{"id":1990,"date":"2010-03-05T01:04:00","date_gmt":"2010-03-05T09:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1990"},"modified":"2010-03-05T01:04:00","modified_gmt":"2010-03-05T09:04:00","slug":"cd_ian_carey","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2010\/03\/cd_ian_carey\/","title":{"rendered":"CD: Ian Carey"},"content":{"rendered":"<p><a href=\"http:\/\/www.artsjournal.com\/rifftides\/iancarey2.jpg\"><img loading=\"lazy\" decoding=\"async\" alt=\"iancarey2.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/assets_c\/2010\/03\/iancarey2-thumb-120x120-13732.jpg\" width=\"120\" height=\"120\" class=\"mt-image-none\" style=\"\" \/><\/a><strong>Ian Carey Quntet<\/strong>, <a href=\"http:\/\/www.cdbaby.com\/cd\/iancarey2\" target=\"_blank\"><em>Contextualizin&#8217; <\/em><\/a>(Kabocha). Carey&#8217;s self-deprecation in his liner notes would have you believe that he&#8217;s not much of a trumpet player. It depends on what you mean by playing. True, there&#8217;s not a double high C anywhere on the album and no jet-speed series of gee-whiz chord inversions. Let&#8217;s settle for good tone, lyricism and contiguous ideas that lead somewhere.  Carey and his young sidemen are in tune with one another, in every sense. In Adam Shulman he has a pianist who understands Bill Evans and in Evan Francis an alto saxophonist to keep an ear on.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ian Carey Quntet, Contextualizin&#8217; (Kabocha). Carey&#8217;s self-deprecation in his liner notes would have you believe that he&#8217;s not much of a trumpet player. It depends on what you mean by playing. True, there&#8217;s not a double high C anywhere on the album and no jet-speed series of gee-whiz chord inversions. Let&#8217;s settle for good tone, [&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":[5],"tags":[],"class_list":{"0":"post-1990","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\/1990","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=1990"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1990\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1990"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1990"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}