{"id":2410,"date":"2018-01-28T23:01:22","date_gmt":"2018-01-29T04:01:22","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=2410"},"modified":"2018-01-29T21:19:45","modified_gmt":"2018-01-30T02:19:45","slug":"jazz-congress-winter-jazzfest-shape-of-jazz-to-come","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/01\/jazz-congress-winter-jazzfest-shape-of-jazz-to-come.html","title":{"rendered":"Jazz Congress, Winter JazzFest, shape of jazz to come"},"content":{"rendered":"<p>The first <a href=\"http:\/\/www.jazzcongress.org\">Jazz Congress<\/a> co-hosted by Jazz at Lincoln Center and JazzTimes magazine Jan 11 and 12, 2018 and the 14th annual\u00c2\u00a0<a href=\"http:\/\/www.winterjazzfest.com\/\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-2411 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/static1.squarespace.png\" alt=\"\" width=\"140\" height=\"56\" \/><\/a><a href=\"http:\/\/www.winterjazzfest.com\/\">Winter JazzFest<\/a> Marathon produced in downtown Manhattan Jan 12 and 13, offered contrasts and prompted crosstalk. It wasn&#8217;t like these were conventions of different parties, but different narratives were going down.<\/p>\n<p>The Congress&#8217;s sessions included JALC managing and artistic director Wynton Marsalis speaking on race and jazz, women in jazz announcing &#8220;yes, we&#8217;re here,&#8221; and Kareem Abdul-Jabbar keynoting about his love of the <a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-2414\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1.jpg\" alt=\"\" width=\"125\" height=\"125\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1.jpg 300w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1-150x150.jpg 150w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1-100x100.jpg 100w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/unnamed-1-200x200.jpg 200w\" sizes=\"auto, (max-width: 125px) 100vw, 125px\" \/><\/a>music. It was a schmooze fest for\u00c2\u00a0managers, publicists, presenters, musicians, writers, photographers, recording company execs and die-hard fans, who enjoyed themselves in JALC&#8217;s comfortable and scenic spaces.<\/p>\n<p>The WJF produced by Bryce Rosenbloom&#8217;s Boom Collective presented some 100 concerts in 11 venues, showing rather than telling who&#8217;s doing what in the marketplace of rhythmic-driven vernacular songs and improvisation. It was flush with fervor, attended by folks with obviously wide-open ears.<\/p>\n<p>Here&#8217;s Marsalis despairing that black people don&#8217;t support jazz, that the young are ashamed of the swing beat, that black music is willfully ignored by music\u00c2\u00a0 conservatories, that white people can&#8217;t dance. Pianist\/writer Ethan Iverson mostly nods in agreement, announcing that jazz is black music but we&#8217;re all <a href=\"https:\/\/www.amazon.com\/Omni-americans-Experience-American-Culture-Paperback\/dp\/030680395X\/?tag=howardmacom-20\">Omni-Americans<\/a> (the late Albert Murray&#8217;s admirable assertion).<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/250940249?byline=0&amp;portrait=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\u00ef\u00bb\u00bf<\/span><\/iframe><\/p>\n<p><a href=\"https:\/\/vimeo.com\/250940249\">Jazz And Race: A Conversation &#8211; Jazz Congress 2018<\/a> from <a href=\"https:\/\/vimeo.com\/wyntonmarsalis\">Wynton Marsalis<\/a> on <a href=\"https:\/\/vimeo.com\">Vimeo<\/a>.<\/p>\n<p>No single clip can encompass the creative\/political\/sonic thrust of 2018 WJF &#8212; which after Marathon weekend continued another five days, with star-heavy tributes to Alice Coltrane and Geri Allen, for instance &#8212; but here&#8217;s a taste from the WJF appearance of singer Jose James at le Poisson Rouge, revisiting Bill Wither&#8217;s 1972 folk-rock-r&amp;B hit &#8220;Use Me&#8221; (which Esther Phillips covered that same year,<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/i-A8oI0F_R4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>and the\u00c2\u00a0Portuguese-Australian-Netherlandquintet Mn&#8217;Jam Experiment has more recently, <a href=\"https:\/\/www.youtube.com\/watch?v=u6NN-K7PZfI\">with improvised video)<\/a>. A purist might disavow any of these three versions as jazz. Whatever. I like it.<\/p>\n<p>The best WJF sets I heard were &#8212;<\/p>\n<ul>\n<li>an artfully conceived and unusually well-realized melding of spoken word with unconventional music in &#8220;Art and Anthem: For Gwendolyn Brooks,&#8221; by WJF artist-in-residence flutist Nicole Mitchell, with pianist Jason Moran, poet Erica Hunt, singer Shana Tucker, bassist Brad Jones and drummer Shirazette Tinnen in brilliant ensemble (Rashida Brumbray also did some emphatic dancing);<\/li>\n<li>hot new vocalist Jazzmeia Horn, advancing the approach of Betty Carter, at the commanding center of her tough, blowing band (and with two Grammy nominations for her debut album <em>A Social Call<\/em>;<\/li>\n<li>scabrously sarcastic and nobly tender songs of resistance by Marc Ribot, playing a beat-up old acoustic guitar and ukelele, with loose accompaniment from powerful tenor saxophonist James Brandon Lewis, acidic altoist Briggan Krauss, supporting singer and flutist Domenica Fossati;<\/li>\n<li>a 1:30 am &#8211; 2:30 am hit by ultra-charged electric bassist Jamaaladeen Tacuma&#8217;s Brotherzone with electric guitarist Ronnie Drayton and drummer Darryl Burgee, members of the original &#8217;70s\u00c2\u00a0<a href=\"https:\/\/www.amazon.com\/Last-Poets-LP-Gatefold\/dp\/B00HWKJHSC\/?tag=howardmacom-20\">Last Poets<\/a> and their prot\u00c3\u00a9g\u00c3\u00a9, poet Wadud Ahmad.<\/li>\n<\/ul>\n<p><em>Pace<\/em> Wynton Marsalis, who truly does travel the spaceways trying to stir up mainstream audiences for &#8220;jazz&#8221; and has been singing his downbeat tune for a while, here was considerable evidence &#8220;jazz&#8221; is healthy, provided we allow &#8220;jazz&#8221; to be defined by people interested in (as well as artists exploring) what its variable parameters suggest it might be. &#8220;Jazz,&#8221; our most immediately engaged of art forms is, from my experience at WJF, my usual perspective in Chicago and global correspondence, responding with openness, daring, unbowed energy and spirit to\u00c2\u00a0 social, economic and technological developments in real time, virtually everywhere.<\/p>\n<p>The acts I cite above and others at the Marathon &#8212; flutist Jamie Baum&#8217;s Septet introducing new material; the Sun Ra Arkestra interacting with its 40-\u00c2\u00a0<em><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/FXriDeoisGA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/em><\/p>\n<p>year-old\u00c2\u00a0soundtrack on the Ra-on-film\u00c2\u00a0spectacle<em>\u00c2\u00a0Space Is The Place;<\/em>\u00c2\u00a0a clangorous attempt by out-jazz\/black rock trio Harriet Tubman plus ringers to update Ornette Coleman&#8217;s iconic suite\u00c2\u00a0<em>Free Jazz<\/em>\u00c2\u00a0&#8212; as a matter of course featured multi-racial\/religious\/ethnic\/gendered personnel. Exception proving the rule: saxophone terror James Carter&#8217;s Electrik Outlet, four guys who didn&#8217;t get the memo re: backing off on\u00c2\u00a0<a href=\"http:\/\/uncyclopedia.wikia.com\/wiki\/Sexual_innuendo\">sexual innuendo<\/a>.<\/p>\n<p><em>\u00c2\u00a0<\/em>I walked the Marathon route from the New School&#8217;s Tishman Auditorium to Subculture on Bleeker and Lafayette, in New York University territory, and everywhere were audiences of wide age span and diverse ancestry. Perhaps not as many, not as young or diverse, not as easily drawn in as we of the hardcore would like, but it&#8217;s not a scene in downturn, either &#8212; except maybe financially. Which is, of course, a catastrophe, since even jazz musicians (and jazz journalists) have to eat.<\/p>\n<p>Of course, this was Manhattan during a special week in musical presentation, facing an international audience. The convention of the Association of Performing Arts Presenters &#8212; those who book artists for your elite venues &#8212; was going on, and <a href=\"http:\/\/globalfest.org\/fest\">globalFEST<\/a>, and other showcases like the club Birdland&#8217;s multi-night stand of Vijay Iyer&#8217;s sextet of heavies from his critically hailed ECM album<em> <a href=\"https:\/\/www.amazon.com\/Far-Over-Vijay-Iyer-Sextet\/dp\/B072NFJV3K\/?tag=howardmacom-20\">Far From Over<\/a><\/em>\u00c2\u00a0were scheduled with this in mind. True,\u00c2\u00a0<em>ching-ching-a-ling<\/em> swing\u00c2\u00a0as established in the 1930s was not the predominant WJF beat. But I did hear drumming &#8212; by Tyshawn Sorey, Matt Wilson, J.T. Lewis and Ms. Tinnin, check &#8217;em out &#8212; that swung hard, informed by Art Blakey, Max Roach, Dannie Richmond, Tony Williams, and others of the tradition.<\/p>\n<div id=\"attachment_2416\" style=\"width: 227px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-2416\" class=\"wp-image-2416 \" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309-169x300.jpg\" alt=\"\" width=\"217\" height=\"385\" srcset=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309-169x300.jpg 169w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309-575x1024.jpg 575w, https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309.jpg 719w\" sizes=\"auto, (max-width: 217px) 100vw, 217px\" \/><\/a><p id=\"caption-attachment-2416\" class=\"wp-caption-text\">Jamaaladeen Tacuma, photo by Mitch Myers<\/p><\/div>\n<p>I prefer music that takes its momentum from the bottom up, rather than float moodily and ethereally, so that&#8217;s what I pursued. There were probably WJF sets that didn&#8217;t grip or groove, but everyone I heard was thinking about form and substance, and hoped to engage listeners rather than assume their attentions.<\/p>\n<p>There was music at the Jazz Congress. The JALC&#8217;s rotunda stage, with floor-to-ceiling windows viewing Columbus Circle and Central Park, had student groups mostly serving as backdrops. But then the Congress was meant to be a venue for bringing up if not working out issues affecting the music&#8217;s current ecosystem. The emphasis was on hot topics and casual bump-intos.<\/p>\n<p>So\u00c2\u00a0I heard NPR and DownBeat contributor Michelle Mercer moderate a panel on &#8220;Women in Jazz&#8221; (as distinct from the one she moderated for the JJA&#8217;s Jan. 13 Jazz Media Summit on\u00c2\u00a0<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/01\/women-in-jazz-journalism-on-gender-issues-in-nyc-mlk-weekend.html\">women in jazz <em>journalism<\/em><\/a>). On it, trumpeter\/teacher\/activist Ellen Seeling explained what it&#8217;s taken to get Marsalis&#8217;s Jazz at Lincoln Center Orchestra to institute blind auditions and published notification for jobs. Trumpeter Ingrid Jensen and writer John Murph commented on their work lives, being mostly positive but reporting fulltime awareness that biases about gender, race, sexual orientation, class, etc. might affect professional relationships. Drummer Terri Lyne Carrington, honored by the Congress with its Bruce Lundvall Visionary Award, spoke of mentoring middle school girls learning to play jazz as well as later &#8212; and perhaps even earlier &#8212; students.<\/p>\n<p>Abdul-Jabbar, beloved for his basketball prowess and unforced charm, in his keynote address (starting in <a href=\"https:\/\/livestream.com\/accounts\/211242\/Jazz-Congress-Day-1-Kareem-Abdul-Jabbar-Keynote\/videos\/168375998\">this video<\/a> at 42 minutes in), told of loving the music. Nothing new there, but he got a standing ovation. There were also presentations by producers of the NPR\/WBGO\/Jazz at Lincoln Center radio-and- video show\u00c2\u00a0<a href=\"https:\/\/www.npr.org\/series\/347139849\/jazz-night-in-america\">Jazz Night in America<\/a> and independent programmers forums organized by <a href=\"https:\/\/www.jazzweek.com\/\">JazzWeek<\/a>. It&#8217;s good to see people from all across the US &#8212; Randall Kline of SFJazz, John Gilbreath of Earshot Jazz in Seattle, Tom Guralnick out of Albuquerque, Terri Pontremoli from Cleveland&#8217;s Tri-C Jazz Festival, Mark Christman of Ars Nova Workshop, Philadelphia as well as colleagues from France (journalist\/broadcaster Alex Duthil), Zurich (Intakt Records producer Patrick Landolt), Toronto (Jane Bunnett and Larry Cramer), London (John Cummings), Bremen (Peter Schulze of JazzAhead!), and lots of East Coast-based associates.<\/p>\n<p>The Jazz Congress replaced the Jazz Connect conference formerly run by JazzTimes and the Jazz Forward Coalition. Coalition principals such as Don Lucoff (DLMedia, PDX Jazz\/Portland OR) and Peter Gordon (Thirsty Ear Records) addressed the Congress, too. A good time was had. And then to hear music in New York City! With jazz of the WJF calibre available to record and tour, listenership could grow, if the sector figured out a business model. For all the talk at the Congress, little of it focused on tapping new income streams. At the JazzFest, the plan was, &#8220;We&#8217;ll play, you&#8217;ll come.&#8221; Yeah, if folks find out about it, and the show&#8217;s not too far from home.<\/p>\n<p><a href=\"http:\/\/www.howardmandel.com\" target=\"blank\">howardmandel.com<\/a><\/p>\n<p><a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\" rel=\"noopener\">Subscribe by Email or RSS<\/a><br \/>\n<a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" rel=\"noopener\"> All JBJ posts <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The first Jazz Congress co-hosted by Jazz at Lincoln Center and JazzTimes magazine Jan 11 and 12, 2018 and the 14th annual\u00c2\u00a0Winter JazzFest Marathon produced in downtown Manhattan Jan 12 and 13, offered contrasts and prompted crosstalk. It wasn&#8217;t like these were conventions of different parties, but different narratives were going down. The Congress&#8217;s sessions [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2416,"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":[1633,147,503,1634,105,1101,1624,1632,1627,120,1629,1032,1622,116,1619,1460,1056,1623,1625,1635,1631,1276,1626,1611,123,60,1628,1630,431,149,267,117],"class_list":{"0":"post-2410","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-uncategorized","8":"tag-space-is-the-place","9":"tag-association-of-performing-arts-presenters","10":"tag-birdland","11":"tag-far-from-over","12":"tag-free-jazz","13":"tag-globalfest","14":"tag-gwendolyn-brooks","15":"tag-harriet-tubman","16":"tag-jamaaladeen-tacuma","17":"tag-james-carter","18":"tag-jamie-baum","19":"tag-jason-moran","20":"tag-jazz-and-race","21":"tag-jazz-at-lincoln-center","22":"tag-jazz-congress","23":"tag-jazz-connect","24":"tag-jazz-forward-coalition","25":"tag-jazz-night-in-america","26":"tag-jazzmea-horn","27":"tag-jazzmeia-horn","28":"tag-kareem-abdul-jabar","29":"tag-last-poets","30":"tag-marc-ribot","31":"tag-michelle-mercer","32":"tag-nicole-mitchell","33":"tag-ornette-coleman","34":"tag-sun-ra-arkestra","35":"tag-teri-lyne-carrington","36":"tag-vijay-iyer","37":"tag-winter-jazzfest","38":"tag-women-in-jazz","39":"tag-wynton-marsalis","40":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/IMG_8309.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-CS","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2403,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/01\/women-in-jazz-journalism-on-gender-issues-in-nyc-mlk-weekend.html","url_meta":{"origin":2410,"position":0},"title":"Women in jazz journalism on gender issues, in NYC MLK weekend","author":"Howard Mandel","date":"January 18, 2018","format":false,"excerpt":"Dr. Martin Luther King Jr. weekend '18 was a big one for jazz in NYC with the first Jazz Congress at Jazz at Lincoln Center, a glorious Winter Jazz Fest, artists showcases at the conference of APAP (the Association of Performing Arts Presenters) and diverse independent venues -- but not\u2026","rel":"","context":"In \"Dr. Martin Luther King Jr. weekend\"","block_context":{"text":"Dr. Martin Luther King Jr. weekend","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/dr-martin-luther-king-jr-weekend"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2018\/01\/images-1-200x165.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":363,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/01\/jazz_conventions_conferences.html","url_meta":{"origin":2410,"position":1},"title":"Jazz conventions, conferences, celebrations, memorial Jan 6 &#8211; 11","author":"Howard Mandel","date":"January 5, 2011","format":false,"excerpt":"The jazz world convenes in two U.S. cities this weekend, as high school and college bands + directors gather at the JEN Conference in New Orleans, jazz presenters focus themselves at the APAP convention in New York City and jazz journalists get together on topics vital to better and continued\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":284,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/01\/1st_jazz_beyond_weekend_2010.html","url_meta":{"origin":2410,"position":2},"title":"Jazz journalism &#038; beyond weekend","author":"Howard Mandel","date":"January 10, 2010","format":false,"excerpt":"Jazz journalists conferenced in New York City last weekend as arts presenters, National Endowment for the Arts Jazz Masters and musical showcases galore (including an audience-happy Winter Jazzfest and the debut of drummer Jack DeJohnette's hot new band) justified the very existence of the profession. Writers, broadcasters and photographers were\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":1176,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/01\/nycs-hot-winter-jazzfest-and-macy-gray-with-david-murray-big-band.html","url_meta":{"origin":2410,"position":3},"title":"NYC&#8217;s hot Winter Jazzfest, and Macy Gray with David Murray Big Band","author":"Howard Mandel","date":"January 14, 2013","format":false,"excerpt":"The second weekend of January is now the fullest on NYC's jazz calendar, with continuation of the high energy, two-night showcase Winter Jazzfest in multiple Greenwich Village venues, and aspirational ensembles elsewhere playing (they hope) for booking agents and curators attending the annual Association of Performing Arts Presenters convention. Having\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"young lions","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2013\/01\/young-lions-297x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2156,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/01\/is-nyc-still-capitol-of-jazz.html","url_meta":{"origin":2410,"position":4},"title":"Is NYC (still) capital of jazz?","author":"Howard Mandel","date":"January 18, 2017","format":false,"excerpt":"The early January concurrence of the Jazz Connect conference, the annual convention of APAP (Association of Performing Arts Presenters), Global Fest and Winter JazzFest makes a good case for\u00c2\u00a0Manhattan being the capital of jazz-and-beyond. It's inarguably true that creative sound-organizing with improvisation and rhythm is world-wide, and our native version\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\/2017\/01\/shabaka-ancestors-by-Jati-Lindsay.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":283,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2010\/01\/arts_presenters_meet_jazz_jour.html","url_meta":{"origin":2410,"position":5},"title":"Arts Presenters meet Jazz Journalists","author":"Howard Mandel","date":"January 3, 2010","format":false,"excerpt":"The Jazz Journalists Association has scheduled a multi-faceted professional conference for Jan 8 - 12 in NYC, concurrent with the Association of Performing Arts Presenters annual conference (which is producing a Special Focus on Jazz), the two-night multi-venue\u00a0Winter Jazzfest, one-night but multi-stage\u00a0globalFEST, and the Nat'l Endowment of the Arts's presentation\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":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2410","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=2410"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/2410\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/2416"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=2410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=2410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=2410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}