{"id":11151,"date":"2025-08-18T22:48:48","date_gmt":"2025-08-19T03:48:48","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11151"},"modified":"2025-08-20T20:44:55","modified_gmt":"2025-08-21T01:44:55","slug":"review-colson-glow-trio-add-voice","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-colson-glow-trio-add-voice\/","title":{"rendered":"Review: Adegoke Steve Colson and Iqua Colson\u2019s \u2018GLOW: Music for Trio \u2026. Add Voice\u2019"},"content":{"rendered":"\n<p>It has been quite some time since we heard from second generation AACM members&nbsp; Adegoke \u201cAde\u201d Steve Colson and Iqua Colson, but <em>GLOW: Music for Trio \u2026 Add Voice <\/em>(Silver Sphinx, 2025) sums up their artistry well: protest pieces, spirituality, and pure jazz that is more accessible than you might think.&nbsp; The couple has been married for fifty years. Ade joined the AACM in 1972 and has long been a major voice in experimental music, having written over two hundred and fifty compositions for various ensembles. The legendary drummer Andrew Cyrille and inventive bassist Mark Helias are joining them on this effort. If you\u2019re unfamiliar with the Colsons, you should be drawn to the record by Andrew Cyrille\u2019s presence alone. Iqua performs vocals, both with lyrics and without, on four tracks. Ade composed all pieces except \u201cAtrocities,\u201d which was penned by Iqua.&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_hI3emed64Ew\"><div id=\"lyte_hI3emed64Ew\" data-src=\"\/\/i.ytimg.com\/vi\/hI3emed64Ew\/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\/hI3emed64Ew\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hI3emed64Ew\/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><\/p>\n\n\n\n<p>The track that is already garnering attention is the protest song, \u201cAtrocities.\u201d Iqua says that they did not intend to make a politically-charged album, but in these times, music must bear witness. This bent traces back to their \u201cTriumph of the Outcasts, Coming\u201d from <em>Triumph!<\/em> (Silver Sphinx, 1980). \u201cAtrocities\u201d asks, \u201cWhen will we be truly free?\u201d and couched within are lines such as \u201cThoughts and prayers don\u2019t change the game\/Can you list each murdered name?\u201d This nine-minute epic begins with Ade\u2019s somber chords, Cyrille\u2019s patented skittering, and a robust bassline from Helias underpinning Iqua\u2019s Abbey Lincoln-like vocal approach. Ade takes a relatively structured piano solo that soon breaks free of tempo and convention, the trio\u2019s answer to Iqua\u2019s pleas.&nbsp; Intensity lessens as Helias\u2019 bassline keeps them on track for Iqua\u2019s re-entry.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The rest of the album addresses different themes. The album opener, \u201cGetting Comfortable,\u201d is an upbeat, samba-influenced tune that showcases Colson\u2019s ever-venturing left hand, Helias\u2019s robust tone, and Cyrille\u2019s ability to sound like multiple percussionists on his drum set, at times as if he is playing castanets. \u201cClouds on a Sunny Day\u201d also has a spiritual approach to resilience and hope. On it, Iqua sings gleefully, reminding us to retain joy in dark times. Cyrille\u2019s brushwork is unparalleled here and on \u201cTruly,\u201d a Monk-like angular piece on which Ade and Helias also excel in their turns. Iqua\u2019s warm vocals and acute phrasing are on display in the rhythmic, tricky \u201cMidnight Samba.\u201d It\u2019s a tune that the duo has often played in live performances but has not brought to record until now. Again, Cyrille is also uncanny on Brazilian fare.&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_B_XAMj5CxgE\"><div id=\"lyte_B_XAMj5CxgE\" data-src=\"\/\/i.ytimg.com\/vi\/B_XAMj5CxgE\/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\/B_XAMj5CxgE\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/B_XAMj5CxgE\/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><\/p>\n\n\n\n<p>Yet another upbeat piece is \u201cFor Freddie,\u201d a nod to the late hard-swinging trumpeter Freddie Hubbard, one of the few of his generation equally at home with mainstream jazz and the avant-garde. Hubbard plays on Eric Dolphy\u2019s <em>Out to Lunch<\/em> (Blue Note, 1964) and Ornette Coleman\u2019s <em>Free Jazz: A Collective Improvisation<\/em> (Atlantic, 1960) in addition to his revered Blue Note and CTI catalogs. Fittingly, the trio swings hard on this one, with Ade bouncing around the piano while Cyrille and Helias bring the heat. Listen carefully and you\u2019ll hear quotes from Hubbard\u2019s tunes as well.&nbsp;<\/p>\n\n\n\n<p>Speaking of heat, the trio closes with the title track, a sublimely gorgeous piece imbued by Helias\u2019s arco and pizzicato bass, Cyrille\u2019s unmatched brushwork, Iqua\u2019s wordless vocals, and immensely bright piano in this medium-tempo waltz. Trumpet great, the late powerhouse Hannibal Marvin Peterson first recorded it in 1968, showing he had a softer side, too.&nbsp;&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_JPhOc_A4pn8\"><div id=\"lyte_JPhOc_A4pn8\" data-src=\"\/\/i.ytimg.com\/vi\/JPhOc_A4pn8\/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\/JPhOc_A4pn8\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/JPhOc_A4pn8\/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><\/p>\n\n\n\n<p><em>GLOW<\/em> contains almost six decades of music, practically a career retrospective for the Colsons, wrapped into seven tidy pieces. Those decades of experience show through on this fine recording, abetted by the stellar bass-drum tandem of Helias and Cyrille.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>\u2018<strong><em>GLOW: Music for Trio \u2026 Add Voice\u2019 will be released on August 22, 2025  on <\/em>Silver Sphinx<\/strong> <strong><em>Records. It is <a href=\"https:\/\/colsonsmusic.bandcamp.com\/album\/glow-music-for-trio-add-voice\">available on Bandcamp<\/a><\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It has been quite some time since we heard from second generation AACM members&nbsp; Adegoke \u201cAde\u201d Steve Colson and Iqua Colson, but GLOW: Music for Trio \u2026 Add Voice (Silver Sphinx, 2025) sums up their artistry well: protest pieces, spirituality, and pure jazz that is more accessible than you might think.&nbsp; The couple has been [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11153,"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":113,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","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":[],"class_list":["post-11151","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2TR","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":3543,"url":"https:\/\/postgenre.org\/staging\/4567\/four-score-wadada-ii\/","url_meta":{"origin":11151,"position":0},"title":"Four Score: A Conversation with Wadada Leo Smith on Turning 80 (Part Two)","author":"Rob Shepherd","date":"December 13, 2021","format":false,"excerpt":"Our conversation with the legendary Wadada Leo Smith continues with a further discussion on the business side of music, including his own label, Kabell. We go into a deeper dive on his recent duet with Jack DeJohnette and Vijay Iyer, A Love Sonnet for Billie Holiday (TUM, 2021), and his\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\/2021\/12\/Wadada_Leo_Smith_photo_by_Michael_Jackson_135_10x8-1.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\/2021\/12\/Wadada_Leo_Smith_photo_by_Michael_Jackson_135_10x8-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Wadada_Leo_Smith_photo_by_Michael_Jackson_135_10x8-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Wadada_Leo_Smith_photo_by_Michael_Jackson_135_10x8-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8292,"url":"https:\/\/postgenre.org\/staging\/4567\/tranquility-wadada-leo-smith-amina-claudine-myers\/","url_meta":{"origin":11151,"position":1},"title":"Tranquility and Rest to the Mind: Conversations with Wadada Leo Smith and Amina Claudine Myers on &#8216;Central Park\u2019s Mosaics of Reservoir, Lake, Paths and Gardens&#8217;","author":"Rob Shepherd","date":"April 29, 2024","format":false,"excerpt":"Thirty-seven\u00a0and a half\u00a0million people visit New York City\u2019s Central Park every year. That, by itself, is a fascinating statistic when one considers the entire population of the metropolis is less than a quarter of that amount.\u00a0What brings\u00a0so\u00a0many New Yorkers and tourists\u00a0alike\u00a0to the nation\u2019s first landscaped\u00a0park?\u00a0Park architect Frederick Law Olmstead answered\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\/04\/IMG_8341.jpeg?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\/04\/IMG_8341.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/04\/IMG_8341.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/04\/IMG_8341.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7796,"url":"https:\/\/postgenre.org\/staging\/4567\/kahil-el-zabar-ethnic-heritage-ensemble-at-fifty\/","url_meta":{"origin":11151,"position":2},"title":"&#8220;If You&#8217;re Not Still Learning, You&#8217;re Still&#8221;: A Conversation with Kahil El&#8217;Zabar on the Ethnic Heritage Ensemble at Fifty","author":"Rob Shepherd","date":"February 8, 2024","format":false,"excerpt":"Canadian journalist Graydon Carter once noted, \"We admire elephants in part because they demonstrate what we consider the finest human traits: empathy, self-awareness, and social intelligence. \u201d Given these attributes, the mastodon descendant is an apt symbol for Kahil El'Zabar's Ethnic Heritage Ensemble. The trio's original inspiration comes from the\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\/02\/Ethnic-Heritage-Ensemble_50th-Anniversary-Rec-_%40Christopher-Andrew-Stoptime-Live_CAR50106-1.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\/02\/Ethnic-Heritage-Ensemble_50th-Anniversary-Rec-_%40Christopher-Andrew-Stoptime-Live_CAR50106-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Ethnic-Heritage-Ensemble_50th-Anniversary-Rec-_%40Christopher-Andrew-Stoptime-Live_CAR50106-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/Ethnic-Heritage-Ensemble_50th-Anniversary-Rec-_%40Christopher-Andrew-Stoptime-Live_CAR50106-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6962,"url":"https:\/\/postgenre.org\/staging\/4567\/hearing-voices-george-lewis\/","url_meta":{"origin":11151,"position":3},"title":"Hearing Voices: A Conversation with George Lewis","author":"Rob Shepherd","date":"October 1, 2023","format":false,"excerpt":"While many organizations present contemporary classical music, the International Contemporary Ensemble has stood out since its founding twenty-two years ago. 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Some architects have attempted to examine their works' connections to music.\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\/05\/unnamed21.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\/05\/unnamed21.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/05\/unnamed21.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/05\/unnamed21.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11151","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\/59"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=11151"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11151\/revisions"}],"predecessor-version":[{"id":11159,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11151\/revisions\/11159"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11153"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11151"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11151"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11151"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}