{"id":4870,"date":"2013-06-27T14:12:40","date_gmt":"2013-06-27T21:12:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4870"},"modified":"2013-06-28T17:16:39","modified_gmt":"2013-06-29T00:16:39","slug":"other-places-supersax","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/06\/other-places-supersax\/","title":{"rendered":"Other Places: Supersax"},"content":{"rendered":"<p>The latest edition of Steve Cerra\u00e2\u20ac\u2122s <em>Jazz Profiles<\/em> features an extensive illustrated history of <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Supersax-Plays-Bird1.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Supersax-Plays-Bird1.jpg\" alt=\"Supersax Plays Bird\" width=\"130\" height=\"122\" class=\"alignleft size-full wp-image-4871\" \/><\/a>Supersax. The group of saxophone virtuosos dedicated themselves to performing transcriptions of intricate Charlie Parker solos. In addition, band members played top-grade improvisations of their own. Steve\u00e2\u20ac\u2122s post has an interview of Supersax founder Med Flory by Marc Myers of <em>Jazz Wax<\/em>. A live concert video of \u00e2\u20ac\u0153A Night in Tunisia\u00e2\u20ac\u009d includes not only brilliant reed section work but also let-out solos by baritone saxophonist Jack Nimitz and trumpeter Conte Candoli. To go to <em>Jazz Profiles<\/em>, <a href=\"http:\/\/www.jazzprofiles.blogspot.com\/\"target-\"_blank\">click here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The latest edition of Steve Cerra\u00e2\u20ac\u2122s Jazz Profiles features an extensive illustrated history of Supersax. The group of saxophone virtuosos dedicated themselves to performing transcriptions of intricate Charlie Parker solos. In addition, band members played top-grade improvisations of their own. Steve\u00e2\u20ac\u2122s post has an interview of Supersax founder Med Flory by Marc Myers of Jazz [&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":[4],"tags":[],"class_list":{"0":"post-4870","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4870","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=4870"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4870\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4870"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4870"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4870"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}