{"id":853,"date":"2007-03-03T01:06:00","date_gmt":"2007-03-03T09:06:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=853"},"modified":"2007-03-03T01:06:00","modified_gmt":"2007-03-03T09:06:00","slug":"cd_29","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/03\/cd_29\/","title":{"rendered":"CD"},"content":{"rendered":"<p>Tierney Sutton Band: <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FOther-Side-Tierney-Sutton%2Fdp%2FB000LV6RB4%3Fie%3DUTF8%26s%3Dmusic%26qid%3D1172881192%26sr%3D1-1&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>On The Other Side<\/em><\/a> (Telarc). The title is a phrase from Harold Arlen&#8217;s and Ted Koehler&#8217;s &#8220;Get Happy.&#8221; Sutton and her band, one of the most tightly integrated small groups at work today, contrast the song&#8217;s sunny lyrics with a deliberate pace and a minor-key setting. The result is the unlikely combination of a sense of irony with the song&#8217;s essential optimism. As performed and programmed by Sutton and the band, the album&#8217;s eleven classic standard songs comprise a suite that constitutes a meditation on happiness or, in three cases, its bittersweet opposite. Sutton&#8217;s &#8220;You Are My Sunshine&#8221; is the most moving version I have heard since Sheila Jordan&#8217;s 1962 recording with George Russell. Jack Sheldon&#8217;s two guest appearances include a gorgeous trumpet solo on &#8220;Glad To Be Unhappy,&#8221; and inspired singing and playing on &#8220;I Want To Be Happy.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tierney Sutton Band: On The Other Side (Telarc). The title is a phrase from Harold Arlen&#8217;s and Ted Koehler&#8217;s &#8220;Get Happy.&#8221; Sutton and her band, one of the most tightly integrated small groups at work today, contrast the song&#8217;s sunny lyrics with a deliberate pace and a minor-key setting. The result is the unlikely combination [&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-853","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\/853","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=853"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/853\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}