{"id":1875,"date":"2009-11-14T16:35:16","date_gmt":"2009-11-15T00:35:16","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1875"},"modified":"2009-11-14T16:35:16","modified_gmt":"2009-11-15T00:35:16","slug":"weekend_extra_a_new_list","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2009\/11\/weekend_extra_a_new_list\/","title":{"rendered":"Weekend Extra: A New List"},"content":{"rendered":"<p><a href=\"http:\/\/www.artsjournal.com\/rifftides\/Woody%20Herman%20conducting.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"Woody Herman conducting.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/assets_c\/2009\/11\/Woody Herman conducting-thumb-130x178-11396.jpg\" width=\"130\" height=\"178\" class=\"mt-image-left\" style=\"float: left; margin: 0 20px 20px 0;\" \/><\/a> Every once in a while another 100 Best Jazz Recordings list pops up. A new one is batting about the ethernet. This time the source is the UK newspaper the <em>Telegraph<\/em>. The compiler is Martin Gayford, an art critic, biographer and sometime jazz critic. It&#8217;s a good list, but anyone who has the temerity to choose the best of anything, even the hundred best, opens himself up to the ire of fans. Mr. Gayford&#8217;s list, published on November 10, has already attracted a batch of &#8220;<em>how could you leave out ___________<\/em>&#8221; complaints. Please direct yours to the  <em>Telegraph<\/em> and Mr. Gayford, not to <em>Rifftides<\/em>. To see the list,<a href=\"http:\/\/www.telegraph.co.uk\/culture\/music\/6515486\/100-Best-Jazz-Recordings.html\"target=\"_blank\"> go here<\/a>.<br \/>\nHow could he leave out Woody Herman?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Every once in a while another 100 Best Jazz Recordings list pops up. A new one is batting about the ethernet. This time the source is the UK newspaper the Telegraph. The compiler is Martin Gayford, an art critic, biographer and sometime jazz critic. It&#8217;s a good list, but anyone who has the temerity to [&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-1875","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\/1875","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=1875"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1875\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1875"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1875"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1875"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}