{"id":8154,"date":"2017-02-08T12:22:25","date_gmt":"2017-02-08T20:22:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8154"},"modified":"2017-02-08T12:23:32","modified_gmt":"2017-02-08T20:23:32","slug":"svend-asmussen-rip","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/02\/svend-asmussen-rip\/","title":{"rendered":"Svend Asmussen, RIP"},"content":{"rendered":"<p>Svend Asmussen, the Danish violinist who thrived in eight decades of stardom, died yesterday\u00e2\u20ac\u201dthree weeks short of his 101st birthday. He was one of the handful of violinists who in the 1930s proved the instrument&#8221;\u00a0capable of swing and emotional expression at the highest jazz level. He may well have been the only man still alive in the new century who had played with Fats Waller, Django Reinhardt, St\u00c3\u00a9phane Grappelli, Stuff Smith, Benny Goodman and Duke Ellington. Asmussen and his wife Ellen were surprise members of the audience at a concert in his honor at last summer\u00e2\u20ac\u2122s Ystad Jazz Festival in Sweden.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-8155\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/02\/Svend_Asmussen_-Ellen_Bick_Asmussen_1_YSJF_2016-08-05_foto_Itta_Johnson-277x300.jpg\" alt=\"\" width=\"277\" height=\"300\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/02\/Svend_Asmussen_-Ellen_Bick_Asmussen_1_YSJF_2016-08-05_foto_Itta_Johnson-277x300.jpg 277w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/02\/Svend_Asmussen_-Ellen_Bick_Asmussen_1_YSJF_2016-08-05_foto_Itta_Johnson.jpg 500w\" sizes=\"auto, (max-width: 277px) 100vw, 277px\" \/><\/p>\n<p>Our first clip of Asmussen in action is with Alice Babs and guitarist Ulrik Neumann, who were known as the Swe-danes. They thrived in the late 1950s. This piece was a record, radio and television hit in Scandinavia for years.<\/p>\n<div align=\"center\">\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/7UZ1oRt24T4\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: left;\">In the next video, we find Asmussen 30-odd years later at the Club Montmartre in Copenhagen. His accompanists are Kenny Drew, piano; Niels-Henning \u00c3\u02dcrsted Pedersen, bass; and Ed Thigpen, drums. The piece is by Duke Ellington.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/lC7hHgHUWlk\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p style=\"text-align: left;\">For a comprehensive obituary of Svend Asmussen, see&#8221;\u00a0<a href=\"https:\/\/www.washingtonpost.com\/entertainment\/music\/svend-asmussen-irreverent-jazz-violin-virtuoso-dies-at-100\/2017\/02\/07\/e3aee760-ed59-11e6-9662-6eedf1627882_story.html?utm_term=.86aa58be4f5a\">this <em>Washington Post<\/em> article<\/a>.<\/p>\n<div><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Svend Asmussen, the Danish violinist who thrived in eight decades of stardom, died yesterday\u00e2\u20ac\u201dthree weeks short of his 101st birthday. He was one of the handful of violinists who in the 1930s proved the instrument&#8221;\u00a0capable of swing and emotional expression at the highest jazz level. He may well have been the only man still alive [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8155,"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-8154","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\/8154","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=8154"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8154\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8155"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8154"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8154"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}