{"id":8364,"date":"2017-05-08T17:39:32","date_gmt":"2017-05-09T00:39:32","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8364"},"modified":"2018-05-20T22:05:40","modified_gmt":"2018-05-21T05:05:40","slug":"monday-recommendation-fay-claassen","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/05\/monday-recommendation-fay-claassen\/","title":{"rendered":"Monday Recommendation: Fay Claassen"},"content":{"rendered":"<p><strong>Fay Claassen<\/strong>, <a href=\"http:\/\/amzn.to\/2q0aKko\" target=\"_blank\" rel=\"noopener\">Luck Child<\/a> (Challenge)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8365\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Fay-Claassen-Luck-Child.jpg\" alt=\"\" width=\"210\" height=\"210\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Fay-Claassen-Luck-Child.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Fay-Claassen-Luck-Child-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Fay-Claassen-Luck-Child-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/05\/Fay-Claassen-Luck-Child-200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/>With exceptions, the Dutch singer departs from her incomparable interpretations of standard songs to explore contemporary pieces. They include the title tune written by guitarist Leni Stern, originally an instrumental called \u00e2\u20ac\u0153Sandbox.\u00e2\u20ac\u009d Sentimental and lyrical, it is dedicated to Claasen\u00e2\u20ac\u2122s daughter. Claasen gives \u00e2\u20ac\u0153One Trick Pony\u00e2\u20ac\u009d a lilt in a version slightly slower and more thoughtful than Paul Simon\u00e2\u20ac\u2122s 1980 original. Fred Hersch and Norma Winstone\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Song Of Life\u00e2\u20ac\u009d includes Claasen\u00e2\u20ac\u2122s joyous vocalizing. Accompanied by pianist Olaf Polziehn, guitarist Peter Thehuis and bassist Ingmar Heller, she caresses Ellington\u00e2\u20ac\u2122s \u00e2\u20ac\u0153In A Sentimental Mood.\u00e2\u20ac\u009d Three overdubbed Claasens bring a rich density to Kenny Wheeler\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Fay,\u00e2\u20ac\u009d dedicated to her. A flaw: she rhythmically punches up \u00e2\u20ac\u0153God Bless The Child,\u00e2\u20ac\u009d a song that by its very nature demands sober reflection. Claasen\u00e2\u20ac\u2122s wordless intonation of Ennio Morricone\u00e2\u20ac\u2122s theme from <em>Cinema Paradiso<\/em> is a consummate conclusion to an intriguing collection.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fay Claassen, Luck Child (Challenge) With exceptions, the Dutch singer departs from her incomparable interpretations of standard songs to explore contemporary pieces. They include the title tune written by guitarist Leni Stern, originally an instrumental called \u00e2\u20ac\u0153Sandbox.\u00e2\u20ac\u009d Sentimental and lyrical, it is dedicated to Claasen\u00e2\u20ac\u2122s daughter. Claasen gives \u00e2\u20ac\u0153One Trick Pony\u00e2\u20ac\u009d a lilt in a [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8365,"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-8364","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\/8364","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=8364"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8364\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8365"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8364"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8364"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}