{"id":7260,"date":"2016-01-20T17:16:56","date_gmt":"2016-01-21T01:16:56","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7260"},"modified":"2016-01-21T10:20:32","modified_gmt":"2016-01-21T18:20:32","slug":"for-fun-shorty-rogers","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/01\/for-fun-shorty-rogers\/","title":{"rendered":"For Fun: Shorty Rogers"},"content":{"rendered":"<p>When the music labeled West Coast Jazz was still in its heyday, before rock achieved more or<img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-7261\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/01\/Shorty-Rogers.jpg\" alt=\"Shorty Rogers\" width=\"150\" height=\"137\" \/> less total dominance in popular music, Shorty Rogers maintained his popularity. One of his most successful pieces was the blues he called \u00e2\u20ac\u0153Martians Go Home.&#8221; He played it on the television program <em>Jazz Scene USA<\/em> in 1962. This version of his Giants had Lou Levy, piano; Gary Peacock, bass; Larry Bunker, drums; Gary Lefebvre flute; and Rogers, flugelhorn.<\/p>\n<div align=\"center\"><\/div>\n<div align=\"center\"><\/div>\n<div align=\"center\"><\/div>\n<div align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/hct84B9omxc?rel=0\" width=\"480\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p>The Martians must have gone home. Have you seen any?<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>When the music labeled West Coast Jazz was still in its heyday, before rock achieved more or less total dominance in popular music, Shorty Rogers maintained his popularity. One of his most successful pieces was the blues he called \u00e2\u20ac\u0153Martians Go Home.&#8221; He played it on the television program Jazz Scene USA in 1962. This [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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":[4],"tags":[],"class_list":{"0":"post-7260","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7260","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=7260"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7260\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7260"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7260"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7260"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}