{"id":6624,"date":"2015-05-04T19:00:23","date_gmt":"2015-05-05T02:00:23","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6624"},"modified":"2015-05-05T14:43:30","modified_gmt":"2015-05-05T21:43:30","slug":"monday-recommendation-steve-coleman","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/05\/monday-recommendation-steve-coleman\/","title":{"rendered":"Monday Recommendation: Steve Coleman"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;tumAu7RyDvI3a2KqgWgDlvja2BGeg1us&#8221;]<\/p>\n<p><strong>Steve Coleman<\/strong> and the Council of Balance, <a href=\"http:\/\/www.amazon.com\/Synovial-Joints-Coleman-Council-Balance\/dp\/B00UMEBJYK\/?_encoding=UTF8&amp;camp=1789&amp;creative=9325&amp;keywords=STEVE%20COLEMAN%20AND%20THE%20COUNCIL%20OF%20BALANCE%3DSynovial%20Joints&amp;linkCode=ur2&amp;qid=1430803794&amp;s=music&amp;sr=1-1&amp;tag=rifftidougram-20\" target=\"_blank\"><em>Synovial Joints<\/em><\/a> (PI Recordings)<\/p>\n<p>Steve Coleman\u00e2\u20ac\u2122s edgy alto saxophone and flute playing, iconoclastic composition methods and founding of the 1970s and \u00e2\u20ac\u02dc80s M-Base movement led <a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/05\/Synovial-Joints-Cover.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-6625\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/05\/Synovial-Joints-Cover.jpg\" alt=\"Synovial Joints Cover\" width=\"210\" height=\"189\" \/><\/a>the inattentive to classify him with free-jazz adventurers. In fact, he was and is dedicated to precision and control in applying his theories. At the heart of the CD is a four-movement suite as intricate as its inspiration\u00e2\u20ac\u201dthe interaction of the system of bones and sinews that makes possible the human body\u00e2\u20ac\u2122s movements. That may sound academic, but the parts played by reed, brass, stringed and percussion instruments combine in music that has depth, thematic cohesiveness and, often, warmth and humor. Coleman\u00e2\u20ac\u2122s alto sax, Jonathan Finlayson\u00e2\u20ac\u2122s trumpet and David Bryant\u00e2\u20ac\u2122s piano generate many of the improvisational sparks. The 21 instrumentalists perform Coleman\u00e2\u20ac\u2122s demanding arrangements with \u00c3\u00a9lan. Among the album\u00e2\u20ac\u2122s six additional pieces, the Latinate \u00e2\u20ac\u0153Harmattan\u00e2\u20ac\u009d is a tour de force of contrapuntal writing and playing.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;tumAu7RyDvI3a2KqgWgDlvja2BGeg1us&#8221;] Steve Coleman and the Council of Balance, Synovial Joints (PI Recordings) Steve Coleman\u00e2\u20ac\u2122s edgy alto saxophone and flute playing, iconoclastic composition methods and founding of the 1970s and \u00e2\u20ac\u02dc80s M-Base movement led the inattentive to classify him with free-jazz adventurers. In fact, he was and is dedicated to precision and control in applying [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6625,"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-6624","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\/6624","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=6624"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6624\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6625"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6624"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6624"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6624"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}