{"id":8754,"date":"2017-10-23T19:56:30","date_gmt":"2017-10-24T02:56:30","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=8754"},"modified":"2017-10-23T20:02:36","modified_gmt":"2017-10-24T03:02:36","slug":"monday-recommendation-gary-peacock","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/10\/monday-recommendation-gary-peacock\/","title":{"rendered":"Monday Recommendation: Gary Peacock"},"content":{"rendered":"<p><strong>Gary Peacock<\/strong> Trio, <a href=\"http:\/\/amzn.to\/2yDv5D5\" target=\"_blank\" rel=\"noopener\"><em>Tangents<\/em><\/a> (ECM)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-8755\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Peacock-Tangents.jpg\" alt=\"\" width=\"247\" height=\"247\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Peacock-Tangents.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Peacock-Tangents-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Peacock-Tangents-100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/10\/Peacock-Tangents-200x200.jpg 200w\" sizes=\"auto, (max-width: 247px) 100vw, 247px\" \/>If the seasoned listener heard \u00e2\u20ac\u0153Blue In Green\u00e2\u20ac\u009d and the love theme from \u00e2\u20ac\u0153Spartacus\u00e2\u20ac\u009d first, the trio\u00e2\u20ac\u2122s evocative approach could lead him to anticipate a collection inspired by the legacy of Bill Evans. But the album ranges further and wider. Peacock\u00e2\u20ac\u2122s bass is at the sonic and emotional center of this second release by his trio. His 31\u00e2\u20ac\u201cyear collaboration with pianist Keith Jarrett and drummer Jack DeJohnette ended when Jarrett disbanded in 2014. Interaction among Peacock, pianist Marc Copland and drummer Joey Baron bolsters the music, although all three perform with plenty of indivdual virtuosity that includes Copland\u00e2\u20ac\u2122s lyricism and the shimmering magic of Baron\u00e2\u20ac\u2122s cymbal work. Freedom is an operating principle, from the musings of Peacock\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Contact\u00e2\u20ac\u009d to the stirrings in Baron\u00e2\u20ac\u2122s aptly titled \u00e2\u20ac\u0153Cauldron\u00e2\u20ac\u009d and the free collective improvisation of \u00e2\u20ac\u0153Empty Forest.\u00e2\u20ac\u009d \u00e2\u20ac\u0153Rumblin\u00e2\u20ac\u2122\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Talkin\u00e2\u20ac\u2122 Blues\u00e2\u20ac\u009d acknowledge the music\u00e2\u20ac\u2122s roots.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gary Peacock Trio, Tangents (ECM) If the seasoned listener heard \u00e2\u20ac\u0153Blue In Green\u00e2\u20ac\u009d and the love theme from \u00e2\u20ac\u0153Spartacus\u00e2\u20ac\u009d first, the trio\u00e2\u20ac\u2122s evocative approach could lead him to anticipate a collection inspired by the legacy of Bill Evans. But the album ranges further and wider. Peacock\u00e2\u20ac\u2122s bass is at the sonic and emotional center of [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8755,"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-8754","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\/8754","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=8754"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8754\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8755"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8754"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8754"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8754"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}