{"id":2830,"date":"2011-08-01T22:05:26","date_gmt":"2011-08-02T05:05:26","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=2830"},"modified":"2011-08-01T22:42:47","modified_gmt":"2011-08-02T05:42:47","slug":"cd-denny-zeitlin","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2011\/08\/cd-denny-zeitlin\/","title":{"rendered":"CD: Denny Zeitlin"},"content":{"rendered":"<p><strong>Denny Zeitlin<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FLabyrinth-Denny-Zeitlin%2Fdp%2FB004Y03JRI&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Labyrinth<\/em><\/a> (Sunnyside)<\/p>\n<p>Four of the 10 solo piano pieces are adventurous departures from previous versions of Zeitlin\u00e2\u20ac\u2122s compositions, including his kaleidoscopic treatment of <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Zeitlin-Labyrinth.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Zeitlin-Labyrinth.jpg\" alt=\"\" title=\"Zeitlin Labyrinth\" width=\"130\" height=\"130\" class=\"alignleft size-full wp-image-2831\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Zeitlin-Labyrinth.jpg 130w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Zeitlin-Labyrinth-70x70.jpg 70w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2011\/08\/Zeitlin-Labyrinth-110x110.jpg 110w\" sizes=\"auto, (max-width: 130px) 100vw, 130px\" \/><\/a>the title tune. His reconstructions of Richard Rodgers\u00e2\u20ac\u2122 \u00e2\u20ac\u0153People Will Say We\u00e2\u20ac\u2122re in Love\u00e2\u20ac\u009d and Wayne Shorter\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Footprints\u00e2\u20ac\u009d would make Rodgers frown at the harmonic liberties and have Shorter smiling. Zeitlin holds Tom Harrell\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Sail Away\u00e2\u20ac\u009d in a respectful embrace and takes John Coltrane\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Lazy Bird\u00e2\u20ac\u009d for a romp. These performances come from two intimate recitals in a small hall blessed with a superb piano, good acoustics and audiences who listen.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Denny Zeitlin, Labyrinth (Sunnyside) Four of the 10 solo piano pieces are adventurous departures from previous versions of Zeitlin\u00e2\u20ac\u2122s compositions, including his kaleidoscopic treatment of the title tune. His reconstructions of Richard Rodgers\u00e2\u20ac\u2122 \u00e2\u20ac\u0153People Will Say We\u00e2\u20ac\u2122re in Love\u00e2\u20ac\u009d and Wayne Shorter\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Footprints\u00e2\u20ac\u009d would make Rodgers frown at the harmonic liberties and have Shorter smiling. [&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-2830","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2830","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=2830"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/2830\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=2830"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=2830"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=2830"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}