{"id":13106,"date":"2020-04-14T14:13:03","date_gmt":"2020-04-14T21:13:03","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=13106"},"modified":"2020-04-14T21:06:34","modified_gmt":"2020-04-15T04:06:34","slug":"iverson-harrell-and-the-gershwins","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2020\/04\/iverson-harrell-and-the-gershwins\/","title":{"rendered":"Iverson, Harrell And The Gershwins"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13110\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1.jpg\" alt=\"\" width=\"181\" height=\"181\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1.jpg 436w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1-300x300.jpg 300w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2020\/04\/91rh-DljW7L._AC_UY436_QL65_ML3_-1-200x200.jpg 200w\" sizes=\"auto, (max-width: 181px) 100vw, 181px\" \/><\/a>Perhaps a good way to buoy spirits in this dispiriting time is to call your attention to music that gives the <em>Rifftides<\/em> staff a lift&#8230;in hopes that it may do the same for you. Pianist and composer Ethan Iverson&#8217;s recent collection&#8221;\u00a0<a href=\"https:\/\/www.ecmrecords.com\/catalogue\/1561558499\/common-practice-ethan-iverson-quartet-w-tom-harrell\"><em>Common Practice<\/em><\/a> has moments that are helpful in that regard. Iverson put together a quartet that includes himself, bassist Ben Street, drummer Eric McPherson, and &#8221;\u00a0guest artist Tom Harrell at a peak of imagination and inventiveness that is stunning even by that remarkable trumpeter&#8217;s high standards. Here they are, playing George and Ira Gershwin&#8217;s imperishable classic &#8220;The Man I Love.&#8221;<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/eEQb-CpzqCw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Ethan Iverson, from his album&#8221;\u00a0<em>Common Practice<\/em>, featuring tumpeter Tom Harrell in live performance with the quartet. In addition to the delights of a handful of standards and jazz classics including &#8220;Wee,&#8221; &#8220;I Remember You,&#8221; and &#8220;Sentimental Journey,&#8221; Iverson and company offer a pair of his witty original blues.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Perhaps a good way to buoy spirits in this dispiriting time is to call your attention to music that gives the Rifftides staff a lift&#8230;in hopes that it may do the same for you. Pianist and composer Ethan Iverson&#8217;s recent collection&#8221;\u00a0Common Practice has moments that are helpful in that regard. Iverson put together a quartet [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":13110,"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-13106","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\/13106","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=13106"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/13106\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/13110"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=13106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=13106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=13106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}