;s Symphony Center Friday night (4\/21), and it&#8217;s worth unpacking.<\/p>\n<p>Lloyd, 79, and his empathic, considerably younger quintet (guitarist Bill Frisell and pedal steel guitarist Gary Leisz are in their mid 60s; bassist Reuben Rogers and drummer Eric Harland in their late 30s) play instrumental, mostly improvised, sometimes\u00c2\u00a0dense and abstract music. At <a href=\"https:\/\/cso.org\/ticketsandevents\/browse-performances\/?category=SCP+Jazz\">Symphony Center<\/a>\u00c2\u00a0the ensemble was spontaneous and artistic, its members entertaining each other as well as the visibly diverse audience, casting a spell that entertained the\u00c2\u00a0merely\u00c2\u00a0curious as well as\u00c2\u00a0deep-dyed fans, across age and races.<\/p>\n<div id=\"attachment_2224\" style=\"width: 362px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2224\" class=\"wp-image-2224 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-2-300x138.jpg\" alt=\"\" width=\"352\" height=\"162\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-2-300x138.jpg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-2.jpg 331w\" sizes=\"auto, (max-width: 352px) 100vw, 352px\" \/><\/a><p id=\"caption-attachment-2224\" class=\"wp-caption-text\">from l: Tomas Fujiwara, Mary Halvorson, Jason Roebke, Tomeka Reid<\/p><\/div>\n<p>The crowd (perhaps 1800 in a theater holding 2500) responded with such an ovation &#8212; and the musicians themselves seemed so delightfully energized\u00c2\u00a0&#8212; that an\u00c2\u00a0encore turned into a\u00c2\u00a0full second set, with guitarist Mary Halvorson, who had been in <a href=\"https:\/\/www.amazon.com\/Tomeka-Reid-Quartet\/dp\/B0155HRS34\/?tag=howardmacom-20\">cellist Tomeka Reid&#8217;s quartet<\/a>\u00c2\u00a0that opened the show, sitting in. (Reid, in full bloom with record releases and residencies, is a hometown favorite &#8212; just celebrated by the Jazz Journalists Association as <a href=\"http:\/\/www.jjajazzawards.org\/p\/2017-jazz-heroes.html#Reid\">Chicago&#8217;s 2017 Jazz Hero<\/a>, and yes, I had a hand in that. She, Halvorson, bassist Jason Roebke and drummer Tomas Fujiwara performed original compositions that resolved\u00c2\u00a0their quirky lines and turns with satisfying repetitions). So here are aspects of Lloyd&#8217;s presentation and performance that have worked for him for decades, and might be considered for adoption or adaptation.<\/p>\n<ul>\n<li>Play with the best. Lloyd learned this early on &#8212; perhaps from his first nationally-known\u00c2\u00a0employer, drummer <a href=\"https:\/\/www.amazon.com\/Drumfusion-Passin-Hamilton-Quintet-Charles\/dp\/B00BWS4T24\/?tag=howardmacom-20\">Chico Hamilton, who always hired\u00c2\u00a0distinctive sidemen<\/a> (Buddy Collette, Jim Hall, <a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-2221\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images.jpg\" alt=\"\" width=\"225\" height=\"224\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images.jpg 225w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-150x150.jpg 150w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-100x100.jpg 100w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-200x200.jpg 200w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/a>Paul Horn, Eric Dolphy, Fred Katz, Gabor Szabo, Larry Coryell). Lloyd proved he understood by assembling a band with\u00c2\u00a0then-obscure pianist Keith Jarrett, drummer Jack DeJohnette and bassist Ron McClure &#8212; whose careers were all launched by\u00c2\u00a0<em>Forest\u00c2\u00a0Flower<\/em>, too. Lloyd expects\u00c2\u00a0the contributions and interactions of his band members to follow from his leads and set up his solos. He selects them for imagination and deftness; they respond quickly, supporting\u00c2\u00a0his moves, free to\u00c2\u00a0pursue their own paths through grounds he&#8217;s laid out.\u00c2\u00a0His sidemen get it: in conversation backstage, Harland vowed\u00c2\u00a0that he only sounded good because the rest of the band made music so well.\u00c2\u00a0Over the years Lloyd&#8217;s collaborators have included pianists Michel Petrucciani, Bobo Stenson, Don Friedman, Cedar Walton, Jason Moran, Brad Mehldau and Geri Allen; drummers Billy Hart and Billy Higgins; bassists Dave Holland, Cecil McBee, Marc Johnson, Palle Danielson, Robert Hurst, Buster Williams and Larry Grenadier; guitarist John Abercrombie and percussionist Zakir Hussain. That&#8217;s a roll call of great listeners who play, each with something to say.<\/li>\n<li>Choose memorable\u00c2\u00a0material, old and new, then\u00c2\u00a0mix it up. Lloyd inserted\u00c2\u00a0familiar if seldom performed melodies\u00c2\u00a0such as Beach Boy Brian Wilson&#8217;s &#8220;In My Room&#8221; (the saxophonist toured and recorded with the Beach Boys),\u00c2\u00a0Ornette Coleman&#8217;s &#8220;Focus on Sanity&#8221; and &#8220;Ramblin&#8217;,&#8221; and his own &#8220;Sombrero Sam&#8221; (from his album <a href=\"https:\/\/www.amazon.com\/Dreamweaver-Charles-Anthology-Atlantic-1966-1969\/dp\/B001EBTG0E\/?tag=howardmacom-20\"><em>Dreamweaver<\/em><\/a>, which preceded <em>Forest Flower<\/em>) in his set as if to punctuate his looser modal\u00c2\u00a0episodes. The bold\u00c2\u00a0themes caught the ear (and gave the players interesting basis\u00c2\u00a0from which to stretch); the sketchier\u00c2\u00a0passages drew\u00c2\u00a0us into deeper meditation. In the encore, as\u00c2\u00a0Halvorson&#8217;s <a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-2222\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-1.jpg\" alt=\"\" width=\"236\" height=\"177\" \/><\/a>flurries of trebly, pearl-dry notes sparkling amid\u00c2\u00a0the sustained and pitch-bent tones of Frisell and Leisz and\u00c2\u00a0rhythm section pulsations, a field\u00c2\u00a0of tones unfurled like the introductory\u00c2\u00a0alap of a raga unfurled,\u00c2\u00a0implying to me\u00c2\u00a0the Beatles&#8217; &#8220;Within You Without You.&#8221; Lloyd didn&#8217;t state\u00c2\u00a0that theme, but I recalled\u00c2\u00a0how he turned &#8220;Here, There and Everywhere&#8221; into a quasi samba on his &#8217;67 album <a href=\"https:\/\/www.amazon.com\/Love-Charles-Lloyd-Quartet\/dp\/B00123IBT6\/?tag=howardmacom-20\"><em>Love In<\/em><\/a>. He ended the Marvels&#8217; concert\u00c2\u00a0with a seriously sensuous rendition of &#8220;Prelude to a Kiss,&#8221; which Duke Ellington composed in 1938.<\/li>\n<li>Have fun, don&#8217;t fear rhythm. Lloyd kept the music moving, aided immensely by Rogers and Harland, of course. Jazz bass-and-drums teams today are often busy and seldom rigid &#8212; they want to be able to turn immediately to any option, so they may lay down a grooving backdrop rather than establishing and emphasizing one identifiable beat (unlike most hip-hop, say). Onstage but off-mike, Lloyd was unobtrusive but attentive to the set&#8217;s overall rhythm &#8212; percussion accents, ensemble tempos, flowing pace &#8212; at Harland&#8217;s side shaking rattles when he felt the need. Sensing his players&#8217; climaxes as they came on, he&#8217;d step out from behind them to pick up his tenor and blow. Playing his alto flute on what I&#8217;ve id&#8217;d as &#8220;Sombrero Sam,&#8221; he swung his hips like a cool beatnik at a dance club. Being in the moment, unselfconscious, with the music, Lloyd inspired his musicians and listeners alike\u00c2\u00a0to do the same.<\/li>\n<\/ul>\n<p>Not everyone can project the natural, perhaps innate feeling for jazz of\u00c2\u00a0Charles Lloyd. He&#8217;s had a singular background, which can&#8217;t be duplicated. \u00c2\u00a0Claiming African, Mongolian, Cherokee and Irish ancestry, from age nine he showed\u00c2\u00a0interest in jazz and pursued his\u00c2\u00a0opportunities, hearing\u00c2\u00a0swing-to-bop\u00c2\u00a0on the radio (Lester Young&#8217;s airiness survives in Lloyd&#8217;s sound and phrasing), working\u00c2\u00a0in commercial r&amp;b\/blues bands. Hometown associates included trumpeter Booker Little, pianist Phineas Newborn and tenor saxophonist George Coleman, now also an\u00c2\u00a0NEA Jazz Master.<\/p>\n<p>Arriving at\u00c2\u00a0University of Southern California when he was 20 to study with a Bartok specialist, Lloyd\u00c2\u00a0fell in with Ornette Coleman&#8217;s circle and joined Gerald Wilson&#8217;s Orchestra. In\u00c2\u00a0bands led by\u00c2\u00a0Hamilton (in &#8217;60) and Cannonball Adderley (&#8217;64), he observed\u00c2\u00a0progressive ideas\u00c2\u00a0presented in accessible formats, and pursued the search for new\/ancient &#8220;world&#8221; music pioneered Yusef Lateef and John Coltrane. He was 30 during the Summer of Love, \u00c2\u00a0and\u00c2\u00a0<em>Forest Flower<\/em>\u00c2\u00a0was a breezy, lyrical, high energy album embraced by hippies, promoting him quickly, internationally. That very year his quartet made an unprecedented\u00c2\u00a0tour\u00c2\u00a0of the Soviet Union &#8212; and from there to now, some down time but also many great steps in between. ((For more info, check out Josef Woodard&#8217;s biography\u00c2\u00a0<em><a href=\"https:\/\/www.amazon.com\/Charles-Lloyd-Wild-Blatant-Truth-ebook\/dp\/B06XDJL6Q2\/?tag=howardmacom-20\">Charles Lloyd: Wild Blatant Truth<\/a><\/em>.)<\/p>\n<div id=\"attachment_2229\" style=\"width: 310px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/imgres-2-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2229\" class=\"wp-image-2229 size-medium\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/imgres-2-1-300x168.jpg\" alt=\"\" width=\"300\" height=\"168\" \/><\/a><p id=\"caption-attachment-2229\" class=\"wp-caption-text\">Charles Lloyd, in a sunny mood<\/p><\/div>\n<p>Lloyd&#8217;s basic orientation has held. He has his own voice, amalgamated from many sources, filtered through his experience, perspective, personality, preferences and perhaps whims, but hewing to fundamental\u00c2\u00a0dictums. Perform with the best available collaborators, even if you have to discover them yourself. Select songs people will remember &#8212; and you don&#8217;t need to have composed them all. <em>Play<\/em> the music, from within, keeping in mind that there are listeners you want to attract and satisfy. Keep the music moving. Live long and with a little bit of luck prosper. Don&#8217;t take your <em>too<\/em> seriously, and yet. . . Emerging from dressing rooms after the performance, Lloyd commented dryly on the multiple nominations (Lifetime Achievement in Jazz, Musician of the Year, Mid-Sized Band of the Year, Tenor Saxophonist of the Year) he&#8217;s received for <a href=\"http:\/\/www.jjajazzawards.org\/p\/2017-nominees.html\">2017 JJA Jazz Awards<\/a>:\u00c2\u00a0&#8220;Maybe I have some potential.&#8221;<\/p>\n<p><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\" rel=\"noopener noreferrer\">howardmandel.com<\/a><br \/>\n<a href=\"http:\/\/www.feedburner.com\/fb\/a\/emailverifySubmit?feedId=1102712&amp;loc=en_US\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe by Email <\/a> |<br \/>\n<a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\" rel=\"noopener noreferrer\">Subscribe by RSS<\/a> |<br \/>\n<a href=\"http:\/\/twitter.com\/jazzbeyondjazz\" target=\"_blank\" rel=\"noopener noreferrer\">Follow on Twitter <\/a><br \/>\n<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" rel=\"noopener noreferrer\"> All JBJ posts <\/a> |<\/p>\n","protected":false},"excerpt":{"rendered":"<p>During\u00c2\u00a0the 50 years since his breakthrough album Forest Flower (released in February 1967, recorded live at the Monterey Jazz Festival the summer before) &#8212; comparable in some ways\u00c2\u00a0to The Epic success of Kamasi Washington &#8211;\u00c2\u00a0saxophonist-flutist Charles Lloyd has been unusually popular for an adventurous jazzman. He showed how he&#8217;s done that, accomplished\u00c2\u00a0a long career while\u00c2\u00a0expressing [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2227,"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":[1],"tags":[1512,1511,1510,1355,1497,1513,1404],"class_list":{"0":"post-2219","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-charles-lloyd","9":"tag-chicago-symphony-center-jazz","10":"tag-forest-flower","11":"tag-howard-mandel","12":"tag-jazz-beyond-jazz","13":"tag-the-marvels","14":"tag-tomeka-reid","15":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/04\/images-5.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-zN","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1655,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/06\/nea-2015-jazz-masters-who-stretched-jazz.html","url_meta":{"origin":2219,"position":0},"title":"NEA 2015 Jazz Masters &#8211; who stretched &#8220;jazz&#8221;","author":"Howard Mandel","date":"June 26, 2014","format":false,"excerpt":"The National Endowment for the Arts\u00c2\u00a0Jazz Masters of 2015, announced today, are musicians Carla Bley, George Coleman and Charles Lloyd -- all personal favorites who provoked my earliest interests in jazz going beyond \"jazz.\" So here are listening recommendations -- and\u00c2\u00a0my special shout out\u00c2\u00a0to\u00c2\u00a0Jazz Master Joe Segal of Chicago's\u00c2\u00a0Jazz Showcase\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"escalator","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/06\/escalator.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":3014,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2022\/09\/jazzbash-immersive-virtual-awards-event-plus.html","url_meta":{"origin":2219,"position":1},"title":"JazzBash! Immersive virtual Awards event plus!","author":"Howard Mandel","date":"September 9, 2022","format":false,"excerpt":"I daresay the JazzBash! on Sunday, 9\/11 is the first ever virtual hybrid Awards party\/live Jazz Cruise auction\/online concert from six U.S. cities\/conference of activist panelists\/bar with storytellers and presenters, live improvised painting, exclusive jazz photography exhibits and more -- in immersive environments depicting noted jazz sites through which attendees\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\/2022\/09\/JazzBash_A_1-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/09\/JazzBash_A_1-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/09\/JazzBash_A_1-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/09\/JazzBash_A_1-1.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/09\/JazzBash_A_1-1.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/09\/JazzBash_A_1-1.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":30,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2007\/08\/mr_sensitive_befouls_paradise.html","url_meta":{"origin":2219,"position":2},"title":"Mr. Sensitive befouls paradise","author":"Howard Mandel","date":"August 9, 2007","format":false,"excerpt":"Used to be jazz musicians were U.S.'s best ambassadors. Pianist Keith Jarrett's prickly reaction to ardent fans' cellphone photography as his trio walks onstage at the Umbria Jazz Festival -- see it on Youtube.com (56 secs) -- reverts to another type: ugly American. For a improviser who flaunts his hyper-sensitivity,\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1733,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/09\/another-free-chicago-jazz-festival-hyde-park-and-local-stars.html","url_meta":{"origin":2219,"position":3},"title":"Another free Chicago jazz festival: Hyde Park and local stars","author":"Howard Mandel","date":"September 30, 2014","format":false,"excerpt":"The 8th annual Hyde Park Jazz Festival Sept 27 and 28th was as mellowly festive a scene as has ever graced the Midway Plaisance,\u00c2\u00a0the grassy fields between\u00c2\u00a0University of Chicago's faux Gothic buildings, originally created for the 1893 World's Columbian Exposition. Photo-journalist Michael Jackson\u00c2\u00a0created portraits of local fans and players such\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"HPJF-Irvin-Pierce-at-Wagner-Stage","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/09\/HPJF-Irvin-Pierce-at-Wagner-Stage.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2169,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/02\/spring-break-with-budapest-jazz-photos.html","url_meta":{"origin":2219,"position":4},"title":"Spring break with Budapest jazz, photos","author":"Howard Mandel","date":"February 21, 2017","format":false,"excerpt":"I went to Budapest for spring break -- to introduce a photo exhibit by my Transylvanian-born\u00c2\u00a0friend \u00c2\u00a0S\u00c3\u00a1nta Istv\u00c3\u00a1n Csaba and help jury the\u00c2\u00a010th annual M\u00c3\u00bcpa Budapest Jazz Showcase\/Talent Exchange,\u00c2\u00a0held in the modernist musem\u00c2\u00a0and multi-theater complex on the east bank of the icy Danube Feb 3 - 5. As I wrote\u2026","rel":"","context":"In \"606 Club\"","block_context":{"text":"606 Club","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/606-club"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/02\/20170203_JSC_Jazzonance_c_Posztos_Janos_Mupa_002.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1818,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/04\/ann-meier-baker-nea-director-of-music-and-opera-on-her-new-job-and-nea-jazz-masters.html","url_meta":{"origin":2219,"position":5},"title":"Ann Meier Baker, NEA director of Music and Opera, on her new job and NEA Jazz Masters","author":"Howard Mandel","date":"April 14, 2015","format":false,"excerpt":"I'm pleased to have interviewed Ann Meier Baker, who was appointed last October as the National Endowment for the Arts' director of Music and Opera \u00e2\u20ac\u201c a position that includes responsibilities for the U.S.'s federal support of jazz, such as the induction of NEA Jazz Masters, celebrated with a live-streamed\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"ann","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/04\/ann.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2219","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=2219"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2219\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/2227"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=2219"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=2219"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=2219"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}