{"id":335,"date":"2006-01-27T18:10:44","date_gmt":"2006-01-28T02:10:44","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=335"},"modified":"2006-01-27T18:10:44","modified_gmt":"2006-01-28T02:10:44","slug":"call_for_suggestions","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/01\/call_for_suggestions\/","title":{"rendered":"Call For Suggestions"},"content":{"rendered":"<p>Eric Felten\u00e2\u20ac\u201dtrombonist, singer, bandleader and occasional <em>Wall Street Journal <\/em>contributor\u00e2\u20ac\u201dis asking for Rifftiders\u00e2\u20ac\u2122 suggestions, to wit:<\/p>\n<blockquote><p>The other day I heard a cut that I had heard a time or two before, &#8220;Shine On Harvest Moon,&#8221; with that remarkably odd combination of <a href=\"http:\/\/www.amazon.com\/exec\/obidos\/redirect?link_code=ur2&#038;tag=rifftidougram-20&#038;camp=1789&#038;creative=9325&#038;path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2FB00000DFSD%2Fqid%3D1138414489%2Fsr%3D2-1%2Fref%3Dpd_bbs_b_2_1%3Fs%3Dmusic%26v%3Dglance%26n%3D5174\"target=\"_blank\">Jimmy Rushing and the Brubeck<\/a> outfit. I found it weirdly compelling. It got me thinking about what other odd pairings have been made in jazz. Some have been great artistic triumphs\u00e2\u20ac\u201d<a href=\"http:\/\/www.amazon.com\/exec\/obidos\/redirect?link_code=ur2&#038;tag=rifftidougram-20&#038;camp=1789&#038;creative=9325&#038;path=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2FB000003N7K%2Fqid%3D1138416142%2Fsr%3D2-1%2Fref%3Dpd_bbs_b_2_1%3Fs%3Dmusic%26v%3Dglance%26n%3D5174\"target=\"_blank\">Coltrane\/Hartman,<\/a> anyone? And I imagine there have been others that have been disasters. <\/p><\/blockquote>\n<blockquote><p>Often it seems the odd pairings (as in Coltrane-Hartman) are driven by record company decisions that have nothing to do with musical judgments and everything to do with getting contractual obligations out of the way. <\/p><\/blockquote>\n<blockquote><p>I would be interested in your readers&#8217; candidates for &#8220;oddest couplings that worked,&#8221; and &#8220;oddest couplings that didn&#8217;t.&#8221;<\/p><\/blockquote>\n<p>Send your nominations along. I\u00e2\u20ac\u2122ll forward them to Eric and compile them for a <em>Rifftides<\/em> posting. Use the e-mail address in the right-hand column, please.<br \/>\nEric may find those combinations\u00e2\u20ac\u201dBrubeck and Rushing, Coltrane and Hartman\u00e2\u20ac\u201dodd, but they worked perfectly. The Rushing collaboration album with the Brubeck quartet brought out a certain reserve, call it self-editing, in Brubeck that resulted in some of his most economical and attractive solos. It coaxed forth the bluesy side of Paul Desmond. Mr. Five By Five sang at the top of his game. It\u00e2\u20ac\u2122s one of Rushing\u00e2\u20ac\u2122s best latterday recordings. As for Coltrane, he was compounding his \u00e2\u20ac\u0153sheets of sound\u00e2\u20ac\u009d style in 1962 and was well on his way to the free approach that led to \u00e2\u20ac\u0153A Love Supreme\u00e2\u20ac\u009d and beyond (way beyond), but in the album with Hartman, he is supremely melodic in his solos on a collection of great ballads.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Eric Felten\u00e2\u20ac\u201dtrombonist, singer, bandleader and occasional Wall Street Journal contributor\u00e2\u20ac\u201dis asking for Rifftiders\u00e2\u20ac\u2122 suggestions, to wit: The other day I heard a cut that I had heard a time or two before, &#8220;Shine On Harvest Moon,&#8221; with that remarkably odd combination of Jimmy Rushing and the Brubeck outfit. I found it weirdly compelling. It got [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","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-335","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\/335","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=335"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/335\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}