{"id":516,"date":"2011-08-28T14:51:53","date_gmt":"2011-08-28T18:51:53","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=516"},"modified":"2019-09-13T11:15:45","modified_gmt":"2019-09-13T15:15:45","slug":"online-video-charlie-parker-jazz-fest-day-2","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/online-video-charlie-parker-jazz-fest-day-2.html","title":{"rendered":"Online video Charlie Parker Jazz Fest, day 2"},"content":{"rendered":"<div id=\"attachment_517\" style=\"width: 283px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2011\/08\/chepp.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-517\" class=\"wp-image-517 size-full\" title=\"chepp\" src=\"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2011\/08\/chepp.jpeg\" alt=\"\" width=\"273\" height=\"185\" \/><\/a><p id=\"caption-attachment-517\" class=\"wp-caption-text\">Archie Shepp &#8211; photo \u00c2\u00a9Jan Kricke and Jan Kricke\/The Spectrum<\/p><\/div>\n<p>Hurricane Irene wiped out both days of NYC&#8217;s annual Charlie Parker Jazz Fest &#8212; but not the show of Archie Shepp, Anat Cohen, Gerald Clayton and Madeleine Peyroux available via <a href=\"http:\/\/www.youtube.com\">YouTube<\/a>. Here&#8217;s a dry, speculative approximation of what we missed (see <a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/virtual-charlie-parker-jazz-fest-online-video.html\">yesterday&#8217;s post<\/a> for the virtual fest with Toots Thielemans, James Carter, Tia Fuller and Cecile McLorin Salvant).<\/p>\n<ul>\n<li><strong>Pianist Gerald Clayton<\/strong> and his trio would have opened with something propulsive (thanks to bassist Joe Sanders, drummer Justin Brown) as in 2009 <a href=\"http:\/\/youtu.be\/glzZX-9oEnE\">at the Berlin Jazz Festival<\/a>:<\/li>\n<\/ul>\n<p><object width=\"480\" height=\"300\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/glzZX-9oEnE?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object><\/p>\n<p>Although it&#8217;s early in the afternoon for guests, would that pianist Hod O&#8217;Brien show up to duet with Clayton on &#8220;<a href=\"http:\/\/youtu.be\/HdLEqvx3DEs\">Close Your Eyes<\/a>.&#8221; (Ella Fitzgerald did a <a href=\"http:\/\/www.amazon.com\/Close-Your-Eyes\/dp\/B004817RI0\/?tag=howardmacom-20\">definitive vocal version,<\/a> but in Chicago Gene Ammon&#8217;s bold tenor rendition is <a href=\"http:\/\/www.amazon.com\/Close-Your-Eyes\/dp\/B000UBPSEW\/?tag=howardmacom-20\">the favorite<\/a>). To end,\u00c2\u00a0<a href=\"http:\/\/youtu.be\/eb7BtOaTB-s\">Clayton essays &#8220;Con Alma<\/a>&#8221; by Dizzy Gillespie (I like the trumpeter&#8217;s <a href=\"http:\/\/www.amazon.com\/Con-Alma\/dp\/B000V6A64S\/?tag=howardmacom-20\">1954 version<\/a> with four Cuban percussionists).<\/p>\n<ul>\n<li><strong>Clarinetist\/saxophonist Anat Cohen<\/strong>\u00c2\u00a0is up next, with her quartet. Maybe she&#8217;d come on slow and sensual, as when she played <a href=\"http:\/\/youtu.be\/HU2j7_OzNRw\">&#8220;Body and Soul&#8221;<\/a> at the 2010 <a href=\"http:\/\/litchfieldjazzfest.com\">Litchfield Jazz Festival<\/a>.<br \/>\n<object width=\"480\" height=\"300\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/HU2j7_OzNRw?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><\/object><\/p>\n<p>Cohen also plays lovely soprano sax, as in <a href=\"http:\/\/youtu.be\/us6RwhYELIo\">a studio duet<\/a> with guitarist Howard Alden on Billy Strayhorn&#8217;s &#8220;Isfahan.&#8221;<object width=\"480\" height=\"300\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/us6RwhYELIo?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object><\/li>\n<\/ul>\n<p>Of course, the composition was <a href=\"http:\/\/www.amazon.com\/Isfahan\/dp\/B004N060XY\/?tag=howardmacom-20\">originally recorded<\/a> by Duke Ellington&#8217;s Orchestra as part of his <em>Far East Suite<\/em>.<\/p>\n<p>Cohen really gets down on &#8220;After You&#8217;ve Gone&#8221; (from the 2010 Newport Jazz Festival)<br \/>\n<object width=\"420\" height=\"266\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/DBXNm778EZU?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><\/object><br \/>\nso she finishes with <a href=\"http:\/\/youtu.be\/DBXNm778EZU\">that<\/a> (Jason Lindner on piano).<\/p>\n<ul>\n<li><strong>Madeleine Peyroux<\/strong> is a controversial (at least <a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/how-madeleine-peyroux-is-not-charlie-parker.html\">to me<\/a>) choice to program at a festival dedicated to bebop diety Charlie Parker and music in his wake. Now established as a singer-songerwriter, Ms. Peyroux began her career busking in Paris with a set list of covers exploiting<\/li>\n<\/ul>\n<p><object width=\"480\" height=\"390\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/1Ie1yt_cJAM?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object><br \/>\nthe aspect of her voice which most resembles <a href=\"&lt;a href=\">Billie Holiday&#8217;s<\/a> (and maybe Edith Piaf&#8217;s).<\/p>\n<p>Ms. Peyroux could have introduced sly wit by segueing into her version (still in Holiday voice) of &#8220;<a href=\"http:\/\/youtu.be\/J4jSeQhokc0\">Walkin&#8217; After Midnight<\/a>,&#8221; one of <a href=\"http:\/\/www.amazon.com\/Walking-After-Midnight\/dp\/B000VXWJJQ\/?tag=howardmacom-20\">Patsy Cline<\/a>&#8216;s countrypolitan hits, following up with <a href=\"http:\/\/youtu.be\/YDSqqQttzxI\">&#8220;Lovesick Blues,<\/a>&#8221; which goes back to the last-of-the-blackface minstrels <a href=\"http:\/\/www.amazon.com\/Lovesick-Blues\/dp\/B003YQR9OM\/?tag=howardmacom-20\">Emmett Miller<\/a>, and closing with &#8220;Dance Me to the End of Love&#8221; (composed by <a href=\"http:\/\/www.amazon.com\/Dance-Me-End-Love\/dp\/B00137V7DS\/?tag=howardmacom-20\">Leonard Cohen<\/a>).<\/p>\n<p><object width=\"480\" height=\"390\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/DPei0VZnZUo?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object>.<\/p>\n<p>Such would be her appropriately bluesy jazz stand.<\/p>\n<ul>\n<li><strong>Archie Shepp<\/strong>&#8216;s jazz bonafides need no justification &#8212; he emerged in the early 1960s as a tenor saxophone proteg\u00c3\u00a9 of John Coltrane. In recent years, Shepp has struggled with problems affecting his embouchure, taking a toll on his intonation. But he&#8217;s a smart man who studied drama in his college years; he knows how to build to a climax. He&#8217;d start strong &#8212; as he did in 1978 on <a href=\"http:\/\/youtu.be\/fvuWNzPBZB4\">this tune<\/a> (which I ought to know the name of, but don&#8217;t &#8212; that&#8217;s Clifford Jarvis playing drums).<br \/>\n<object width=\"420\" height=\"345\"><param name=\"movie\" value=\"http:\/\/www.youtube.com\/v\/fvuWNzPBZB4?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><\/object><\/p>\n<p>Addressing the inexorable passage of time, Shepp could dip into &#8220;<a href=\"http:\/\/youtu.be\/cGE-9GliyCw \">Things Ain&#8217;t What They Used To Be<\/a>,&#8221; by Duke Ellington &#8212; which he record in an <a href=\"http:\/\/www.amazon.com\/Things-Aint-What-They-Used\/dp\/B000QMGJX4\/?tag=howardmacom-20\">iconoclastic 1961 session<\/a> led by pianist Cecil Taylor. Taking a cue from the news, he delves in <a href=\"http:\/\/youtu.be\/0Mn4Eyohpmo\">&#8220;Lybia&#8221;<\/a> &#8212; as he played it in 1975 accompanied by Charles Greenlee, trombone; Beaver Harris, drums; Dave Burrell, piano and David Williams, bass.<\/p>\n<p>No performance of Shepp&#8217;s these days is without his piercing composition &#8220;<a href=\"http:\/\/youtu.be\/eFup9Vxivw4 \">Steam<\/a>&#8221; about the gang-related Philadelphia street shooting of his 15-year-old cousin. Shepp sometimes plays this on piano intoning the lyrics himself, but the version recorded on the album <em>I Know About The Life<\/em> features vocals by <a href=\"http:\/\/www.nytimes.com\/2011\/07\/23\/arts\/music\/joe-lee-wilson-jazz-singer-is-dead-at-75.html\">Joe Lee Wilson<\/a>, who died July 17, 2011.<\/p>\n<p>For his finale,<a href=\"http:\/\/youtu.be\/IPg8zLxSYOs\"> Archie plays<\/a> Charlie Yardbird <a href=\"http:\/\/www.amazon.com\/Confirmation\/dp\/B001O3UCQO\/?tag=howardmacom-20\">Parker&#8217;s &#8220;Confirmation<\/a>.&#8221;<br \/>\n<object width=\"480\" height=\"390\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/IPg8zLxSYOs?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object><\/p>\n<p>Makes for a cool afternoon fest, right? But you haven&#8217;t heard the end of it &#8217;til you see and listen to <a href=\"http:\/\/youtu.be\/mZ5eGEest0g\">Coleman Hawkins and Bird himself<\/a>, on a video that purports to be from 1950 &#8212;<\/p>\n<p><object width=\"420\" height=\"345\" classid=\"clsid:d27cdb6e-ae6d-11cf-96b8-444553540000\" codebase=\"http:\/\/download.macromedia.com\/pub\/shockwave\/cabs\/flash\/swflash.cab#version=6,0,40,0\"><param name=\"allowFullScreen\" value=\"true\" \/><param name=\"allowscriptaccess\" value=\"always\" \/><param name=\"src\" value=\"http:\/\/www.youtube.com\/v\/mZ5eGEest0g?version=3&amp;hl=en_US&amp;rel=0\" \/><param name=\"allowfullscreen\" value=\"true\" \/><\/object><\/p>\n<p>Hard to top Bird et al (Hank Jones, piano; Ray Brown, bass; Buddy Rich, drums), virtually. But live music trumps recording, and there are nearly two dozen jazz fests, coast-to-coast, over Labor Day weekend. So there&#8217;s a chance &#8212; grab it! And Tweet about WHO you hear, WHERE you hear &#8217;em, plus the hashtag #jazzlives.<\/p>\n<p><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\" rel=\"noopener noreferrer\">howardmandel.com<\/a><\/p>\n<p><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><\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" rel=\"noopener noreferrer\"> All JBJ posts <\/a> |<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Hurricane Irene wiped out both days of NYC&#8217;s annual Charlie Parker Jazz Fest &#8212; but not the show of Archie Shepp, Anat Cohen, Gerald Clayton and Madeleine Peyroux available via YouTube. Here&#8217;s a dry, speculative approximation of what we missed (see yesterday&#8217;s post for the virtual fest with Toots Thielemans, James Carter, Tia Fuller and [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","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-516","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-8k","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":513,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/virtual-charlie-parker-jazz-fest-online-video.html","url_meta":{"origin":516,"position":0},"title":"Virtual Charlie Parker jazz fest (online video)","author":"Howard Mandel","date":"August 27, 2011","format":false,"excerpt":"Fearing Hurricane Irene, New York City has suspended public transportation and cancelled everything -- but not my\u00c2\u00a0\u00c2\u00a0online video Charlie Parker Jazz fest, a humble audio\/video standin for the live sets scheduled but not-to-be in Harlem and the East Village, Saturday and Sunday, Aug 27-28. Monday, Aug. 29 is the 91st\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":998,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/08\/celebrate-charlie-parker-with-me-and-roy-haynes.html","url_meta":{"origin":516,"position":1},"title":"Celebrate Charlie Parker with Roy Haynes and me","author":"Howard Mandel","date":"August 13, 2012","format":false,"excerpt":"The NYC\u00c2\u00a0Charlie Parker Jazz Festival\u00c2\u00a0began 20 years ago and returns starting Aug. 17 with a week of activities leading up to free concerts Aug. 24 - 36 in Marcus Garvey Park, Harlem, and Tompkins Square Park, East Village. I will present headliner Roy Haynes with his \"Drummer of the Year\"\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":2326,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/09\/my-qa-for-bluesgreece-spirit-of-jazz-award.html","url_meta":{"origin":516,"position":2},"title":"My Q&#038;A for Blues@Greece &#038; Spirit of Jazz Award","author":"Howard Mandel","date":"September 15, 2017","format":false,"excerpt":"Jazz, blues, American literature and where I'd go for a day in a time machine are topics I address in an email interview with Michalis Limnios who blogs at Blue@Greece. I post this item out of sheer vanity, reinforced by my being presented with a Spirit of Jazz Award tomorrow\u2026","rel":"","context":"In \"Blues@Greece\"","block_context":{"text":"Blues@Greece","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/bluesgreece"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/09\/HM-by-po-2015.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":1945,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2015\/10\/nea-doubles-down-on-beyond-jazz-with-2016-jazz-masters.html","url_meta":{"origin":516,"position":3},"title":"NEA doubles down on beyond-jazz with 2016 Jazz Masters","author":"Howard Mandel","date":"October 30, 2015","format":false,"excerpt":"The National Endowment of the Arts has doubled down on celebrating\u00c2\u00a0jazz beyond \"jazz\" -- music that has exploded historic\u00c2\u00a0parameters or preconceptions of \u00c2\u00a0\"jazz\" conventions\u00c2\u00a0-- by naming as 2016 Jazz Masters\u00c2\u00a0the saxophonists\u00c2\u00a0Pharoah Sanders and Archie Shepp -- both\u00c2\u00a0prot\u00c3\u00a9g\u00c3\u00a9s of the late, great\u00c2\u00a0John Coltrane -- and Gary Burton, an innovator of technique\u2026","rel":"","context":"In &quot;main&quot;","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"shepp","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2015\/10\/shepp.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1102,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/11\/critics-scholars-musicians-enjoy-jazz-fest-lost-in-diversity-conference.html","url_meta":{"origin":516,"position":4},"title":"Critics, scholars, musicians @ Enjoy Jazz Fest, Lost in Diversity conference","author":"Howard Mandel","date":"November 6, 2012","format":false,"excerpt":"International jazz journalists, academic scholars, presenters and musicians rarely meet together, but that's the plan for the\u00c2\u00a0\"Lost in Diversity\" conference\u00c2\u00a0 during the\u00c2\u00a014th\u00c2\u00a0Enjoy Jazz Fest,\u00c2\u00a0which\u00c2\u00a0I'm attending tomorrow (Nov 7) through Sunday in Heidelberg, Germany. Curated by ethnomusicologist and sociologist Dr. Christian Broecking of the Heidelberg\u00c2\u00a0Center of American Studies in the\u00c2\u00a0Ruprecht-Karls-Universit\u00c3\u00a4t\u00c2\u00a0(oldest in\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\/2012\/11\/broecking2.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":3000,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2022\/08\/who-plays-the-saxophone-and-why.html","url_meta":{"origin":516,"position":5},"title":"Who plays the saxophone? And why?","author":"Howard Mandel","date":"August 31, 2022","format":false,"excerpt":"I love the sound of a saxophone, or rather the broad range of sounds available from this family of reeds The author, who has never been very serious about his alto playing, with apologies to Neil Tesser on tenor sax, Jim Baker on guitar; photo by Lauren Deutsch instruments. Breathy,\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\/08\/1988-Chicago-Tenors-DuSable-Walter-Dyett-Reunion.jpeg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/08\/1988-Chicago-Tenors-DuSable-Walter-Dyett-Reunion.jpeg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/08\/1988-Chicago-Tenors-DuSable-Walter-Dyett-Reunion.jpeg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/08\/1988-Chicago-Tenors-DuSable-Walter-Dyett-Reunion.jpeg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2022\/08\/1988-Chicago-Tenors-DuSable-Walter-Dyett-Reunion.jpeg?resize=1050%2C600&ssl=1 3x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/516","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=516"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/516\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}