{"id":476,"date":"2006-05-12T01:06:00","date_gmt":"2006-05-12T08:06:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=476"},"modified":"2006-05-12T01:06:00","modified_gmt":"2006-05-12T08:06:00","slug":"brookmeyer_and_the_times","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/05\/brookmeyer_and_the_times\/","title":{"rendered":"Brookmeyer And The Times"},"content":{"rendered":"<p>Bob Brookmeyer is as forthright, and often unorthodox, in his conversation as he is in his music. Here&#8217;s some of what Brookmeyer told <em>The New York Times<\/em>&#8216;s Ben Ratliff about how jazz soloists often relate to the music he writes:<\/p>\n<blockquote><p>If you give a soloist an open solo for 30 seconds, he plays like he&#8217;s coming from the piece that you wrote. Then he says, &#8216;What the hell was that piece that I was playing from?&#8217; And the next 30 seconds is, &#8216;Oh, I guess I&#8217;ll play what I learned last night.&#8217; And bang! Minute 2 is whoever he likes, which is probably Coltrane.<\/p><\/blockquote>\n<p>Ratliff&#8217;s article, &#8220;Bob Brookmeyer: Raging and Composing Against the Jazz Machine,&#8221; is in today&#8217;s <a href=\"http:\/\/www.nytimes.com\/2006\/05\/12\/arts\/music\/12broo.html?pagewanted=2&#038;_r=1\"target=\"_blank\"><em>Times<\/em><\/a>. The <em>Rifftides<\/em> staff recommends it. If it doesn&#8217;t give you enough of Brookmeyer&#8217;s undiluted opinions about music and life, go to his <a href=\"http:\/\/www.bobbrookmeyer.com\/\"target=\"_blank\">website<\/a>, scroll down and click on &#8220;Currents.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bob Brookmeyer is as forthright, and often unorthodox, in his conversation as he is in his music. Here&#8217;s some of what Brookmeyer told The New York Times&#8216;s Ben Ratliff about how jazz soloists often relate to the music he writes: If you give a soloist an open solo for 30 seconds, he plays like he&#8217;s [&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-476","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\/476","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=476"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/476\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=476"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=476"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=476"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}