{"id":8933,"date":"2017-12-26T14:09:51","date_gmt":"2017-12-26T22:09:51","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=8933"},"modified":"2017-12-26T23:21:48","modified_gmt":"2017-12-27T07:21:48","slug":"al-cohn-twice","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/12\/al-cohn-twice\/","title":{"rendered":"Al Cohn, Twice"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8934 alignleft\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/12\/47ab8ea2403ad1cb0e92bd04bf97fcb2.jpg\" alt=\"\" width=\"151\" height=\"118\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/12\/47ab8ea2403ad1cb0e92bd04bf97fcb2.jpg 316w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2017\/12\/47ab8ea2403ad1cb0e92bd04bf97fcb2-300x234.jpg 300w\" sizes=\"auto, (max-width: 151px) 100vw, 151px\" \/>It is neither Al Cohn\u00e2\u20ac\u2122s birthday (November 24, 1925) nor the anniversary of his death in 1988. As on any day, it is simply a good time to listen to the great tenor saxophonist. We hear and see him in two festival performances filmed the year before he died. First, he was at Italy\u00e2\u20ac\u2122s Sanremo Jazz Festival with pianist Rein De Graaf, bassist Harry Emmery and drummer Erik Ineke. They played a good old B-flat Blues, beginning and ending it with a chorus of King Oliver&#8217;s &#8220;Chimes Blues&#8221; from 1923.<\/p>\n<div align=\"center\">\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/PmpP_TPyE1U\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Later that summer, Cohn appeared at the Newport Jazz Festival in impresario George Wein\u00e2\u20ac\u2122s all-stars, with Wein at the piano; Cohn, Scott Hamilton and Harold Ashby, tenor sax; Norris Turney, alto sax; Warren Vache cornet; Slam Stewart, bass; and Oliver Jackson, drums. The piece is the Earl Hines perennial \u00e2\u20ac\u0153Rosetta.&#8221;<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/SsIenhVPupw\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">So you see\u00e2\u20ac\u201dany day is Al Cohn Day.<\/p>\n<p style=\"text-align: left;\"><strong style=\"text-align: left;\">(note: The initial posting had the wrong videos. The miscreant <em>Rifftides<\/em> staffer responsible has been reprimanded and his remaining Christmas cookies confiscated.)<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>It is neither Al Cohn\u00e2\u20ac\u2122s birthday (November 24, 1925) nor the anniversary of his death in 1988. As on any day, it is simply a good time to listen to the great tenor saxophonist. We hear and see him in two festival performances filmed the year before he died. First, he was at Italy\u00e2\u20ac\u2122s Sanremo [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8934,"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-8933","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\/8933","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=8933"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8933\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8934"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}