{"id":877,"date":"2007-03-29T01:05:00","date_gmt":"2007-03-29T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=877"},"modified":"2007-03-29T01:05:00","modified_gmt":"2007-03-29T08:05:00","slug":"cd_jack_reilly","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/03\/cd_jack_reilly\/","title":{"rendered":"CD: Jack Reilly"},"content":{"rendered":"<p>Jack Reilly, <a href=\"http:\/\/www.jackreillyjazz.com\/pg3.html\"target=\"_blank\"><em>Pure Passion <\/em><\/a>(Unichrom). In his mid-seventies, Reilly continues on his independent way as a pianist inspired by many predecessors but shaped by his own expansive harmonic vision. In several of his CDs, I have heard no more ravishing expression of that vision than in his radical, utterly gorgeous, reharmonization of the famous Dizzy Gillespie coda to Thelonious Monk&#8217;s &#8220;&#8216;Round Midnight.&#8221; His &#8220;Das Fryderyk&#8221; reinforces my conviction that if Chopin had been born fifty years later, he would been a great blues player. This solo album contains pieces by composers including Kern, Rodgers, Victor Young, Vernon Duke and Gershwin. Its cover proclaims, &#8220;10 Standards, 6 Originals.&#8221; In Reilly&#8217;s hands, they are all original.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jack Reilly, Pure Passion (Unichrom). In his mid-seventies, Reilly continues on his independent way as a pianist inspired by many predecessors but shaped by his own expansive harmonic vision. In several of his CDs, I have heard no more ravishing expression of that vision than in his radical, utterly gorgeous, reharmonization of the famous Dizzy [&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-877","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\/877","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=877"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/877\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=877"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=877"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=877"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}