{"id":1409,"date":"2008-07-23T01:05:00","date_gmt":"2008-07-23T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1409"},"modified":"2008-07-23T01:05:00","modified_gmt":"2008-07-23T08:05:00","slug":"other_places_1","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2008\/07\/other_places_1\/","title":{"rendered":"Other Places"},"content":{"rendered":"<p><strong>McFarland<\/strong><\/p>\n<p>In the course of writing about Gloria Cheng&#8217;s new CD (in the next exhibit), I mentioned Gary McFarland&#8217;s collaboration with Bill Evans, a basic repertoire item in every serious CD collection of twentieth century music. Bill Kirchner includes it in his survey of a dozen essential tracks from a variety of McFarland&#8217;s and others&#8217; recordings. Kirchner&#8217;s preamble places in perspective this brilliant musician, called by Gene Lees an adult prodigy, who was taken from us in a senseless bar room prank. To see Bill&#8217;s list and comments, <a href=\"http:\/\/www.jazz.com\/dozens\/the-dozens-essential-gary-mcfarland\" target=\"_blank\">go to this page<\/a> on Ted Gioa&#8217;s web site. <\/p>\n<p><strong><\/strong>&nbsp;<\/p>\n<p><strong>Claxton<img loading=\"lazy\" decoding=\"async\" class=\"mt-image-right\" style=\"FLOAT: right; MARGIN: 0px 0px 20px 20px; WIDTH: 78px; HEIGHT: 119px\" height=\"134\" alt=\"AKTHOQXCALH3ACMCAEQMRN0CAZP9SF5CA5IJX37CANT8WGWCA33UTNYCAKO9VLDCA7UI7DFCA7W2N71CANRM3UHCAMV1I3ACA97QUP0CA8YV0JYCAME2K7GCAQ6DZYOCA6Chet 2MD155CAY7MS8FCAU7F6DS.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/AKTHOQXCALH3ACMCAEQMRN0CAZP9SF5CA5IJX37CANT8WGWCA33UTNYCAKO9VLDCA7UI7DFCA7W2N71CANRM3UHCAMV1I3ACA97QUP0CA8YV0JYCAME2K7GCAQ6DZYOCA6Chet%202MD155CAY7MS8FCAU7F6DS.jpg\" width=\"83\" \/><\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"mt-image-left\" style=\"FLOAT: left; MARGIN: 0px 20px 20px 0px\" height=\"107\" alt=\"Desmond.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/Desmond.jpg\" width=\"98\" \/>The stock-in-trade of Steve Cerra&#8217;s new blog, <em>Jazz Profiles<\/em>, is cannily-selected pieces about musicians and others in jazz. His lead story at the moment is Scott Timberg&#8217;s 1999 article about William Claxton. If you recognize these photographs, you probably know about Bill Claxton. But you may not know as much as you&#8217;ll find <a href=\"http:\/\/jazzprofiles.blogspot.com\/2008\/07\/william-claxton-eye-on-cool-part-1.html#links\">if you go here<\/a>. <\/p>\n<p align=\"left\"><strong><\/strong>&nbsp;<\/p>\n<p align=\"left\"><strong>Journalism<\/strong><\/p>\n<p align=\"left\">I haven&#8217;t written as much here recently as I should have about&nbsp;an important Other Matter, journalism. To say that there is upheaval in the profession, craft, calling&#8211;whatever it is&#8211;doesn&#8217;t begin to cover the uncertainty of its transition to the next phase of the business. Ah, business; yes, that&#8217;s what it is. Wherever journalism is headed, an essential element is sure to be citizen journalism. What&#8217;s that? For a discussion that includes, appropriately, a video definition, see Jay Rosen&#8217;s <a href=\"http:\/\/journalism.nyu.edu\/pubzone\/weblogs\/pressthink\/\" target=\"_blank\"><em>Press Think<\/em><\/a>. Be prepared to follow several important links. Then come back to <em>Rifftides<\/em>, please. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>McFarland In the course of writing about Gloria Cheng&#8217;s new CD (in the next exhibit), I mentioned Gary McFarland&#8217;s collaboration with Bill Evans, a basic repertoire item in every serious CD collection of twentieth century music. Bill Kirchner includes it in his survey of a dozen essential tracks from a variety of McFarland&#8217;s and others&#8217; [&hellip;]<\/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-1409","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\/1409","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=1409"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1409\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}