{"id":10231,"date":"2025-03-07T05:43:49","date_gmt":"2025-03-07T11:43:49","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=10231"},"modified":"2025-03-07T05:43:53","modified_gmt":"2025-03-07T11:43:53","slug":"steve-coleman-many-turns","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/steve-coleman-many-turns\/","title":{"rendered":"Steve Coleman: A Man of Many Turns"},"content":{"rendered":"\n<p class=\"\">In his \u201cOdyssey,\u201d Homer gave his protagonist the epithet \u201cpolytropos,\u201d meaning \u201cof many turns.\u201d This descriptor captures the cunning, adaptability, and intellectual restlessness of Odysseus, a hero shaped by his ever-changing circumstances. It\u2019s tempting to think Coleman &#8211; a musician whose career has been defined by perpetual motion, transformation, and the relentless quest for knowledge &#8211; had himself in mind when he chose <em>Polytropos \/ Of Many Turns<\/em> (Pi, 2024) as the title of his seventh release for Pi Recordings.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_vbSWzaDAf10\"><div id=\"lyte_vbSWzaDAf10\" data-src=\"\/\/i.ytimg.com\/vi\/vbSWzaDAf10\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/vbSWzaDAf10\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/vbSWzaDAf10\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">But Coleman strenuously rejects mythologizing himself and jazz Olympians alike. He cited John Coltrane\u2019s <em>Live at the Half Note: One Down, One Up<\/em> (Impulse! Records, 2005), saying that for \u2018Trane at that moment, \u201cIt wasn&#8217;t this monster record. It was just another day in what they do, but they&#8217;ve been striving at it so long that the craft has got to such a high level that, for many people, it\u2019s high art. But for them, it&#8217;s still craft. It&#8217;s still this thing that they do.\u201d<\/p>\n\n\n\n<p class=\"\">Coleman has been doing his own \u201cthing\u201d since childhood, even before he picked up a horn at age fourteen. \u201cI remember being on the floor where I would just read through encyclopedias,\u201d he said. \u201cYou know, crocodiles and volcanoes and planets. That stuff was fascinating to me. It was like mythology because the mythology that we have is an attempt to explain the universe using symbols and science is similar to that. It&#8217;s still an attempt to explain the universe.\u201d<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_87OZ0F5G9AA\"><div id=\"lyte_87OZ0F5G9AA\" data-src=\"\/\/i.ytimg.com\/vi\/87OZ0F5G9AA\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/87OZ0F5G9AA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/87OZ0F5G9AA\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Explaining the universe\u2014the musical universe, at least, has been Coleman\u2019s project since he arrived in New York in 1978. He soon became part of a nascent movement of artists with similar interests who came together under the name M-Base, an acronym for Macro Basic Array of Structured Extemporization. Even the collective\u2019s name suggests scientific inquiry. No longer dependent on encyclopedias as a source of knowledge, Coleman traveled the world to assemble a personal mythology that explained the universe of the African diaspora.<\/p>\n\n\n\n<p class=\"\">Early in his career, he was drawn to Egyptian cosmology and Afro-Diasporic spiritual traditions, using their intricate systems as a basis for his own musical language. Over time, his studies expanded to include fields such as physics, sacred geometry, and &#8211; more recently &#8211; molecular biology, particularly the structure of proteins, like the one symbolically pictured on the cover of <em>Polytropos<\/em>.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_qjzl0bZuOw8\"><div id=\"lyte_qjzl0bZuOw8\" data-src=\"\/\/i.ytimg.com\/vi\/qjzl0bZuOw8\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/qjzl0bZuOw8\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/qjzl0bZuOw8\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">That makes Coleman something of a systems analyst, a programmer who writes in the code of music. But he rejected this characterization too\u2014to a point.&nbsp; \u201cI don&#8217;t think of myself as being into any particular kind of systems or anything like that. I&#8217;m into life, but I&#8217;m into the detail of it&#8211;and any part of life can be an inspiration for me. It can be DNA. It can be the I-Ching. It could be mythology. Any part of that is material to tell our stories because we, in the end, are storytellers.&nbsp; What stories do humans make, how do they express that, and what does that say about their condition in this universe and life and everything.\u201d<\/p>\n\n\n\n<p class=\"\">Of all of Coleman\u2019s musical ventures, Five Elements has been his most enduring. Founded in 1980, the group has remained a vehicle for his ever-expanding ideas, serving as both a proving ground for young musicians and a crucible for experimentation. Over the decades, the band has seen many different lineups, but its core mission remains the same: to explore improvisation, rhythm, and structure at the highest level.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3987469772\/album=483077184\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Unlike many jazz projects that form and dissolve quickly, Five Elements is an ongoing experiment, one that allows for long-term artistic growth. This continuity has resulted in some of the most compelling and intricate music of Coleman\u2019s career, with each iteration of the group building on the discoveries of the last.<\/p>\n\n\n\n<p class=\"\">\u201cNow this may sound improbable to you, but Five Elements comes from a dream,\u201d Coleman said. \u201cI had this dream about the future and about this music in the future, and when I woke up, I&#8217;ve been chasing that sound that I heard in that dream ever since. Everything I&#8217;ve been doing, including, what I&#8217;m doing today, is chasing that sound.\u201d<\/p>\n\n\n\n<p class=\"\">Five Elements has conducted that pursuit for a long time, but never with the level of sleek elegance heard on <em>Polytropos<\/em>. The recording might be Coleman\u2019s most successful attempt to distill the essence of that sound. Unison horn lines diverge, snake, and coil around each other, ouroboros-style, riding the bounce and crack of the drums and nudged forward by the bump of a deep, dubby bass.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1429692704\/album=2769810635\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><em>Polytropos <\/em>captures two concerts in France at which Torontonian Rich Brown seamlessly assumed the role held by longtime bassist Anthony Tidd, who was unable to make the tour because of family commitments. The rest of the band has been part of Coleman\u2019s musical universe for a long time.<\/p>\n\n\n\n<p class=\"\">\u201c[Drummer Sean] Rickman goes back to \u201896, or a little bit before that. The youngest member of my band right now is Jonathan Finlayson, and he&#8217;s been playing with me since 2000, nonstop, in this case, with no breaks. So that&#8217;s a long time.\u201d<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_oZg9Gz3AUm0\"><div id=\"lyte_oZg9Gz3AUm0\" data-src=\"\/\/i.ytimg.com\/vi\/oZg9Gz3AUm0\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/oZg9Gz3AUm0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/oZg9Gz3AUm0\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">So Five Elements has functioned much like a living organism, adapting and evolving while maintaining a distinct identity. \u201cWe\u2019ve had our ups and downs, but that\u2019s part of it,\u201d Coleman reflected. \u201cJust like a family, you argue, you fall apart, and you come back together. But that\u2019s what makes the music deep.\u201d<\/p>\n\n\n\n<p class=\"\">Just as Odysseus\u2019 many turns shaped his legend, Coleman\u2019s ceaseless curiosity has defined his artistic life. He is a true \u201cpolytropos\u201d of jazz, navigating uncharted waters, exploring new intellectual territories, and forging a path that is uniquely his own. Yet unlike his Homeric analogue, Coleman\u2019s journey is not about reaching a final destination, his Ithaca, but about the process itself\u2014the continual turning, evolving, and discovering that has made his music so vital, so challenging, and so deeply human.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3771370692\/album=2769810635\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">In 2026, Coleman will turn seventy. It\u2019s a milestone that he might prefer to pass without notice. Yet Coleman is not without goals.<\/p>\n\n\n\n<p class=\"\">\u201cMy goal When I started five elements was longevity,\u201d he said. \u201cDuke had his band for 50 years [and] I told myself I&#8217;m gonna beat Duke&#8217;s record. Oh yeah. I started in 1980.<\/p>\n\n\n\n<p class=\"\">\u201cI got a shot at it You know, I got a shot at it.\u201d<\/p>\n\n\n\n<p class=\"\"><strong><em>&#8216;Polytropos\/Of Many Turns&#8217; is out now on Pi Recordings. It can be purchased<a href=\"https:\/\/stevecoleman.bandcamp.com\/\" title=\"\"> on Bandcamp<\/a>.<\/em><\/strong> <strong><em>More information about Steve Coleman is <a href=\"https:\/\/m-base.com\/\" title=\"\">available on his website. <\/a><\/em>Steve Coleman and Five Elements will perform <a href=\"https:\/\/bigearsfestival.org\/event\/steve-coleman-and-five-elements\/\" title=\"\">at Big Ears in Knoxville, Tennessee on March 28, 2025.<\/a><\/strong><\/p>\n\n\n\n<p class=\"\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In his \u201cOdyssey,\u201d Homer gave his protagonist the epithet \u201cpolytropos,\u201d meaning \u201cof many turns.\u201d This descriptor captures the cunning, adaptability, and intellectual restlessness of Odysseus, a hero shaped by his ever-changing circumstances. It\u2019s tempting to think Coleman &#8211; a musician whose career has been defined by perpetual motion, transformation, and the relentless quest for knowledge [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":10235,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":150,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1283],"tags":[],"class_list":["post-10231","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-profile"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/03\/0006133618_10.jpg?fit=1200%2C800&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2F1","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11264,"url":"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/","url_meta":{"origin":10231,"position":0},"title":"Review: &#8216;George Coleman with Strings&#8217;","author":"Jim Hynes","date":"September 8, 2025","format":false,"excerpt":"There are no written rules for NEA Jazz Masters. Clearly, they have earned the right to undertake their long-dreamed-of projects. Or to buck the music establishment with something unexpected. Or to fulfill a \u201cbucket list\u201d item. George Coleman with Strings (High Note, 2025), unequivocally the most gorgeous album of the\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/GeorgeColeman_1200x675.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":9879,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2024\/","url_meta":{"origin":10231,"position":1},"title":"PostGenre\u2019s Best of 2024","author":"PostGenre Writing Staff","date":"December 9, 2024","format":false,"excerpt":"The albums we collectively felt were the best of 2024 (technically from Thanksgiving 2023 to Thanksgiving 2024) show a beautiful range of diverse voices. I don\u2019t think any of us consciously chose our albums based on identifiers like race, gender, or nationality. The fact it is replete with musicians from\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5812,"url":"https:\/\/postgenre.org\/staging\/4567\/avram-fefer-juba-lee\/","url_meta":{"origin":10231,"position":2},"title":"Review: Avram Fefer\u2019s \u2018Juba Lee\u2019","author":"John Chacona","date":"May 1, 2023","format":false,"excerpt":"F\u200b\u200bor the last quarter of the 20th century, Italian labels Black Saint and Soul Note issued an influential series of recordings by Black American artists, including the World Saxophone Quartet and its members Hamiet Bluiett, Julius Hemphill, Oliver Lake, and David Murray. These records were hardly blowing sessions, but their\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/05\/AvramFefer_JubaLee_By-Daryl-Tilman.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8674,"url":"https:\/\/postgenre.org\/staging\/4567\/freeing-lion-blood-ulmer\/","url_meta":{"origin":10231,"position":3},"title":"Freeing the Lion: A Conversation with James Blood Ulmer on Harmolodics and the Black Rock Trio","author":"Rob Shepherd","date":"June 10, 2024","format":false,"excerpt":"Great artists have honed a sound that is identifiable regardless of the environment surrounding them. The truly brilliant, however, are not satisfied with a mere voice. Instead, they create their own language entirely. This is best seen with Ornette Coleman and the invention of Harmolodics, a system that frees musical\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/d72b68e8de72101e6d6329a61942a473.jpg?fit=842%2C562&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/d72b68e8de72101e6d6329a61942a473.jpg?fit=842%2C562&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/d72b68e8de72101e6d6329a61942a473.jpg?fit=842%2C562&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/d72b68e8de72101e6d6329a61942a473.jpg?fit=842%2C562&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7609,"url":"https:\/\/postgenre.org\/staging\/4567\/harmony-george-coleman-part-i\/","url_meta":{"origin":10231,"position":4},"title":"Harmony on Your Side: A Conversation with George Coleman (Part One)","author":"Rob Shepherd","date":"January 18, 2024","format":false,"excerpt":"Unfortunately, sometimes life gets in the way of interviews making it to print. This interview with the legendary George Coleman, which took place on May 19, 2023, is one such conversation. At the time, the NEA Jazz Master was promoting his latest live recording,\u00a0Live at Small's Jazz Club\u00a0(Cellar Live, 2023),\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/original-7B2B152D-1665-4DC7-B3D8-443D921CC578-1.jpg?fit=962%2C642&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/original-7B2B152D-1665-4DC7-B3D8-443D921CC578-1.jpg?fit=962%2C642&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/original-7B2B152D-1665-4DC7-B3D8-443D921CC578-1.jpg?fit=962%2C642&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/original-7B2B152D-1665-4DC7-B3D8-443D921CC578-1.jpg?fit=962%2C642&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":3293,"url":"https:\/\/postgenre.org\/staging\/4567\/threadgill-zooid-poof\/","url_meta":{"origin":10231,"position":5},"title":"Review: Henry Threadgill Zooid&#8217;s &#8216;Poof&#8217;","author":"John Chacona","date":"September 21, 2021","format":false,"excerpt":"As some artists approach their late careers they become ruthless self-editors, paring down their style to remove everything that is unnecessary or extraneous. Because the unnecessary is seldom granted admission to Henry Threadgill's compositional world, Poof (Pi Recordings, 2021), the sixth recording from his Zooid band, and the first since\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/threadgill.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=10231"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10231\/revisions"}],"predecessor-version":[{"id":10238,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10231\/revisions\/10238"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/10235"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=10231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=10231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=10231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}