{"id":6607,"date":"2015-04-27T22:26:48","date_gmt":"2015-04-28T05:26:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6607"},"modified":"2015-04-28T12:01:43","modified_gmt":"2015-04-28T19:01:43","slug":"monday-recommendation-jack-dejohnette","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/04\/monday-recommendation-jack-dejohnette\/","title":{"rendered":"Monday Recommendation: Jack DeJohnette"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;TWB46Se2ilIuv8Fv41XXbqPyRDihx9AH&#8221;]<\/p>\n<p><strong>Jack DeJohnette<\/strong>,<a href=\"http:\/\/www.amazon.com\/Made-In-Chicago-Jack-DeJohnette\/dp\/B00PX8DGC8\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"> <em>Made In Chicago<\/em><\/a> (ECM)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/DeJohnette-Chicago.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/DeJohnette-Chicago.jpg\" alt=\"DeJohnette Chicago\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-6608\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/DeJohnette-Chicago.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/DeJohnette-Chicago-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/DeJohnette-Chicago-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a>Listeners accustomed to hearing drummer DeJohnette in the comparatively restrained Keith Jarrett Standards Trio may be taken aback by the audacity and abandon of the group he heads here. This live recording from the 2013 Chicago Jazz Festival finds DeJohnette reunited with three of the adventurers he played with in his hometown a half century ago. Pianist Muhal Richard Abrams and saxophonists Roscoe Mitchell and Henry Threadgill went on to become central figures in the Art Ensemble of Chicago and the AACM, keystones of the free jazz movement that developed in the 1960s. For the concert and subsequent performances, the younger Chicago bassist Larry Gray joined them. From the raucous \u00e2\u20ac\u0153Chant\u00e2\u20ac\u009d to the seductive and mysterious \u00e2\u20ac\u0153This\u00e2\u20ac\u009d to the no-holds-barred closer, \u00e2\u20ac\u0153Ten Minutes\u00e2\u20ac\u009d, the exhilaration in the music more than offsets the rough edges. DeJohnette\u00e2\u20ac\u2122s drumming is astonishing.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;TWB46Se2ilIuv8Fv41XXbqPyRDihx9AH&#8221;] Jack DeJohnette, Made In Chicago (ECM) Listeners accustomed to hearing drummer DeJohnette in the comparatively restrained Keith Jarrett Standards Trio may be taken aback by the audacity and abandon of the group he heads here. This live recording from the 2013 Chicago Jazz Festival finds DeJohnette reunited with three of the adventurers he [&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-6607","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\/6607","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=6607"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6607\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6607"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6607"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6607"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}