{"id":8052,"date":"2016-12-17T17:37:52","date_gmt":"2016-12-18T01:37:52","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8052"},"modified":"2016-12-17T17:52:32","modified_gmt":"2016-12-18T01:52:32","slug":"weekend-extra-freeway-two-ways","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/12\/weekend-extra-freeway-two-ways\/","title":{"rendered":"Weekend Extra: &#8220;Freeway&#8221; Two Ways"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8053\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Chet-Baker-52.jpg\" alt=\"\" width=\"210\" height=\"172\" \/>Chet Baker became famous as a trumpeter, not a composer. Still, when he was with the Gerry Mulligan Quartet he wrote a tune that attracts musicians more than sixty years later. \u00e2\u20ac\u0153Freeway\u00e2\u20ac\u009d has clever rhythmic aspects and undemanding harmonies, and in the recording Baker played like the wind. His solo was remarkable for its fleetness, compactness of expression and\u00e2\u20ac\u201deven at blazing speed\u00e2\u20ac\u201d his lyricism. Here\u00e2\u20ac\u2122s the track from Mulligan\u00e2\u20ac\u2122s first Pacific Jazz quartet album. (1952).<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/h17u4Ihs-RE\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Sixty-two years later, bassist Peter Brendler put together a quartet for an appearance at the Cornelia Street Caf\u00c3\u00a9 in New York and chose \u00e2\u20ac\u0153Freeway\u00e2\u20ac\u009d as one of the pieces. Like Mulligan\u00e2\u20ac\u2122s, his quartet was pianoless. Rich Perry was the tenor saxophonist, Peter Evans the trumpeter, with Brendler on bass and Vinnie Sperrazza playing drums. Compact expression is not a notable Evans characteristic, but toward the end, in his series of eight-bar exchanges with Perry, the format forces the trumpeter into unaccustomed and welcome succinctness.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/_4MkWiCp0aM\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Brendler, Evans, Perry and Sperrazza are also together on Brendler\u00e2\u20ac\u2122s new album <a href=\"http:\/\/amzn.to\/2hU2Gkc\" target=\"_blank\"><em>Message in Motion<\/em><\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Chet Baker became famous as a trumpeter, not a composer. Still, when he was with the Gerry Mulligan Quartet he wrote a tune that attracts musicians more than sixty years later. \u00e2\u20ac\u0153Freeway\u00e2\u20ac\u009d has clever rhythmic aspects and undemanding harmonies, and in the recording Baker played like the wind. His solo was remarkable for its fleetness, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8053,"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-8052","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8052","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=8052"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8052\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8053"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8052"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}