{"id":347,"date":"2006-01-26T01:05:00","date_gmt":"2006-01-26T09:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=347"},"modified":"2006-01-26T01:05:00","modified_gmt":"2006-01-26T09:05:00","slug":"francis_davis_is_feeling_blue","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/01\/francis_davis_is_feeling_blue\/","title":{"rendered":"Francis Davis Is Feeling Blue"},"content":{"rendered":"<p>In the current issue of <em>The Village Voice,<\/em> critic Francis Davis assesses venerable jazz survivors. Here&#8217;s his lead:<\/p>\n<blockquote><p>The votes are in: Monk and Coltrane at Carnegie Hall in 1957, my choice as the best jazz CD released in 2005, is the winner in <em>JazzTimes<\/em>&#8216; critics&#8217; poll, scoring 165 points to 87 for Dizzy and Bird at Town Hall in 1945\u00e2\u20ac\u201dmy runner-up as well. Number three with 73 points is Coltrane at the Half Note in &#8217;65, followed by the highest-ranking living performers: Sonny Rollins (40 points) and Wayne Shorter (34), both septuagenarians. <\/p><\/blockquote>\n<blockquote><p>Who could&#8217;ve imagined that finally becoming part of a critical consensus would leave me feeling so blue?<\/p><\/blockquote>\n<p>And for good reason. To read Davis&#8217;s <em>Voice<\/em> piece, <a href=\"http:\/\/www.villagevoice.com\/music\/0604,davis,71879,22.html\"target=\"_blank\">go here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the current issue of The Village Voice, critic Francis Davis assesses venerable jazz survivors. Here&#8217;s his lead: The votes are in: Monk and Coltrane at Carnegie Hall in 1957, my choice as the best jazz CD released in 2005, is the winner in JazzTimes&#8216; critics&#8217; poll, scoring 165 points to 87 for Dizzy and [&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-347","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\/347","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=347"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/347\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=347"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=347"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}