{"id":558,"date":"2011-10-15T11:53:52","date_gmt":"2011-10-15T15:53:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=558"},"modified":"2011-10-15T11:53:52","modified_gmt":"2011-10-15T15:53:52","slug":"braxton-on-npr","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/10\/braxton-on-npr.html","title":{"rendered":"Braxton on NPR"},"content":{"rendered":"

My NPR profile of Anthony Braxton<\/a>, composer-performer-philosopher-educator, aired on Weekend Saturday Edition this morning — and he says some wonderful things. Braxton offers a free sampler of his music<\/a>\"\"<\/a> with very different examples from across the decades of his career. I have a lot of interesting material on Braxton from an interview during a visit I made to Wesleyan University, and will look for other platforms for it. ‘Til then, “friendly experiencers” are welcome to the multiple<\/a> posts<\/a> I’ve placed at JazzBeyondJazz and on Youtube.<\/p>\n

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

Subscribe by Email or RSS<\/a>
\n All JBJ posts <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

My NPR profile of Anthony Braxton, composer-performer-philosopher-educator, aired on Weekend Saturday Edition this morning — and he says some wonderful things. Braxton offers a free sampler of his music with very different examples from across the decades of his career. I have a lot of interesting material on Braxton from an interview during a visit […]<\/p>\n","protected":false},"author":2,"featured_media":559,"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-558","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2011\/10\/MCW6789.jpg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-90","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":554,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/10\/anthony-braxtons-new-music-at-wesleyan-roulette.html","url_meta":{"origin":558,"position":0},"title":"Anthony Braxton’s new music at Wesleyan & Roulette","author":"Howard Mandel","date":"October 9, 2011","format":false,"excerpt":"Mentoring women musicians as well as men distinguishes Anthony Braxton among avant-garde composer-performers. That's not the only unusual aspect of the career of Braxton, a 66-year-old composer, improviser, philosopher, educator and multi-instrumentalist who just celebrated a four-night festival overview of his work at Roulette music and dance space, new to\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":551,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/09\/551.html","url_meta":{"origin":558,"position":1},"title":"Roulette: “old” new music\/dance space moves to central Brooklyn","author":"Howard Mandel","date":"September 29, 2011","format":false,"excerpt":"My new column at CityArts-New York is about Roulette, the\u00c2\u00a0new music\/new dance performance space, started in downtown Manhattan but moved to a coolly refurbished theater near a major Brooklyn transportation hub. Roulette's in first season in this new home is thick with Chicago-born, -raised \u00c2\u00a0and -emigrated \"creative musicians\" -- Anthony\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2011\/09\/roulette.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1509,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2014\/01\/nea-2014-jazz-masters-investiture-photo-gallery.html","url_meta":{"origin":558,"position":2},"title":"NEA 2014 Jazz Masters’ investiture photo gallery","author":"Howard Mandel","date":"January 15, 2014","format":false,"excerpt":"I'm reporting on the NEA Jazz Masters events for Down Beat, so reserve most comments 'til publication. But some controversies regarding the ceremonial events may emerge . . .","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2014\/01\/Owens-Barron.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2133,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2016\/10\/dr-richard-wang-enabler-of-aacm-experimentalists-rip.html","url_meta":{"origin":558,"position":3},"title":"Dr. Richard Wang, enabler of AACM experimentalists, RIP","author":"Howard Mandel","date":"October 12, 2016","format":false,"excerpt":"In his first college teaching job at Wilson Junior College during the early 1960s, trumpeter Dick Wang encountered a\u00c2\u00a0cadre of exploratory young Chicago musicians who would soon form the AACM (Association for the Advancement of Creative Musicians). He encouraged them. He introduced Roscoe Mitchell, Joseph Jarman and Malachi Favors, Anthony\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"imgres-11","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2016\/10\/imgres-11.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2247,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/06\/nea-supports-jazz-and-us-arts-nationwide.html","url_meta":{"origin":558,"position":4},"title":"NEA supports jazz and US arts nationwide","author":"Howard Mandel","date":"June 15, 2017","format":false,"excerpt":"The National Endowment of the Arts, arguably the most misunderstood and beleaguered doing-good office of the federal gov't (excluding the NEH, EPA, Consumer Financial Bureau, Civil Rights Division of the Justice Dept., and a few others) has issued its 2017 funding report, highlighting that its monies (monies from we US\u2026","rel":"","context":"In \"Anthony Braxton\"","block_context":{"text":"Anthony Braxton","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/tag\/anthony-braxton"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/06\/mule-ride-epicenter.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/06\/mule-ride-epicenter.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2017\/06\/mule-ride-epicenter.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":1065,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/10\/macarthur-ignores-jazz-musicians-and-improvisers.html","url_meta":{"origin":558,"position":5},"title":"MacArthur ignores jazz musicians and improvisers","author":"Howard Mandel","date":"October 2, 2012","format":false,"excerpt":"The new list of MacArthur fellows, just released,\u00c2\u00a0features not one musician from the world of jazz among the 23 distinguished Americans who will receive $100,000 a year for five years. Two musicians are named among the fellows: Claire Chase, flutist and founder of the International Contemporary Ensemble\u00c2\u00a0(ICE) and Chris Thile,\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/10\/claire-chase.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/558","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=558"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/558\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/559"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=558"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=558"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}