{"id":8082,"date":"2017-01-02T17:26:21","date_gmt":"2017-01-03T01:26:21","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8082"},"modified":"2017-01-02T17:26:21","modified_gmt":"2017-01-03T01:26:21","slug":"monday-recommendation-andrew-cyrille","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/01\/monday-recommendation-andrew-cyrille\/","title":{"rendered":"Monday Recommendation: Andrew Cyrille"},"content":{"rendered":"<p><strong>Andrew Cyrille Quartet<\/strong>, <a href=\"http:\/\/amzn.to\/2iY6zkE\"target=\"_blank\">The Declaration Of Musical Independence<\/a> (ECM)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Cyrille-Declaration.jpg\" alt=\"\" width=\"200\" height=\"200\" class=\"alignleft size-full wp-image-8083\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Cyrille-Declaration.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Cyrille-Declaration-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Cyrille-Declaration-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/>Andrew Cyrille, a bold drummer, long since established his audacity and the independence underscored in the album title. This collection is notable for subtlety and daring in equal measure. Cyrille\u00e2\u20ac\u2122s quartet includes the electronic explorer Richard Teitelbaum on synthesizer and piano, the steadfast bassist Ben Street and composer-guitarist Bill Frisell&#8212;quiet and inventive in both his roles. It\u00e2\u20ac\u2122s an avant garde venture in which Cyrille carries aspects of the Roy Haynes snap-crackle-pop branch of drumming into the<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/01\/Cyrille-small.png\" alt=\"\" width=\"144\" height=\"148\" class=\"alignright size-full wp-image-8084\" \/> twenty-first century. His introduction to the opening \u00e2\u20ac\u0153Coltrane Time\u00e2\u20ac\u009d is a spare, almost military, statement of snare drum strokes and cymbal splashes. The quartet delves deeply and quietly into Frisell\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Kaddish\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Begin.\u00e2\u20ac\u009d The musicians spontaneously invented \u00e2\u20ac\u0153Sanctuary,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Dazzling (Perchordially Yours)\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Manfred.\u00e2\u20ac\u009d Their close listening to one another and their absorption of musical suggestions and signals make the pieces seem composed. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Andrew Cyrille Quartet, The Declaration Of Musical Independence (ECM) Andrew Cyrille, a bold drummer, long since established his audacity and the independence underscored in the album title. This collection is notable for subtlety and daring in equal measure. Cyrille\u00e2\u20ac\u2122s quartet includes the electronic explorer Richard Teitelbaum on synthesizer and piano, the steadfast bassist Ben Street [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8083,"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-8082","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\/8082","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=8082"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8082\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8083"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8082"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8082"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8082"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}