{"id":5568,"date":"2014-03-10T20:31:34","date_gmt":"2014-03-11T03:31:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5568"},"modified":"2014-03-10T20:31:34","modified_gmt":"2014-03-11T03:31:34","slug":"cd-recommendation-anton-schwartz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/03\/cd-recommendation-anton-schwartz\/","title":{"rendered":"CD Recommendation: Anton Schwartz"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;15XNLConhJoli3lKH4UOD3rCrRi5lT4p&#8221;]<\/p>\n<p><strong>Anton Schwartz<\/strong>, <a href=\"http:\/\/www.amazon.com\/Flash-Mob-Anton-Schwartz\/dp\/B00GOLQ5SA\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\">Flash Mob<\/a> (AntonJazz)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/03\/Schwartz-Flash-Mob.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/03\/Schwartz-Flash-Mob.jpg\" alt=\"Schwartz Flash Mob\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-5570\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/03\/Schwartz-Flash-Mob.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/03\/Schwartz-Flash-Mob-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/03\/Schwartz-Flash-Mob-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>The front-line blend of the leader\u00e2\u20ac\u2122s tenor saxophone and Dominic Farinacci\u00e2\u20ac\u2122s trumpet may recall Hank Mobley and Kenny Dorham, but if this is hard bop, its 21st century attitude is Schwartz\u00e2\u20ac\u2122s own. His compositions have a distinctive quality that incorporates disparate harmonies and rhythms. \u00e2\u20ac\u0153Pangur Ban\u00e2\u20ac\u009d could be a down home Irish reel, if there is such a thing. \u00e2\u20ac\u0153Swamp Thang\u00e2\u20ac\u009d has overtones suggesting that the swamp in question is on Georgia or southern Florida tribal land. Thelonious Monk\u00e2\u20ac\u2122s and Kenny Clarke\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Epistrophy\u00e2\u20ac\u009d and Dorham\u00e2\u20ac\u2122s \u00e2\u20ac\u0153La Mesha\u00e2\u20ac\u009d are interesting for Schwartz\u00e2\u20ac\u2122s special treatments, but his 10 originals hold their own in that distinguished company. He and Farinacci play beautifully throughout. Pianist Taylor Eigsti, bassist John Shiflett and drummer Lorca Hart are an impressive rhythm team.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;15XNLConhJoli3lKH4UOD3rCrRi5lT4p&#8221;] Anton Schwartz, Flash Mob (AntonJazz) The front-line blend of the leader\u00e2\u20ac\u2122s tenor saxophone and Dominic Farinacci\u00e2\u20ac\u2122s trumpet may recall Hank Mobley and Kenny Dorham, but if this is hard bop, its 21st century attitude is Schwartz\u00e2\u20ac\u2122s own. His compositions have a distinctive quality that incorporates disparate harmonies and rhythms. \u00e2\u20ac\u0153Pangur Ban\u00e2\u20ac\u009d could be [&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":[5],"tags":[],"class_list":{"0":"post-5568","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5568","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=5568"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/5568\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=5568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=5568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=5568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}