{"id":1336,"date":"2008-05-13T15:40:12","date_gmt":"2008-05-13T22:40:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1336"},"modified":"2008-05-13T15:40:12","modified_gmt":"2008-05-13T22:40:12","slug":"compatible_quotes_43","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/05\/compatible_quotes_43\/","title":{"rendered":"Compatible Quotes"},"content":{"rendered":"<blockquote dir=\"ltr\" style=\"MARGIN-RIGHT: 0px\">\n<p>(Chet)&nbsp;was so sweet when he played, so mysterious. Somehow he was able to express the question mark of life with so few notes. In Italy, we&#8217;re more sentimental, and we felt that very much. &#8211;Enrico Pieranunzi <\/p>\n<p>Well, if I could play like Wynton <em>(Marsalis)<\/em>, I wouldn&#8217;t play like Wynton &#8211;Chet Baker <\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>(Chet)&nbsp;was so sweet when he played, so mysterious. Somehow he was able to express the question mark of life with so few notes. In Italy, we&#8217;re more sentimental, and we felt that very much. &#8211;Enrico Pieranunzi Well, if I could play like Wynton (Marsalis), I wouldn&#8217;t play like Wynton &#8211;Chet Baker<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","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-1336","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1336","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=1336"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1336\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1336"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1336"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}