{"id":676,"date":"2006-09-29T12:39:17","date_gmt":"2006-09-29T19:39:17","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=676"},"modified":"2006-09-29T12:39:17","modified_gmt":"2006-09-29T19:39:17","slug":"deems_taylor_2","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/09\/deems_taylor_2\/","title":{"rendered":"Deems Taylor 2"},"content":{"rendered":"<p>The American Society of Composers, Authors and Publishers called this morning with the news that <a href=\"http:\/\/www.parksidepublications.com\/takefive.html\"target=\"_blank\"><em>Take Five: The Public and Private Lives of Paul Desmond<\/em><\/a> is the winner of a 2006 ASCAP Deems Taylor Award, my second. I am unable to tell you the names of the winners in other categories. ASCAP is waiting to make an announcement until all of them have been notified. I&#8217;ll give you a report when that happens.<br \/>\nWhat a lovely day. ASCAP called, and we finished painting the shed.<br \/>\n<img loading=\"lazy\" decoding=\"async\" alt=\"Sept 06 018.jpg\" src=\"http:\/\/www.artsjournal.com\/rifftides\/Sept%2006%20018.jpg\" width=\"272\" height=\"204\" \/><br \/>\nThe first Deems Taylor, in 1997, was for the essay accompanying the Bill Evans boxed CD set <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FSecret-Sessions-Bill-Evans%2Fdp%2FB000000XRN%2Fref%3Dsr%5F11%5F1%3Fie%3DUTF8&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>The Secret Sessions<\/em><\/a>. I&#8217;m having a good weekend. I hope that you are, too.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The American Society of Composers, Authors and Publishers called this morning with the news that Take Five: The Public and Private Lives of Paul Desmond is the winner of a 2006 ASCAP Deems Taylor Award, my second. I am unable to tell you the names of the winners in other categories. ASCAP is waiting to [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","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-676","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\/676","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=676"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/676\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=676"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=676"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=676"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}