{"id":7652,"date":"2016-07-18T21:01:02","date_gmt":"2016-07-19T04:01:02","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=7652"},"modified":"2016-07-18T21:01:02","modified_gmt":"2016-07-19T04:01:02","slug":"monday-recommendation-peggy-stern","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/07\/monday-recommendation-peggy-stern\/","title":{"rendered":"Monday Recommendation: Peggy Stern"},"content":{"rendered":"<p><strong>Peggy Stern<\/strong>, <a href=\"http:\/\/amzn.to\/29Q1mGp\"target=\"_blank\">Z Octet<\/a> (Estrella Productions)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/P.-Stern-Z-Octet.jpg\" alt=\"P. Stern Z Octet\" width=\"210\" height=\"210\" class=\"alignleft size-full wp-image-7653\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/P.-Stern-Z-Octet.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/P.-Stern-Z-Octet-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/P.-Stern-Z-Octet-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/07\/P.-Stern-Z-Octet-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/>It has been 16 years since Peggy Stern last applied her piano, composing and arranging talents to a mid-sized ensemble. <em>Z Octet<\/em> was worth waiting for. The sonic textures, harmonic subtleties, rhythmic variety and instrumentation draw upon classical chamber music in several pieces, including \u00e2\u20ac\u0153Anomie\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Zinfandel.\u00e2\u20ac\u009d In \u00e2\u20ac\u0153The Elephant\u00e2\u20ac\u2122s Tango\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Jury Duty,\u00e2\u20ac\u009d Latin cadences create pulsing undercurrents. Stern\u00e2\u20ac\u2122s writing weaves piano, clarinet, cello, trombone, flute, bass and drums into rich and often surprising textures. Vocals by her and Suzi Stern (no relation) enrich three tracks. In the solo piano piece \u00e2\u20ac\u0153Time @ Time\/Hymn,\u00e2\u20ac\u009d Stern experiments her way into the chords, but not the melody, of \u00e2\u20ac\u0153Time After Time.\u00e2\u20ac\u009d \u00e2\u20ac\u0153Whenever Sunrise\u00e2\u20ac\u009d also borders on free jazz. The CD ends with an unlisted bonus track that makes enchanting use of cello, trombone and flute. The whole album is a bonus. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Peggy Stern, Z Octet (Estrella Productions) It has been 16 years since Peggy Stern last applied her piano, composing and arranging talents to a mid-sized ensemble. Z Octet was worth waiting for. The sonic textures, harmonic subtleties, rhythmic variety and instrumentation draw upon classical chamber music in several pieces, including \u00e2\u20ac\u0153Anomie\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Zinfandel.\u00e2\u20ac\u009d In \u00e2\u20ac\u0153The [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":7653,"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-7652","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\/7652","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=7652"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/7652\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/7653"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=7652"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=7652"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=7652"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}