{"id":7032,"date":"2015-10-26T17:47:30","date_gmt":"2015-10-27T00:47:30","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7032"},"modified":"2015-10-26T17:54:22","modified_gmt":"2015-10-27T00:54:22","slug":"monday-recommendation-jalc-in-cuba","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/10\/monday-recommendation-jalc-in-cuba\/","title":{"rendered":"Monday Recommendation: JALC In Cuba"},"content":{"rendered":"<p>Jazz At Lincoln Center Orchestra with Wynton Marsalis: <em><a href=\"http:\/\/www.amazon.com\/Lincoln-Center-Orchestra-Wynton-Marsalis\/dp\/B00ZQKVD4Q\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\">Live In Cuba<\/a><\/em> (Blue Engine)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER.jpg\" alt=\"JALCO COVER\" width=\"210\" height=\"210\" class=\"alignleft size-full wp-image-7033\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/10\/JALCO-COVER-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/><\/a>The JALCO\u00e2\u20ac\u2122s 2010 visit to Cuba coincided with the beginnings of warmer official relations between cold war enemies. Their two-CD set recorded at a Havana Theater includes a guest appearance by the prominent Cuban musician Bobby Carcass\u00c3\u00a9s in a passionate vocal on Benny More\u00e2\u20ac\u2122s classic bolero \u00e2\u20ac\u0153C\u00c3\u00b3mo Fu\u00c3\u00a9.\u00e2\u20ac\u009d It also has a performance of Lincoln Center bassist Carlos Henriquez\u00e2\u20ac\u2122s supercharged mambo \u00e2\u20ac\u01532\/3\u00e2\u20ac\u2122s Adventure.\u00e2\u20ac\u009d However, the concert in this two-CD set is not primarily a tribute to Cuban music. The band is impressive in a repertoire of pieces by Duke Ellington, Thelonious Monk, Dizzy Gillespie and Benny Carter, as well as by Marsalis and several other members of the orchestra. Marsalis, Ryan Kisor, Walter Blanding, Dan Nimmer, Chris Crenshaw,Ted Nash, Marcus Printup&#8212;indeed, all of the soloists&#8212;sound as if they\u00e2\u20ac\u2122re having the time of their lives. The ensemble playing is superb.  <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jazz At Lincoln Center Orchestra with Wynton Marsalis: Live In Cuba (Blue Engine) The JALCO\u00e2\u20ac\u2122s 2010 visit to Cuba coincided with the beginnings of warmer official relations between cold war enemies. Their two-CD set recorded at a Havana Theater includes a guest appearance by the prominent Cuban musician Bobby Carcass\u00c3\u00a9s in a passionate vocal on [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":7033,"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-7032","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\/7032","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=7032"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7032\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7033"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}