{"id":5471,"date":"2014-02-13T16:48:00","date_gmt":"2014-02-14T00:48:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5471"},"modified":"2014-02-13T17:06:24","modified_gmt":"2014-02-14T01:06:24","slug":"cd-frank-wess","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/02\/cd-frank-wess\/","title":{"rendered":"CD: Frank Wess"},"content":{"rendered":"<p><strong>Frank Wess<\/strong>, <a href=\"http:\/\/www.amazon.com\/Magic-201-Frank-Wess\/dp\/B00HMQBFGS\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Magic 201<\/em><\/a> (IPO)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Magic-201.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Magic-201.jpg\" alt=\"Magic 201\" width=\"150\" height=\"150\" class=\"alignleft size-full wp-image-5472\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Magic-201.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/02\/Magic-201-100x100.jpg 100w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>The final track of the great tenor saxophonist and flutist\u00e2\u20ac\u2122s final album is a lovely performance of Sammy Cahn\u00e2\u20ac\u2122s 1937 standard \u00e2\u20ac\u0153If it\u00e2\u20ac\u2122s the Last Thing I Do,\u00e2\u20ac\u009d giving the CD added poignancy. <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2013\/10\/frank-wess-january-4-1922-october-30-2013.html\"target=\"_blank\">Wess died in October, 2013<\/a>, after decades as one of the most respected members of the jazz generation that came to prominence after World War Two. No tempo in the album is above a medium walk, but you don\u00e2\u20ac\u2122t go to Frank Wess expecting speed. You expect profundity, and that\u00e2\u20ac\u2122s what you get here. As in <a href=\"http:\/\/www.amazon.com\/Magic-101-Frank-Wess\/dp\/B00CM9JM0Q\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;keywords=Frank%20Wess%20Magic%20101&#038;linkCode=ur2&#038;qid=1392329111&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Magic 101<\/em><\/a>, his colleagues are pianist Kenny Barron, guitarist Russell Malone, bassist Rufus Reid and drummer Winard Harper. Wess\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Embraceable You\u00e2\u20ac\u009d duet with Barron is perfection. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Frank Wess, Magic 201 (IPO) The final track of the great tenor saxophonist and flutist\u00e2\u20ac\u2122s final album is a lovely performance of Sammy Cahn\u00e2\u20ac\u2122s 1937 standard \u00e2\u20ac\u0153If it\u00e2\u20ac\u2122s the Last Thing I Do,\u00e2\u20ac\u009d giving the CD added poignancy. Wess died in October, 2013, after decades as one of the most respected members of the jazz [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5472,"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-5471","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5471","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=5471"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5471\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/5472"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5471"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5471"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5471"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}