{"id":690,"date":"2006-10-24T01:01:00","date_gmt":"2006-10-24T08:01:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=690"},"modified":"2006-10-24T01:01:00","modified_gmt":"2006-10-24T08:01:00","slug":"book_5","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/10\/book_5\/","title":{"rendered":"Book"},"content":{"rendered":"<p><strong>Lee Tanner<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FJazz-Image-Masters-Photography%2Fdp%2F0810957493%3Fie%3DUTF8&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>The Jazz Image: Masters of Photography<\/em><\/a> (Abrams). The veteran jazz photographer assembles under one roof 150 examples of the best work of twenty-seven of his peers. Many of the prints are familiar&#8211;Herman Leonard&#8217;s image of Dexter Gordon and a cloud of backlit smoke at the Royal Roost, Tanner&#8217;s of Horace Silver musing. Others, less well known, are as surprising as the music itself&#8211;Ole Brask&#8217;s image of a meeting of the Roy Eldridge-Norman Granz mutual admiration society; William Claxton&#8217;s overhead view of young Chet Baker; Jim Marshall&#8217;s picture of Duke Ellington clapping time and urging Paul Gonsalves to wail; a convocation of drummers photographed by Milt Hinton; Ornette Coleman cooly appraising his rhythm section in a double spread by Jan Persson. On your coffee table or your lap, this is an entertaining companion.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lee Tanner, The Jazz Image: Masters of Photography (Abrams). The veteran jazz photographer assembles under one roof 150 examples of the best work of twenty-seven of his peers. Many of the prints are familiar&#8211;Herman Leonard&#8217;s image of Dexter Gordon and a cloud of backlit smoke at the Royal Roost, Tanner&#8217;s of Horace Silver musing. Others, [&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":[5],"tags":[],"class_list":{"0":"post-690","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/690","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=690"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/690\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=690"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=690"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=690"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}