{"id":11209,"date":"2019-06-13T13:56:30","date_gmt":"2019-06-13T20:56:30","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=11209"},"modified":"2019-06-15T20:49:09","modified_gmt":"2019-06-16T03:49:09","slug":"samantha-boshnacks-seismic-belt","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/06\/samantha-boshnacks-seismic-belt\/","title":{"rendered":"Samantha Boshnack&#8217;s Seismic Belt"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/06\/42223239_1862609967108979_5794553156008411136_o.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-11207\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/06\/42223239_1862609967108979_5794553156008411136_o-300x200.jpg\" alt=\"\" width=\"300\" height=\"200\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/06\/42223239_1862609967108979_5794553156008411136_o-300x200.jpg 300w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/06\/42223239_1862609967108979_5794553156008411136_o-200x133.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2019\/06\/42223239_1862609967108979_5794553156008411136_o.jpg 750w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a>During her years in Seattle, trumpeter Samantha Boshnack developed impressively as a player eager to take musical chances. At the same time, she often hiked the Pacific Northwest&#8217;s mountains, many of them volcanoes with explosions in their pasts, in the case of Mount St. Helens, a spectacular eruption in 1980. That is recent, in geological terms. Boshnack became intrigued not only with volcanoes but with the overall seismic behavior that continues to be a major and often disruptive aspect of life on Earth. <em>Seismic Belt<\/em>&#8221;\u00a0combines her musical and scientific interests in a powerful work of chamber music played by a group that includes strings. Her composing and arranging for the album are at least as central to its success as her trumpet playing. &#8220;Tectonic Plates&#8221; inspired by volatile seismic acitivity, features the string section, Ryan Parish&#8217;s baritone saxophone and Boshnack&#8217;s trumpet.<\/p>\n<p align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/WDkIJYKkgj8\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><em>Seismic Belt<\/em> was recorded in concert in 2018 at Crossroads School for the Arts and Sciences in Santa Monica, California.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; During her years in Seattle, trumpeter Samantha Boshnack developed impressively as a player eager to take musical chances. At the same time, she often hiked the Pacific Northwest&#8217;s mountains, many of them volcanoes with explosions in their pasts, in the case of Mount St. Helens, a spectacular eruption in 1980. That is recent, in [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":11207,"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-11209","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\/11209","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=11209"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11209\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/11207"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=11209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=11209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=11209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}