{"id":2097,"date":"2010-06-25T01:06:00","date_gmt":"2010-06-25T08:06:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=2097"},"modified":"2010-06-25T01:06:00","modified_gmt":"2010-06-25T08:06:00","slug":"fred_anderson_rip","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2010\/06\/fred_anderson_rip\/","title":{"rendered":"Fred Anderson, R.I.P."},"content":{"rendered":"

Fred Anderson, who exemplified the Chicago avant garde as a tenor saxophonist and as a club owner gave it work, has died at 81. The Chicago Tribune<\/em>‘s Howard Reich followed Anderson’s career. He writes in the newspaper:<\/p>\n

His was a rigorous, demanding brand of jazz improvisation that bridged the bebop idiom of Charlie Parker (an Anderson hero) with the “free jazz” experiments of the 1960s and thereafter. The fast-flying phrases and blues-driven energy of bebop converged with the non-chordal, anything-goes song structures of “free jazz” in Anderson’s best work.
\nWhenever Anderson held the stage, he famously leaned forward a bit, unleashing torrents of notes, one phrase cascading atop another, solos often unfolding over a Herculean 20 minutes or more. Even at his 81st birthday show, last March at his beloved Velvet Lounge, the man packed an avalanche of ideas into every soliloquy.<\/p><\/blockquote>\n

Reich’s obituary of Anderson includes a video interview. To read it, go here<\/a>.
\nThis brief, rather disjointed, promotional video for his Timeless<\/em> DVD<\/a> gives you Anderson playing at his beloved Velvet Lounge and talking about his early career.<\/p>\n

<\/param><\/param><\/param><\/embed><\/object><\/div>\n","protected":false},"excerpt":{"rendered":"

Fred Anderson, who exemplified the Chicago avant garde as a tenor saxophonist and as a club owner gave it work, has died at 81. The Chicago Tribune‘s Howard Reich followed Anderson’s career. He writes in the newspaper: His was a rigorous, demanding brand of jazz improvisation that bridged the bebop idiom of Charlie Parker (an […]<\/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-2097","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\/2097","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=2097"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2097\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2097"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2097"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2097"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}