{"id":768,"date":"2006-12-23T01:04:00","date_gmt":"2006-12-23T09:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=768"},"modified":"2006-12-23T01:04:00","modified_gmt":"2006-12-23T09:04:00","slug":"cd_22","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/12\/cd_22\/","title":{"rendered":"CD:Kristin Korb"},"content":{"rendered":"<p>Kristin Korb, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FWhy-Cant-Behave-Kristin-Korb%2Fdp%2FB000KIX97I%2Fsr%3D1-1%2Fqid%3D1166423873%3Fie%3DUTF8%26s%3Dmusic&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Why Can&#8217;t You Behave<\/em><\/a> (Double K). Korb sings even better than on her previous CD and does it while playing the bass superbly. The Ray Brown prot\u00c3\u00a9g\u00c3\u00a9&#8217;s power and note choices would make the late master proud. Her treatment of Cole Porter&#8217;s title tune is appropriately wry and saucy, her minor key approach to &#8220;Don&#8217;t Get Around Much Anymore&#8221; deep and reflective, with a penetratingly bluesy bass solo. Llew Matthews is Korb&#8217;s spare, harmonically resourceful pianist, Steve Barnes her discreet drummer. Trombonist Andy Martin and guitarist Larry Koonse shine as guest soloists.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kristin Korb, Why Can&#8217;t You Behave (Double K). Korb sings even better than on her previous CD and does it while playing the bass superbly. The Ray Brown prot\u00c3\u00a9g\u00c3\u00a9&#8217;s power and note choices would make the late master proud. Her treatment of Cole Porter&#8217;s title tune is appropriately wry and saucy, her minor key approach [&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-768","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\/768","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=768"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/768\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=768"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=768"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}