{"id":963,"date":"2007-06-18T01:04:00","date_gmt":"2007-06-18T08:04:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=963"},"modified":"2007-06-18T01:04:00","modified_gmt":"2007-06-18T08:04:00","slug":"cd_darrell_grant","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2007\/06\/cd_darrell_grant\/","title":{"rendered":"CD: Darrell Grant"},"content":{"rendered":"<p>Darrell Grant, <a href=\"http:\/\/www.amazon.com\/gp\/redirect.html?ie=UTF8&#038;location=http%3A%2F%2Fwww.amazon.com%2FTruth-Reconciliation-Darrell-Grant%2Fdp%2FB000N69P02%3Fie%3DUTF8%26s%3Dmusic%26qid%3D1182141176%26sr%3D1-1&#038;tag=rifftidougram-20&#038;linkCode=ur2&#038;camp=1789&#038;creative=9325\"target=\"_blank\"><em>Truth And Reconciliation<\/em><\/a> (Origin). With bassist John Pattitucci and drummer Brian Blade giving him solid underpinning throughout, pianist Grant includes four guest soloists in this two-CD profession of his humanist philosophy. He brings in the recorded voices of Mahatma Ghandi, Martin Luther King, John F. Kennedy, Franklin Roosevelt and Nelson Mandela. He sings his &#8220;When I See the Water&#8221; in an agreeable pop-gospel style and narrates another original, &#8220;The Geography of Hope.&#8221; Beyond the message&#8211;or within it&#8211;is solid improvisation by Grant, guitarists Bill Frisell and Adam Rogers, saxophonist Steve Wilson and vibraphonist Joe Locke. There&#8217;s a knockout trio version of Dizzy Gillespie&#8217;s &#8220;Algo Bueno,&#8221; aka &#8220;Woody&#8217;n You.&#8221;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Darrell Grant, Truth And Reconciliation (Origin). With bassist John Pattitucci and drummer Brian Blade giving him solid underpinning throughout, pianist Grant includes four guest soloists in this two-CD profession of his humanist philosophy. He brings in the recorded voices of Mahatma Ghandi, Martin Luther King, John F. Kennedy, Franklin Roosevelt and Nelson Mandela. He sings [&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-963","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\/963","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=963"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/963\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=963"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=963"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=963"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}