{"id":1186,"date":"2008-01-08T12:02:00","date_gmt":"2008-01-08T20:02:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1186"},"modified":"2008-01-08T12:02:00","modified_gmt":"2008-01-08T20:02:00","slug":"book_philip_larkin","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/01\/book_philip_larkin\/","title":{"rendered":"Book: Philip Larkin"},"content":{"rendered":"<p><strong>Philip Larkin<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2Fgp%2Foffer-listing%2FB000OWMAFC%3Fie%3DUTF8%26qid%3D1199776116%26sr%3D1-2&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\">All What Jazz <\/a>(FSG). Perhaps I was too harsh when I called the late British poet and jazz critic a troglodyte. It must be admitted, however, that he found it difficult to say anything favorable about modern jazz without backing into the compliment. &#8220;I never liked bop,&#8221; Larkin wrote. It seemed to me a nervous and hostile music, at odds with the generous spirit of its predecessors. But it had its masters. One of these was Clifford Brown&#8230;&#8221; Still, even his most wrong-headed conclusions can make entertaining reading. It is getting harder and harder to find this book. Now might be the time to snag a copy.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Philip Larkin, All What Jazz (FSG). Perhaps I was too harsh when I called the late British poet and jazz critic a troglodyte. It must be admitted, however, that he found it difficult to say anything favorable about modern jazz without backing into the compliment. &#8220;I never liked bop,&#8221; Larkin wrote. It seemed to me [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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":[5],"tags":[],"class_list":{"0":"post-1186","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1186","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=1186"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1186\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1186"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1186"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1186"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}