{"id":87,"date":"2008-05-05T11:55:52","date_gmt":"2008-05-05T15:55:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/2008\/05\/wheres_tvo_for_live_performanc\/"},"modified":"2011-04-28T16:34:43","modified_gmt":"2011-04-28T20:34:43","slug":"wheres_tvo_for_live_performanc","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2008\/05\/wheres_tvo_for_live_performanc.html","title":{"rendered":"Where&#8217;s TiVo for live performance?"},"content":{"rendered":"<p>This week highlights a happily frequent dilemma for the avid listener in New York: too many good choices of exciting, exploratory, street-smart and unbounded American music &#8212; &#8220;the real blues, the new blues,&#8221; as <a href=\"http:\/\/www.ayler.org\/albert\/\">Albert Ayler<\/a> called jazz-beyond-jazz back in 1964. All on Friday, May 9:<\/p>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<ul>\n<li>The\u00c2\u00a0<a href=\"http:\/\/www.nytimes.com\/2008\/05\/02\/arts\/music\/02aacm.html?_r=1&amp;scp=1&amp;sq=AACM+Chinen&amp;st=nyt&amp;oref=slogin\">Association for the Advancement of Creative Musicians<\/a>\u00c2\u00a0\u00c2\u00a0(AACM) celebrates favorite son <a href=\"http:\/\/www.youtube.com\/watch?v=u63A3CxNiow\">George E. Lewis<\/a>&#8216;s epic new <a href=\"http:\/\/www.amazon.com\/Power-Stronger-Than-Itself-Experimental\/dp\/0226476952\/ref=pd_bbs_sr_1?\/ie=UTF8&amp;s=books&amp;qid=1210103863&amp;sr=8-1\/?tag=howardmacom-20\">book<\/a> with high class talk and promising improv;<\/li>\n<li>\u00c2\u00a0Miles Davis alumni meet Southeast Asian virtuosos at Town Hall to attempt\u00c2\u00a0<a href=\"http:\/\/www.jazzweekly.com\/interviews\/belden.htm\">Bob Belden<\/a>&#8216;s arrangements from the fascinating cd <span class=\"Apple-style-span\" style=\"text-decoration: underline; -webkit-text-decorations-in-effect: underline; \"><a href=\"http:\/\/www.amazon.com\/Miles-India-TWO-CD-SET\/dp\/B00140GWSE\/ref=sr_1_1?\/ie=UTF8&amp;s=music&amp;qid=1210103971&amp;sr=1-1\/?tag=howardmacom-20\">Miles From India<\/a><\/span>,and<\/li>\n<li>\u00c2\u00a0urban-ethno percussionist <a href=\"http:\/\/www.metarecords.com\/adam.html\">Adam Rudolph<\/a> and nu-jazz electronica trumpeter <a href=\"http:\/\/www.myspace.com\/grahamhaynes\">Graham Haynes<\/a>\u00c2\u00a0will balance a similarly ancient\/future sound.\u00c2\u00a0<\/li>\n<li>There&#8217;s much more. Jazz-beyond-jazz bustin&#8217; out all over; it must be spring.\u00c2\u00a0<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<div>While arguably not of Ayler&#8217;s impassioned gospel-and-march lineage, George Lewis, the peerless\u00c2\u00a0trombonist, electro-digital composer, director of\u00c2\u00a0<a href=\"http:\/\/www.jazz.columbia.edu\/\" style=\"text-decoration: underline; \">Columbia University&#8217;s Center for Jazz Studies<\/a>\u00c2\u00a0and with publication of\u00c2\u00a0<span class=\"Apple-style-span\" style=\"font-style: italic; \">A Power Stronger than Itself: The AACM and Experimental Music<\/span>\u00c2\u00a0(University of Chicago Press) a breakthrough historian, will perform daringly open-form improvisation with\u00c2\u00a0pianist-composer\u00c2\u00a0<a href=\"http:\/\/aacm-newyork.com\/\">Muhal Richard Abrams<\/a>, a founder of the AACM, and trumpeter-educator\u00c2\u00a0<a href=\"http:\/\/music.calarts.edu\/~wls\/\">Wadada Leo Smith<\/a>, an early member, at the Community Church of New York (35th St., between Park and Madison). Their set will be preceded at 7 p.m. by a discussion of Lewis&#8217;s exemplary, highly readable study moderated by writer Greg Tate and also featuring AACMers Amina Claudine Myers, Henry Threadgill, Reggie Nicholson, Iqua Colson and Matana Roberts. All their stories are told in Lewis&#8217;s insider&#8217;s account of the most enduring and productive artists-run organization America has yet produced (contrary claims, anyone?)\u00c2\u00a0<\/p>\n<div><\/p>\n<div>On the same date, starting at 8 p.m. composer-conceptualist Belden will emcee a unique gathering of a multi-culti band (starring trumpeter <a href=\"http:\/\/www.wallaceroney.com\/\">Wallace Roney<\/a>, saxophonist Rudresh Mahanthappa, guitarist Pete Cosey, tablaist Badal Roy, bassist Ron Carter, pianist Louiz Banks, drummer Lennie White, sitarist Ravi Chary) refitting global classics including <a href=\"http:\/\/www.youtube.com\/watch?v=U4FAKRpUCYY\">&#8220;So What&#8221;<\/a> and &#8220;Spanish Key&#8221; with ancient roots and foreign extensions. Does Miles&#8217; music benefit from further exoticism? Hear for yourself.\u00c2\u00a0<\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<div>Or &#8212; at 7 p.m. &#8212; go to the <a href=\"http:\/\/www.rmanyc.org\/index.xml?context=\/\">Rubin Museum of Himalayan Art<\/a>\u00c2\u00a0where non-repertory trumpet\/percussion will be created spontaneously by <a href=\"http:\/\/www.allaboutjazz.com\/php\/musician.php?id=7519\">Graham Haynes<\/a>, an under-acknowledged but dynamic and innovative soloist, and <a href=\"http:\/\/www.youtube.com\/watch?v=0skJv-BQvdM\">Adam Rudolph<\/a>, late of LA and a native Chicagoan, inspired and influenced by the AACM, who conducts the GO Organic Orchestra, has collaborated with Mandingo griot <a href=\"http:\/\/www.fmsuso.com\/FMS-bio.htm\">Jali Foday Musa Suso<\/a> and worldly reedist <a href=\"http:\/\/www.yuseflateef.com\/AboutYusef.html\">Yusef Lateef<\/a>, among many others.\u00c2\u00a0<\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<div>\n<div>None of these musical events will adhere to the chordal and harmonic dictums of jazz as it was before Ayler, Ornette Coleman, Cecil Taylor and John Coltrane broke the yoke of dulled conventions; all of them are based on assumptions of personal originality and visionary options that &#8220;free jazz&#8221; established as norms for genuinely reflective contemporary music some 40 years ago. And they only begin to suggest how much music that calmly proceeds on just such principles now. Other choices, also Friday night:<\/div>\n<div>\u00c2\u00a0<\/div>\n<div>\n<ul>\n<li>alto saxophonist-clarinetist-composer-improviser <a href=\"http:\/\/www.martyehrlich.com\/live\/\">Marty Ehrlich<\/a> (a frequent collaborator of Muhal Richard Abrams&#8217;, knowing if not affiliated with the AACM) \u00c2\u00a0has a sextet at the Jazz Standard;<\/li>\n<li>lyrical inside-outside alto saxophone-and-flutist <a href=\"http:\/\/www.speetones.com\/\">James Spaulding<\/a> (hear his solos on so many great Blue Note albums of the &#8217;60s) leads a quartet at Harlem&#8217;s Lenox Lounge;<\/li>\n<li>tenor saxophonist <a href=\"http:\/\/www.tonymalaby.com\/\">Tony Malaby<\/a>, an under-hyped but very affecting tenor saxophonist, plays in trio with his pianist-wife Angela Sanchez and drummer Tom Rainey at the Cornelia Street Cafe in the Village;<\/li>\n<li><span class=\"Apple-style-span\" style=\"font-style: italic;\">Soul at the Hands of the Machine <\/span>drummer-with-electronics <a href=\"http:\/\/profile.myspace.com\/index.cfm?fuseaction=user.viewprofile&amp;friendid=42967288\" style=\"\">Guillermo E. Brown<\/a> performs solo, for free, at Brooklyn&#8217;s BAM Cafe;<\/li>\n<li>mult-reeds\/pan-genre jazz hero <a href=\"http:\/\/www.joelovano.com\/\">Joe Lovano<\/a>&#8216;s sextet plays Dizzy&#8217;s Club Coca-Cola in the Jazz at Lincoln Center complex; pianist <a href=\"http:\/\/www.gregburk.com\/\">Greg Burk<\/a>, in from Rome, leads his trio for the 1 a.m. set;<\/li>\n<li>\u00c2\u00a0bassist <a href=\"http:\/\/www.charliehadenmusic.com\/\">Charlie Haden<\/a> meets pianist Ethan Iverson of the Bad Plus and Jazz Journalists Association <a href=\"http:\/\/www.jazzhouse.org\/2008finalists.html\">Jazz Awards<\/a> Drummer of the Year Award nominee Paul Motian at the Village Vanguard.\u00c2\u00a0<\/li>\n<li><a href=\"http:\/\/www.rucma.org\/\">RUCMA<\/a> (Rise Up Creative Music and Arts), an organization affiliated with the Vision Festival, has \u00c2\u00a0guitarist Mike Gamble and drummer Simon Lott in the first of a series of benefits at the Living Theatre (21 Clinton St., between Houston and Stanton at Ave. B), at 10:30.\u00c2\u00a0<\/li>\n<\/ul>\n<\/div>\n<div>If none of that&#8217;s pop enough for ya, Herb Alpert, forever famous for the <a href=\"http:\/\/www.youtube.com\/watch?v=z_KDPUTyDyQ&amp;feature=related\">Tijuana Brass<\/a>, and singer Lani Hall stop at Joe&#8217;s Pub. And I haven&#8217;t mentioned a dozen more mainstream yet still worthy jazz-tinged gigs. But\u00c2\u00a0<\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<div>How does one decide among such a feast of delights? A fan, however critically attuned, will inevitably be divided, as these artists (Alpert and Hall excluded) all are practicing extreme free-from-market-or-tradition-dictated music that spins out of rhythmically charged,\u00c2\u00a0melodically aware,\u00c2\u00a0sonically nuanced and interactively collaborated processes. Proportions of these elements vary from ensemble to ensemble, as do specific interests and the personalities of their sounds. But all of them go for those moments when music, out of silence or rampant energy, jells &#8212; when the air seems alive and listeners hold their breath, raptly hoping such moments last if not forever at least for a little while more.<\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<div>Decide by location or price, size of the venue, scale of the band, intimate or grandiose experience. Go for bombast or subtlety, staged show or out-of-the-way club. Consider the one-time-only aspect: When will this happen again? For most of this music, the answer is: Never. Abrams with Lewis and Smith &#8212; <span class=\"Apple-style-span\" style=\"font-style: italic;\">Miles From India<\/span> &#8212; Haynes and Rudolph and all the rest will play as they play on Friday <span class=\"Apple-style-span\" style=\"font-style: italic; \">only<\/span> on Friday. Even if recorded, it won&#8217;t be the same. So take a chance and hear it now.<\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<div>There&#8217;s always more to do here than any uncloned individual could possibly attend, but this coming weekend demonstrates how Ayler&#8217;s prophecy has come close to true. I&#8217;ve recently produced an audio segment on Ayler for National Public Radio (to be aired sometime within the next 10 days &#8212; I&#8217;ll post an alert in advance, if possible), based in part on the recent Swedish documentary film,\u00c2\u00a0<span class=\"Apple-style-span\" style=\"font-style: italic; \"><a href=\"http:\/\/www.mynameisalbertayler.com\/\" style=\"text-decoration: underline; \">My Name Is Albert Ayler<\/a><\/span>. In it, Ayler says of his sound, today typified as &#8220;ecstatic&#8221; but in the &#8217;60s labeled &#8220;free&#8221;:\u00c2\u00a0<\/p>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<blockquote class=\"webkit-indent-blockquote\" style=\"border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-size: 1em; font-weight: normal; margin-top: 0px; margin-right: 0px; margin-bott \n<p> om: 0.75em; margin-left: 20px; background-repeat: repeat-y; \"><span class=\"Apple-style-span\" style=\"font-family: Palatino; font-size: 16px; \">People must listen to this music because they&#8217;ll be hearing it all the time. Because if it&#8217;s not me it&#8217;ll be someone else that&#8217;s playing it. The majority of the younger musicians I&#8217;ve heard in New York ,they&#8217;ve begun to play this way because this is the only way left for musicians to play, all the other ways have been explored, in the time past.\u00c2\u00a0<\/span><\/p><\/blockquote>\n<blockquote class=\"webkit-indent-blockquote\" style=\"border-top-style: none; border-right-style: none; border-bottom-style: none; border-left-style: none; border-width: initial; border-color: initial; border-top-width: 0px; border-right-width: 0px; border-bottom-width: 0px; border-left-width: 0px; border-style: initial; border-color: initial; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-size: 1em; font-weight: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 20px; background-repeat: repeat-y; \"><p><span class=\"Apple-style-span\" style=\"font-family: Palatino; font-size: 16px; \"><br class=\"webkit-block-placeholder\" \/><\/span><\/p><\/blockquote>\n<\/div>\n<div><a href=\"http:\/\/www.howardmandel.com\/\" target=\"blank\" style=\"text-decoration: underline; \">howardmandel.com<\/a>\u00c2\u00a0<br \/><a href=\"http:\/\/feeds.feedburner.com\/JazzBeyondJazz\" target=\"_blank\" style=\"text-decoration: underline; \">Subscribe by Email or RSS<\/a>\u00c2\u00a0<br \/><a href=\"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/archives.html\" target=\"_blank\" style=\"text-decoration: underline; \">All JBJ posts<\/a><\/div>\n<div><br class=\"webkit-block-placeholder\" \/><\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>This week highlights a happily frequent dilemma for the avid listener in New York: too many good choices of exciting, exploratory, street-smart and unbounded American music &#8212; &#8220;the real blues, the new blues,&#8221; as Albert Ayler called jazz-beyond-jazz back in 1964. All on Friday, May 9: The\u00c2\u00a0Association for the Advancement of Creative Musicians\u00c2\u00a0\u00c2\u00a0(AACM) celebrates favorite [&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-87","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-1p","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":2552,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2019\/01\/2018-jazz-blues-and-beyond-deaths-w-links.html","url_meta":{"origin":87,"position":0},"title":"2018 jazz, blues and beyond deaths w\/ links","author":"Howard Mandel","date":"January 21, 2019","format":false,"excerpt":"Cecil Taylor, March 15, 1929 \u00e2\u20ac\u201c April 5, 2018, photo by S\u00c3\u00a1nta Istv\u00c3\u00a1n Csaba Not a happy post, but a useful one: here are the hundreds of musicians and music industry activists who died in 2018, as compiled by photographer-writer Ken Franckling for the Jazz Journalists Association. Ken scoured local\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\/2018\/04\/CecilTaylor-nea-jazz-master-2014-santa.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":2326,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2017\/09\/my-qa-for-bluesgreece-spirit-of-jazz-award.html","url_meta":{"origin":87,"position":1},"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":502,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2011\/08\/labor-day-jazz-how-many-listening.html","url_meta":{"origin":87,"position":2},"title":"Labor Day Jazz &#038; Blues fests coast-to-coast; how many listening?","author":"Howard Mandel","date":"August 25, 2011","format":false,"excerpt":"Jazz and blues festivals occur in America coast-to-coast over Labor Day weekend -- how many listeners will the music engage? Capacities vary: free multi-day fests in\u00c2\u00a0Chicago\u00c2\u00a0and\u00c2\u00a0Detroit\u00c2\u00a0attract tens of thousands each, and the free Memphis Music & Heritage Festival;\u00c2\u00a0River Front Jazz Fest\u00c2\u00a0in Stevens Point,\u00c2\u00a0Wisconsin;\u00c2\u00a0Franklin Jazz Festival\u00c2\u00a0outside Nashville, Tennessee; \u00c2\u00a0Big Muddy Blues\u2026","rel":"","context":"Similar post","block_context":{"text":"Similar post","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2011\/08\/jazzfest-crowd.jpeg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2904,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2021\/05\/record-man-koesters-blues-and-jazz-legacy.html","url_meta":{"origin":87,"position":3},"title":"Record man Koester&#8217;s blues and jazz legacy","author":"Howard Mandel","date":"May 19, 2021","format":false,"excerpt":"Chicagoan Bob Koester, proprietor of the Jazz Record Mart and Delmark Records for nearly 70 years, is a model of music activism and entrepreneurship from an era rapidly receding and unlikely in current business circumstances. Neil Genzlinger did a nice formal New York Times obit, and I've written a remembrance\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\/2021\/05\/Bob-Koester-00115x7-BW-JJ-1200x798-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/05\/Bob-Koester-00115x7-BW-JJ-1200x798-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/05\/Bob-Koester-00115x7-BW-JJ-1200x798-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/05\/Bob-Koester-00115x7-BW-JJ-1200x798-1.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2021\/05\/Bob-Koester-00115x7-BW-JJ-1200x798-1.jpg?resize=1050%2C600&ssl=1 3x"},"classes":[]},{"id":267,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/11\/midnight_est_deadline_blues_co.html","url_meta":{"origin":87,"position":4},"title":"Midnight (EST) deadline, blues contest entries","author":"Howard Mandel","date":"November 11, 2009","format":false,"excerpt":"Prizes of Jazz at Lincoln Center tix for this weekend and dvds of Wynton Marsalis with Willie Nelson for the best blues lyrics or prose poem will be determined at 12:01 tonight (11\/11\/09). Several stunning (!?!) efforts have been received -- via the comments box below -- but I'm not\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":2459,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2018\/08\/labor-day-jazz-fests-starting-with-chicagos.html","url_meta":{"origin":87,"position":5},"title":"Labor Day jazz fests, starting with Chicago&#8217;s","author":"Howard Mandel","date":"August 30, 2018","format":false,"excerpt":"The\u00c2\u00a040th annual Chicago Jazz Festival, four days free to all of unfettered, usually joyous music held in beautiful downtown Millennium Park,\u00c2\u00a0 started last night with stars of of the local scene celebrating\u00c2\u00a0\u00c2\u00a0\"Legends and Lions\".\u00c2\u00a0Add \"Ancient to the Future\"\u00c2\u00a0to set the tone for a weekend of exciting, civically-supported music here --\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\/09\/chi-listens-300x216.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/87","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=87"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/87\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=87"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=87"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=87"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}