{"id":1082,"date":"2020-07-01T00:05:47","date_gmt":"2020-07-01T05:05:47","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1082"},"modified":"2021-06-24T17:09:36","modified_gmt":"2021-06-24T22:09:36","slug":"musical-mentors-bartz-and-shepp","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/musical-mentors-bartz-and-shepp\/","title":{"rendered":"Musical Mentors: Gary Bartz &#038; Maisha&#8217;s &#8216;Night Dreamer&#8217; and Archie Shepp, Raw Poetic &#038; Damu the Fudgemunk&#8217;s &#8216;Ocean Bridges&#8217;"},"content":{"rendered":"\n<p>The term \u201cmentor\u201d comes from a character in Homer\u2019s <em>Odyssey<\/em>, an epic written in the 8th Century BCE. However, the concept of mentorship dates back to an even earlier era. Some historians suggest that the concept may be as old as humanity itself. Though hardly novel, there can be significant benefits to both parties. From Ray Charles\u2019 teaching of Quincy Jones to <a href=\"https:\/\/www.jazzspeaks.org\/different-branches-ambrose-akinmusire-speaks\/\">Roy Hargrove\u2019s of Ambrose Akinmusire<\/a>, these benefits extend to countless musicians, past and present. With two contemporaneous releases &#8211; Gary Bartz and Maisha\u2019s <em>Night Dreamer <\/em>(Night Dreamer, 2020) and Archie Shepp, Raw Poetic, and Damu the Fudgemunk\u2019s <em>Ocean Bridges<\/em> (Redefinition Records, 2020) &#8211; showcase these relationships to the public. Of course, both elders are undoubtedly masters of their art.<\/p>\n\n\n\n<p>Gary Bartz first earned a reputation as one of the best alto saxophonists since Cannonball Adderley while performing with the Max Roach\/Abbey Lincoln Group and as a Jazz Messenger with Art Blakey. He later joined McCoy Tyner\u2019s band where the pianist fostered him in the music of John Coltrane. Bartz also worked with Miles Davis; together they produced one of the trumpeter\u2019s most underrated albums, <em>Live-Evil<\/em> (Columbia, 1971). During the remainder of the 1970s, Bartz heavily focused on his own ensemble, the NTU Troop, which uniquely addressed issues of Black pride while blurring African music, funk, soul, and jazz. For the past almost twenty years, he has taught at Oberlin College while continuing to record and tour.&nbsp;<\/p>\n\n\n\n<p><\/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_hMYVvjoXf4o\"><div id=\"lyte_hMYVvjoXf4o\" data-src=\"\/\/i.ytimg.com\/vi\/hMYVvjoXf4o\/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\/hMYVvjoXf4o\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hMYVvjoXf4o\/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>Archie Shepp\u2019s bona fides are, of course, equally impressive. In the 1960s, he collaborated with those at the forefront of the avant-garde: Cecil Taylor, John Tchicai, Don Cherry, and, of course, John Coltrane.&nbsp; The last of these even invited him to participate in the sessions for the landmark <em>A Love Supreme<\/em> (Impulse!, 1965). And while the tracks featuring Shepp were shelved for decades, his memorable contributions to Coltrane\u2019s <em>Ascension<\/em> (Impulse!, 1966) were not. At the same time, he also made a handful of recordings as a leader, often drawing upon African cultural concepts and rhythms, and each more socially conscious than its predecessor. Perhaps the best-known of these being his <em>Attica Blues <\/em>(Impulse! 1972). In 1971, he began a thirty-year career teaching at the University of Massachusetts where he crafted courses such as \u201cRevolutionary Concepts in African-American Music\u201d* while still performing and releasing works.&nbsp;<\/p>\n\n\n\n<p><\/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_xzcaO1CfBlo\"><div id=\"lyte_xzcaO1CfBlo\" data-src=\"\/\/i.ytimg.com\/vi\/xzcaO1CfBlo\/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\/xzcaO1CfBlo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/xzcaO1CfBlo\/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>Putting these two biographies side by side emphasizes the similarities between the two men; both were of the same generation, played saxophone, admired Coltrane, and created politically active genre-pushing recordings as a leader. Because of these parallels, one may expect both of their recordings to display the legendary artist\u2019s interaction with their junior associates in a similar manner. In reality, however, a comparison between the two exposes the diversity in mentorship styles. Mentoring can be either highly formal or more informal. Shepp seems to fit more in the former and Bartz the latter. In turn, this also accentuates different parts of the music.&nbsp;<\/p>\n\n\n\n<p><strong><em>Archie Shepp, Raw Poetic, and Damu the Fudgemunk<\/em><\/strong><\/p>\n\n\n\n<p><em>Ocean Bridges <\/em>attempts to traverse the gap between hip hop and free jazz, using academic monologues as a backbone. Some of these lessons are literal, as on \u201cProfessor Shepp\u2019s Agenda One\u201d where he lectures on the importance of education and how he believes it to be a right for all. Others, like \u201cProfessor Shepp\u2019s Agenda Two\u201d attempt to spread their message through notes rather than words. The Third class builds on the second to incorporate bass, guitar, and drums to form a rhythmic groove that in no way undermines the original. In the next, Shepp mostly lays out, allowing the other musicians to display what they have learned under his tutelage. On the remaining three Agendas, the teacher becomes more and more involved each time as the rest of the group grows, increasing his involvement less as a model and more as a colleague. Interspersed throughout the Agendas are different original pieces, sometimes veering towards the elder\u2019s prior works and others towards the other interests of the rest of the band. But the best moments where the two combine, for instance, \u201cSearching Souls\u201d where the sax hero\u2019s sharp-edged cries meet emotional vocals, a whirling synthesizer, and underscoring vibraphone. Throughout, the vocals of rapper Raw Poetic are particularly fascinating as on tracks like \u201c12 Hour Parking,\u201d which simultaneously fits comfortably with today\u2019s hip-hop while harkening back to Shepp\u2019s 60s and 70s output as a leader. Or on \u201cSugar Coat It\u201d where mournful yet fiery blasts of tenor sax are enveloped by empowered commentary on life in modern America and, at times, rhythmic scratching.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3670324389\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/track=3963837193\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/damuthefudgemunk.bandcamp.com\/album\/ocean-bridges\">Ocean Bridges by Damu the Fudgemunk, Archie Shepp &amp; Raw Poetic<\/a><\/iframe>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3670324389\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/track=2422646825\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/damuthefudgemunk.bandcamp.com\/album\/ocean-bridges\">Ocean Bridges by Damu the Fudgemunk, Archie Shepp &amp; Raw Poetic<\/a><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>Gary Bartz and Maisha<\/em><\/strong><\/p>\n\n\n\n<p>Unlike with Shepp, on <em>Night Dreamer<\/em>, Bartz has seemingly no predetermined course materials or methods of instruction. But this does not mean there is any less substance to learn. Instead, he teaches primarily by example. In all fairness, Maisha, a collective at the forefront of the booming London music scene, is a stellar set of pupils. They draw upon many sources including spiritual jazz, the exoticism of Sun Ra, and world music. Here, they form three originals that fit comfortably alongside both <em>There is a Place<\/em> (Brownswood Recordings, 2018) and the NTU Troop. Although new, both \u201cHarlem to Haarlem\u201d and \u201cThe Stank\u201d utilizes beats evocative of the saxophonist\u2019s classics even as the ensembles other influences intersect them. But the most captivating moments occur when the group tackles two of the mentor\u2019s compositions from the past- \u201cUhurua Sasa\u201d and \u201cDr. Follows Dance\u201d &#8211; perhaps both best known from his legendary <em>I\u2019ve Known Rivers and Other Bodies<\/em> (1973, Prestige). The first is recognizably the same tune as that originally presented but without the empowered lyric or pounding rhythm. It stretches out, allowing more room for improvisation and sonic communication. The second takes a similar approach by enacting the opposite tact. The updated version starts with experimental improvisation where there was once a steady groove, but as time progresses, the piece also spreads to allow for more interaction between the artists.&nbsp;<\/p>\n\n\n\n<p><\/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_rsxht79qbMc\"><div id=\"lyte_rsxht79qbMc\" data-src=\"\/\/i.ytimg.com\/vi\/rsxht79qbMc\/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\/rsxht79qbMc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/rsxht79qbMc\/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<iframe style=\"border: 0; width: 350px; height: 470px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2503967088\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/track=2019503442\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/nightdreamer.bandcamp.com\/album\/gary-bartz-maisha-night-dreamer-direct-to-disc-sessions\">Gary Bartz &amp; Maisha &#8211; Night Dreamer Direct-To-Disc Sessions by Gary Bartz &amp; Maisha<\/a><\/iframe>\n\n\n\n<p><br>In examining both <em>Night Dreamer <\/em>and <em>Ocean Bridges<\/em>, one is hard-pressed to determine which method of mentorship &#8211; Shepp\u2019s more formalistic or Bartz\u2019s relaxed &#8211; has a greater effect. Fortunately, one does not need to choose and, instead, is left with two recordings that both expand musical boundaries while building upon that which came before.&nbsp;<\/p>\n\n\n\n<p>* In full disclosure, this author enrolled in this course in his freshman year of college in hopes of learning from Professor Shepp. Unfortunately, it was one semester too late as he had by then retired.<\/p>\n\n\n\n<p><em><strong><a href=\"https:\/\/nightdreamer.bandcamp.com\/album\/gary-bartz-maisha-night-dreamer-direct-to-disc-sessions\" rel=\"sponsored nofollow\">Gary Bartz &amp; Maisha&#8217;s Night Dreamer is now available for purchase as either a digital file or on vinyl. <\/a><\/strong><\/em><br><br><em><strong><a href=\"https:\/\/nightdreamer.bandcamp.com\/album\/gary-bartz-maisha-night-dreamer-direct-to-disc-sessions\" rel=\"sponsored nofollow\">Archie Shepp, Raw Poetic, and Damu the Fudgemunk&#8217;s Ocean Bridges is now available for purchase as a digital file. <\/a><\/strong><\/em><\/p>\n\n\n\n<p><strong><em>Or, you can purchase either album while helping our side offset its operating costs by doing so through our Amazon affiliate store. <\/em><\/strong><\/p>\n\n\n\n<p><em><strong><a href=\"https:\/\/amzn.to\/2Zn06qk\" rel=\"sponsored nofollow\">For Night Dreamer, click here. <\/a><\/strong><\/em><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/2NKKo2F\" rel=\"sponsored nofollow\"><strong><em>For Ocean Bridges, click here. <\/em><\/strong><\/a><\/p>\n\n\n\n<p><em><strong>N<\/strong><\/em><strong><em>ight Dreamer<\/em> <\/strong>Tracklist: 1. Harlem to Haarlem; 2. The Stank; 3. Leta&#8217;s Dance; 4. Uhuru Sasa; 5. Dr. Follows Dance.<\/p>\n\n\n\n<p><em><strong>Night <strong><em>Dreamer<\/em><\/strong><\/strong><\/em> Personnel: Gary Bartz (soprano saxophone, alto saxophone), Jake Long (drums), Shirley Tetteh (electric guitar), Al MacSween (keys), Twm Dylan (double and electric bass), Axel Kaner-Lindstrom (trumpet), Tim Doyle (percussion).<\/p>\n\n\n\n<p><strong><em>Ocean<\/em> <em>Bridges<\/em> <\/strong>Tracklist: 1. Valuable Lessons; 2. Learning to Breathe; 3. Professor Shepp&#8217;s Agenda 1; 4. Tulips; 5. Professor Shepp&#8217;s Agenda 2; 6. Aperture; 7. Professor Shepp&#8217;s Agenda 3;  8. Moving Maps; 9. Professor Shepp&#8217;s Agenda 4; 10. Sugar Coat It; 11. Professor Shepp&#8217;s Agenda 5; 12. 12 Hour Parking; 13. Professor Shepp&#8217;s Agenda 6; 14. Searching Souls; 15. Professor Shepp&#8217;s Agenda 7.<\/p>\n\n\n\n<p><em><strong>Ocean Bridges <\/strong><\/em> Personnel: Archie Shepp (tenor saxophone, soprano saxophone, Wurlitzer electric piano), Jason &#8220;Raw Poetic&#8221; Moore (vocals, raps, lyrics), Earl &#8220;Damu the Fudgemunk&#8221; Davis (drums, vibraphone, backing vocals, turntable scratching, mixing\/ production), Pat Fritz (guitar), Aaron Gause (Wurlitzer electric piano, synthesizer), Luke Stewart (acoustic and electric bass), Jamal Moore (tenor sax, percussion), Bashi Rose (drums, percussion).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The term \u201cmentor\u201d comes from a character in Homer\u2019s Odyssey, an epic written in the 8th Century BCE. However, the concept of mentorship dates back to an even earlier era. Some historians suggest that the concept may be as old as humanity itself. Though hardly novel, there can be significant benefits to both parties. From [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1101,"comment_status":"open","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":17,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Check out our new piece examining the role of musical mentors as we review both Gary Bartz & Maisha's 'Night Deamer' and Archie Shepp, Raw Poetic & Damu the Fudgemunk's 'Ocean Bridges'","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[633,624,613,620,626,635,617,630,631,140,622,634,628,488,615,619,614,618,632,616,623,627,625],"class_list":["post-1082","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-aaron-gause","tag-al-macsween","tag-archie-shepp","tag-attica-blues","tag-axel-kaner-lindstrom","tag-bashi-rose","tag-damu-the-fudgemunk","tag-earl-damu-the-fudgemunk-davis","tag-earl-davis","tag-gary-bartz","tag-jake-long","tag-jamal-moore","tag-jason-moore","tag-luke-stewart","tag-maisha","tag-night-dreamer","tag-ntu-troop","tag-ocean-bridges","tag-pat-fritz","tag-raw-poetic","tag-shirly-tetteh","tag-tim-doyle","tag-twm-dylan"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage2.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-hs","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2485,"url":"https:\/\/postgenre.org\/staging\/4567\/shepp-moran-let-my-people-go\/","url_meta":{"origin":1082,"position":0},"title":"Review: Archie Shepp &#038; Jason Moran&#8217;s &#8216;Let My People Go&#8217;","author":"Rob Shepherd","date":"January 31, 2021","format":false,"excerpt":"Albert Murray once noted that \u201cthe blues is not the creation of a crushed-spirited people [but rather] the product of a forward-looking, upward-striving people.\u201d Throughout his career, Archie Shepp has explored the connection between the blues and aspiration for a brighter future. He\u2019s done so significantly by branching the sonic\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\/01\/Shepp-Moran.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\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11321,"url":"https:\/\/postgenre.org\/staging\/4567\/review-bartz-damage-control\/","url_meta":{"origin":1082,"position":1},"title":"Review: Gary Bartz\u2019s \u2018The Eternal Tenure of Sound: Damage Control\u2019","author":"Jim Hynes","date":"September 21, 2025","format":false,"excerpt":"One of our few links to bands of Miles, McCoy Tyner, Pharaoh Sanders, Lee Morgan, and Roy Hargrove, NEA Jazz Master and soon-to-be-eighty-five-year-old Gary Bartz has earned the right to do whatever he pleases. Damage Control (OYO, 2025) is the first installment in The Eternal Tenure of Sound trilogy, self-funded\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\/img_1624.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\/img_1624.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1624.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2755,"url":"https:\/\/postgenre.org\/staging\/4567\/impulse-60-black-to-the-future\/","url_meta":{"origin":1082,"position":2},"title":"Review: &#8216;Impulse! Records: Music, Message &#038; The Moment&#8217; and Sons of Kemet&#8217;s &#8216;Black to the Future&#8217;","author":"Rob Shepherd","date":"May 15, 2021","format":false,"excerpt":"In 1960, Creed Taylor founded Impulse! Records, which he dubbed \"The New Wave in Jazz.\" While over time, Impulse! established itself as one of the premier labels in the genre, it was always happiest around categorical edges. Ray Charles\u2019\u00a0Genius + Soul = Jazz\u00a0(Impulse!, 1960) blurred lines between the two styles.\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\/05\/Impulse-60-Sons-of-Kemet.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\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1354,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-v\/","url_meta":{"origin":1082,"position":3},"title":"A History of the Newport Jazz Festival \u2013 Chapter V: The New Thing, 1965-1968","author":"Rob Shepherd","date":"July 28, 2020","format":false,"excerpt":"Despite its rough shape, the new site was at a fantastic location. Near the JT Connell Highway, it had sufficient space for both a large stage - more than a third bigger than the prior one - and extensive audience seating. It also allowed for convenient parking, a frequent concern\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-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\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":1082,"position":4},"title":"The Cellar Door Sessions at Fifty-Five: An Introduction","author":"John Chacona","date":"December 17, 2025","format":false,"excerpt":"Fifty-five years ago this week, Miles Davis brought a new-ish band into Washington D.C.\u2019s Cellar Door club for a four-night engagement. 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