{"id":692,"date":"2006-10-24T01:03:00","date_gmt":"2006-10-24T08:03:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=692"},"modified":"2006-10-24T01:03:00","modified_gmt":"2006-10-24T08:03:00","slug":"cd_15","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/10\/cd_15\/","title":{"rendered":"CD"},"content":{"rendered":"<p><strong>Alan Broadbent<\/strong>, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FEvery-Time-I-Think-You%2Fdp%2FB000H9I0WY%2Fsr%3D1-1%2Fqid%3D1161644963%3Fie%3DUTF8%26s%3Dmusic&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Every Time I Think of You<\/em><\/a> (Artistry Music). The pianist applies his keyboard elegance and arranging talent to an album featuring his piano, Brian Bromberg&#8217;s bass, Kendall Kay&#8217;s drums and a string section. Broadbent&#8217;s treatment of &#8220;Blue in Green&#8221; is a highlight, as haunting in its evocation of Bill Evans as is his &#8220;E. 32nd Elegy&#8221; of New York City in Lennie Tristano&#8217;s day. His string writing supports and enhances the trio without a single harmonic clash, and it avoids the most common sins of jazz albums with strings, repetition and boredom. I keep going back to the shimmering ensemble beneath the simplicity of Broadbent tracing the melody of &#8220;Last Night When We Were Young&#8221; and to the noirish introduction to &#8220;Nirvana Blues.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alan Broadbent, Every Time I Think of You (Artistry Music). The pianist applies his keyboard elegance and arranging talent to an album featuring his piano, Brian Bromberg&#8217;s bass, Kendall Kay&#8217;s drums and a string section. Broadbent&#8217;s treatment of &#8220;Blue in Green&#8221; is a highlight, as haunting in its evocation of Bill Evans as is his [&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-692","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\/692","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=692"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/692\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}