{"id":1217,"date":"2008-02-05T01:05:00","date_gmt":"2008-02-05T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1217"},"modified":"2008-02-05T01:05:00","modified_gmt":"2008-02-05T09:05:00","slug":"cd_herbie_hancock","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/02\/cd_herbie_hancock\/","title":{"rendered":"CD: Herbie Hancock"},"content":{"rendered":"<p>Herbie Hancock, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FRiver-Letters-Tracks-Amazon-com-Exclusive%2Fdp%2FB000V9RRPQ&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>River, The Joni Letters<\/em><\/a> (Verve). Without its cadre of vocalists, Hancock&#8217;s tribute to Joni Mitchell would not have received a Grammy nomination or widespread critical attention. In varying degrees, Mitchell, Norah Jones, Tina Turner, Luciana Souza and Corinne Bailey Rae do justice to Mitchell&#8217;s songs. Leonard Cohen is effective in his atmospheric delivery of her lyrics in &#8220;The Jungle Line.&#8221;  But if the CD contained only instrumental tracks of the quality of &#8220;Both Sides Now,&#8221; &#8220;Sweet Bird,&#8221; &#8220;Solitude&#8221; and &#8220;Nefertiti,&#8221; it might be the best Hancock-Wayne Shorter album ever. As it is, <em>River<\/em> is one of their finest collaborations.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Herbie Hancock, River, The Joni Letters (Verve). Without its cadre of vocalists, Hancock&#8217;s tribute to Joni Mitchell would not have received a Grammy nomination or widespread critical attention. In varying degrees, Mitchell, Norah Jones, Tina Turner, Luciana Souza and Corinne Bailey Rae do justice to Mitchell&#8217;s songs. Leonard Cohen is effective in his atmospheric delivery [&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-1217","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\/1217","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=1217"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1217\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1217"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1217"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}