{"id":617,"date":"2006-08-26T10:00:00","date_gmt":"2006-08-26T17:00:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=617"},"modified":"2006-08-26T10:00:00","modified_gmt":"2006-08-26T17:00:00","slug":"blog_watch","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/08\/blog_watch\/","title":{"rendered":"Blog Watch"},"content":{"rendered":"<p>A blog by the anonymous Dr. Jazz Ph.D. is worth perusing, if only for a couple of Michael Brecker video clips. One, from 1983, has the tenor saxophonist and a rhythm section that includes Niels Henning Orsted-Pedersen playing the fastest &#8220;Oleo&#8221; you&#8217;re likely to hear this side of Johnny Griffin.  The other was made at an outdoor festival in Switzerland in 1998 with his Brecker&#8217;s own quartet, Joey Calderazzo on piano, James Genus on bass, and drummer Ralph Peterson. In it, Brecker manages to incorporate tricks that would have put a 1920s saxophone vaudevillian to shame while also negotiating a complex harmonic scheme and, ultimately, going into straight time and swinging the house down. Well, he would have swung it down if he hadn&#8217;t been on an outdoor stage.<br \/>\nThe young blog is <em>The Jazz Clinic<\/em>. I have cruised through its archives and found it valuable for the fresh perspective of a young enthusiast with big ears. To visit it, and to see those Brecker clips, <a href=\"http:\/\/jazzclinic.blogspot.com\/\"target=\"_blank\">go here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A blog by the anonymous Dr. Jazz Ph.D. is worth perusing, if only for a couple of Michael Brecker video clips. One, from 1983, has the tenor saxophonist and a rhythm section that includes Niels Henning Orsted-Pedersen playing the fastest &#8220;Oleo&#8221; you&#8217;re likely to hear this side of Johnny Griffin. The other was made at [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","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-617","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\/617","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=617"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/617\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=617"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}