{"id":11009,"date":"2019-03-23T21:32:25","date_gmt":"2019-03-24T04:32:25","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=11009"},"modified":"2019-03-23T22:02:54","modified_gmt":"2019-03-24T05:02:54","slug":"weekend-extra-good-morning-with-tjader-fischer","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/03\/weekend-extra-good-morning-with-tjader-fischer\/","title":{"rendered":"Weekend Extra: Good &#8220;Morning&#8221; With Tjader &#038; Fischer"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/Unknown-1.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11010\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/Unknown-1.jpeg\" alt=\"\" width=\"218\" height=\"328\" \/><\/a>There is much to like about this version by vibraphonist Cal Tjader of Clare<a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/Unknown-2.jpeg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11011\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/03\/Unknown-2.jpeg\" alt=\"\" width=\"183\" height=\"137\" \/><\/a> Fischer\u00e2\u20ac\u2122s modern classic \u00e2\u20ac\u0153Morning.\u00e2\u20ac\u009d It is from a brief period in the 1970s when Fischer was a member of Tjader\u00e2\u20ac\u2122s band. The recording opens with an aware audience greeting&#8221;\u00a0Fischer\u00e2\u20ac\u2122s electric piano introduction with the enthusiasm that one might show in encountering an old friend, and that\u00e2\u20ac\u2122s what the tune seems to be to these listeners. Fischer is also featured in a compelling solo. Of the several versions of the tune that Tjader recorded, this may be the most captivating. (Tjader is pictured left, Fischer right).<\/p>\n<p><em>Rifftides<\/em> management is mystified by the &#8220;video unavailable&#8221; announcement that may appear. If you don&#8217;t succeed in getting it to play, you can go directly to <a href=\"https:\/\/www.youtube.com\/watch?v=ad37bKFVoe4\">this youtube screen<\/a> to watch it. But first, try the arrow in the panel below.<\/p>\n<div align=\"&quot;center\">\n<p>&#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0 &#8221;\u00a0<iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/ad37bKFVoe4\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p>Have a wonderful weekend<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; There is much to like about this version by vibraphonist Cal Tjader of Clare Fischer\u00e2\u20ac\u2122s modern classic \u00e2\u20ac\u0153Morning.\u00e2\u20ac\u009d It is from a brief period in the 1970s when Fischer was a member of Tjader\u00e2\u20ac\u2122s band. The recording opens with an aware audience greeting&#8221;\u00a0Fischer\u00e2\u20ac\u2122s electric piano introduction with the enthusiasm that one might show in [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":11010,"comment_status":"open","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-11009","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11009","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=11009"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11009\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/11010"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=11009"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=11009"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=11009"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}