{"id":105,"date":"2005-08-13T15:54:16","date_gmt":"2005-08-13T22:54:16","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=105"},"modified":"2005-08-13T15:54:16","modified_gmt":"2005-08-13T22:54:16","slug":"bookstore_bebop","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2005\/08\/bookstore_bebop\/","title":{"rendered":"Bookstore Bebop"},"content":{"rendered":"<p>Well, the book signing at Barnes and Noble in Stockton went fine. We moved a few copies of <a href=\"http:\/\/www.parksidepublications.com\/takefive.html\"target=\"_blank\"><em>Take Five: The Public and Private Lives of Paul Desmond<\/em><\/a> and I signed a batch of shelf copies on which Kathleen Anderson, the store\u00e2\u20ac\u2122s lively, intelligent events manager, slapped \u00e2\u20ac\u0153Autographed Copy\u00e2\u20ac\u009d stickers. \u00e2\u20ac\u0153These will go fast,\u00e2\u20ac\u009d she promised.<br \/>\nBefore the signing and as it happened, a combo of talented summer colonists from the Brubeck Institute played.  A fifteen-year-old alto saxophonist from Bakersfield, Isaiah Morfin, began his blues solo on Coltrane\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Cousin Mary\u00e2\u20ac\u009d with a couple of bars of \u00e2\u20ac\u0153Take Five.\u00e2\u20ac\u009d \u00e2\u20ac\u0153That was for you,\u00e2\u20ac\u009d he later said, shyly. His parents and little sister were in the audience, beaming.<br \/>\nMore later on these remarkable youngsters.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Well, the book signing at Barnes and Noble in Stockton went fine. We moved a few copies of Take Five: The Public and Private Lives of Paul Desmond and I signed a batch of shelf copies on which Kathleen Anderson, the store\u00e2\u20ac\u2122s lively, intelligent events manager, slapped \u00e2\u20ac\u0153Autographed Copy\u00e2\u20ac\u009d stickers. \u00e2\u20ac\u0153These will go fast,\u00e2\u20ac\u009d she [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","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":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-105","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=105"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/105\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=105"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}