{"id":7513,"date":"2016-05-09T23:03:14","date_gmt":"2016-05-10T06:03:14","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7513"},"modified":"2016-05-09T23:05:44","modified_gmt":"2016-05-10T06:05:44","slug":"monday-recommendation-a-twofer","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/05\/monday-recommendation-a-twofer\/","title":{"rendered":"Monday Recommendation: A Twofer"},"content":{"rendered":"<p><strong>Kirk MacDonald<\/strong>, <a href=\"http:\/\/www.amazon.com\/Symmetry-Kirk-Macdonald\/dp\/B00GKOPPKK\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;keywords=Kirk%20MacDonald%20Symmetry&#038;linkCode=ur2&#038;qid=1462855352&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Symmetry<\/em><\/a> (Addo)<br \/>\n<strong>Oleg Kireyev &#038; Keith Javors<\/strong>, <a href=\"http:\/\/www.amazon.com\/Meeting-Deluxe-Kireyev-Keith-Javors\/dp\/B01B2MCUNE\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;linkCode=ur2&#038;tag=rifftidougram-20\"target=\"_blank\"><em>The Meeting<\/em><\/a> (Inarhyme)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/Symmetry-MacDonald-cover.jpg\" alt=\"Symmetry MacDonald cover\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-7514\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/Symmetry-MacDonald-cover.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/Symmetry-MacDonald-cover-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/Symmetry-MacDonald-cover-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>The unprecedented double recommendation this week is because both albums have the brilliant Tom Harrell on trumpet and flugelhorn as a sideman, a rare role for him these days&#8212; and because they are among the most compellingly conceived and executed quintet collections in years. Kirk MacDonald is a Canadian tenor saxophonist whose imagination, firmness and drive recall Dexter Gordon and other mainstream tenor heroes. The rhythm section of pianist Brian Dickinson, bassist Neal Swainson and drummer Dennis Mackrel might have been made to order for MacDonald and Harrell.<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/The-Meeting-cover.jpg\" alt=\"The Meeting cover\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-7515\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/The-Meeting-cover.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/The-Meeting-cover-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/05\/The-Meeting-cover-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/> MacDonald\u00e2\u20ac\u2122s ten compositions are perfect for the band. The Russian tenor saxophonist Kireyev and American pianist Javors have recorded together before, but <em>The Meeting<\/em>, with Harrell\u00e2\u20ac\u2122s buoyant contribution, takes the collaboration to a new height. Ben Williams on bass and E.J. Strickland on drums round out the rhythm section. Surprise: Kireyev\u00e2\u20ac\u2122s Tuvan throat singing in \u00e2\u20ac\u0153Caravan.\u00e2\u20ac\u009d   <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kirk MacDonald, Symmetry (Addo) Oleg Kireyev &#038; Keith Javors, The Meeting (Inarhyme) The unprecedented double recommendation this week is because both albums have the brilliant Tom Harrell on trumpet and flugelhorn as a sideman, a rare role for him these days&#8212; and because they are among the most compellingly conceived and executed quintet collections in [&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":[5],"tags":[],"class_list":{"0":"post-7513","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7513","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=7513"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7513\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7513"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7513"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7513"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}