{"id":11472,"date":"2025-10-25T10:08:46","date_gmt":"2025-10-25T15:08:46","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11472"},"modified":"2025-11-02T10:10:40","modified_gmt":"2025-11-02T16:10:40","slug":"review-jakob-bro-musasaki-montclair","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-jakob-bro-musasaki-montclair\/","title":{"rendered":"Review: Jakob Bro\u2019s \u2018Murasaki\u2019 and \u2018The Montclair Sessions\u2019"},"content":{"rendered":"\n<p>Danish guitarist Jakob Bro is the owner of the Copenhagen-based Loveland Records,, a label issuing two albums within a month of each other: the more recently recorded trio of Bro, trumpeter Wadada Leo Smith, and drummer Marcus Gilmore for <em>Murasaki<\/em> (Loveland, 2025), and <em>The Montclair Sessions <\/em>(Loveland, 2025), from a 2022 recording session that paired Bro and Smith with pianist Marilyn Crispell and drummer Andrew Cyrille. These two releases come on the heels of Smith\u2019s final tour in Europe, where bassist Thomas Morgan will join the trio. Notably, neither of these recordings features a bassist, however.<\/p>\n\n\n\n<p>Seldom will you see such an aggregation of talent. Crispell is an NEA Jazz Master and Cyrille and Smith deserving of that title as well. Gilmore is acknowledged as one of today\u2019s leading drummers, increasingly playing \u201cout\u201d as well as \u201cin.\u201d Bro has been increasingly prolific in recent years, becoming a major force in improvised music.<\/p>\n\n\n\n<p><strong><em>Murasaki<\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n\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=4151073931\/album=2065146435\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The hastily assembled trio laid down a spontaneous session in New York that involved no retakes, no discussions, just an intuitive rendering of a shared musical language. As Bro commented, \u201cIt felt as though this music already existed before we started playing\u2026 it sounded as if they were old memories coming back, or plants growing for a lifetime and now breaking through a surface.\u201d As one could expect, these are unstructured pieces with little, if any, adherence to time signatures or conventional forms. Smith, the primary conveyor of melody &#8211; if you can call it that &#8211; exudes a metallic, ethereal tone that carries the listener to untold, mysterious places, only occasionally via the use of effects. This was the first meeting of the trio, though Smith and Bro had played together previously on The Montclair Sessions. In that respect, Bro had some solid grounding for his chordal choices in support of Smith.<\/p>\n\n\n\n<p><\/p>\n\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=3522466683\/album=2065146435\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>However, Gilmore is the primary mover of the three, having composed two of the seven pieces himself and co-writing most of the remaining four with his trio mates. Don\u2019t be misled, there is more live creation than through-composed music in these forty-one minutes. Gilmore\u2019s unaccompanied&nbsp; \u201cWinnowing One\u201d and \u201cWinnowing Two\u201d are bookends, revealing inventive use of the drum kit as he plays the complete arsenal with an emphasis on cymbals and glass percussion. The remaining material is spacious and otherworldly at times. At others, it is not far removed from the dreamlike ECM sound, which makes sense, given both Bro\u2019s Nordic heritage and he and Smith having played on the label several times. \u201cSonic Mountains,\u201d a trio composed piece, features Smith blasting more aggressively than his usual, spiraling, elongated tonal statements. He drops out midway, yielding to a mix of Bro\u2019s chimed chords and Gilmore\u2019s bubbling percussion and cymbal flourishes. &nbsp; \u201cYoyogi Park Dream,\u201d another trio piece, features Bro\u2019s effect-laden chords behind Smith\u2019s muted, high-pitched trumpet, seemingly augmented by electronics. It is a prime example of the elongated tonal statements referenced previously.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\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=2684002904\/album=2065146435\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Meanwhile, Gilmore plays rather unobtrusively, with chattering brushwork and judicious cymbal swipes.&nbsp; Smith wrote \u201cChronicles of Bending\u2013Air Columns and Fire Discourses,\u201d a solo piece where his reaching trumpet dips across registers for a brief one minute and twenty seven seconds. It\u2019s a short journey, but he resolves it in the final notes.<\/p>\n\n\n\n<p>The two pieces stand out as the most trio-engaged. The first is \u201cHeart Language,\u201d which features Bro\u2019s searching lines meeting Smith\u2019s as the two probe a dark region, underpinned by subtle kit work from Gilmore. The second is \u201cImagine the Fire and Flames That Light Up the Light World,\u201d which has a brisker pace, even a groove in the opening section. Smith has often commented that he\u2019s a longtime admirer of Miles. That shows through prominently on \u201cImagine\u201d more than any of the other pieces on the album. Note Gilmore\u2019s statements during Smith\u2019s pauses, a call-and-response of its own kind. Midway through, Smith delivers a series of scratchy bursts which, in turn, enlivens Gilmore\u2019s inventive percussive attack.&nbsp; In the final section, Smith mixes sharp bursts with his sustained lines, as if taking the trumpet-drum conversation to yet another different level.<\/p>\n\n\n\n<p><strong><em>The Montclair Sessions<\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n\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=1640918769\/album=660299875\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Immediately, one notices a far greater emphasis on the chiming chords through the pairing of Crispell and Bro on the opening \u201cSunrise.\u201d It moves at a minimalist pace, letting the notes and chords resonate. Smith enters after a couple of minutes, presumably as if to symbolize the sunrise itself. Meanwhile, Cyrille skitters and swipes as Smith blows powerfully, pausing to let Crispell and Bro resume their colorful harmonics, which Smith rounds out brightly upon his return, improvising freely.&nbsp; \u201cVery, Very, Interesting\u201d is a feature for Cyrille that avid listeners could compare to the two Gilmore solo pieces on Muraski. Cyrille is more drum than cymbals focused and doesn\u2019t use the glass percussion like Gilmore, but is every bit as inventive. Bro begins \u201cExuding Light\u2019 with effects and loop-driven guitar, soon joined by Smith on muted trumpet that also seems to use the effect of siphoning the muted sounds through a blender. \u201cDancing on Water\u201d presents a stunning solo by Crispell with her hands both in and outside the piano.<\/p>\n\n\n\n<p><\/p>\n\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=1701838334\/album=660299875\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The full quartet gathers for the meditative \u201cKing of Kings (for Charles Lloyd),\u201d led by a sharp, unaccompanied intro by Smith.&nbsp; Cyrille enters first, while Crispell and Bro supply an ethereal backdrop for the trumpeter\u2019s articulated, mostly drawn-out lines. The rhythm section then illuminates the piece mostly by Crispell\u2019s bright strokes while Bro and Cyrille have a quiet conversation below. Ironically, Crispell begins \u201cDreamer\u201d with dense foreboding chords. The leader adds lightness in his counterpoint, and Cyrille stays calm, deftly using his cymbals. Smith enters around the two-minute mark with his robust full tone, often centered in the lower register. He changes the whole feel of the piece as Crispell moves to lighter and brighter harmonics and Cyrille grows more energetic.&nbsp; Then, the bottom falls out. The dreamer has gone to sleep with the gentle final notes that close the album.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><em>Murasaki<\/em> and <em>The Montclair Sessions <\/em>represent the best in improvised music. Wadada Leo Smith is exceptional on both, and the other talented musicians frame his lines brilliantly.&nbsp; Bro is ostensibly the leader, but he is fully aware of the musical talents in the room. He rarely solos, more content to share the spotlight. Listeners do themselves a disservice by not gravitating towards both recordings.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>\u2018<strong><em><a href=\"https:\/\/lovelandcph.bandcamp.com\/album\/murasaki\">Murasaki<\/a><\/em>\u2019 and \u2018<a href=\"https:\/\/lovelandcph.bandcamp.com\/album\/the-montclair-session\"><em>The Montclair Sessions<\/em><\/a><\/strong>\u2019 <strong><em>are both out now on Loveland Music. They can be purchased on Bandcamp. <\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Danish guitarist Jakob Bro is the owner of the Copenhagen-based Loveland Records,, a label issuing two albums within a month of each other: the more recently recorded trio of Bro, trumpeter Wadada Leo Smith, and drummer Marcus Gilmore for Murasaki (Loveland, 2025), and The Montclair Sessions (Loveland, 2025), from a 2022 recording session that paired [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11475,"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":220,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Review: Jakob Bro\u2019s \u2018Murasaki\u2019 and \u2018The Montclair Sessions\u2019","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-11472","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\/10\/img_2234.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2Z2","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11351,"url":"https:\/\/postgenre.org\/staging\/4567\/review-trio-of-bloom\/","url_meta":{"origin":11472,"position":0},"title":"Review: \u2018Trio of Bloom\u2019 with Nels Cline, Craig Taborn, and Marcus Gilmore","author":"Jim Hynes","date":"September 25, 2025","format":false,"excerpt":"Trio of Bloom (Pyroclastic, 2025) is the first meeting of three titans of creative music, artists to whom genres and boundaries hold little meaning. You can regularly find each of them in conventional or edgy sessions, or within the turf that lies between. The term in the promotional notes is\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_1731.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_1731.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1731.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_1731.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11542,"url":"https:\/\/postgenre.org\/staging\/4567\/review-thomas-morgan-around-forest\/","url_meta":{"origin":11472,"position":1},"title":"Review: Thomas Morgan\u2019s \u2018Around You is a Forest\u2019","author":"Jim Hynes","date":"November 11, 2025","format":false,"excerpt":"As evidenced by two recent collaborations with Wadada Leo Smith, Jakob Bro\u2019s Loveland Music, is releasing some of the most interesting improvised music recently. Yet, also on the label comes Thomas Morgan\u2019s Around You is a Forest (Loveland, 2025), which may well be the most unique album made in a\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\/11\/img_2508.jpg?fit=759%2C506&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=759%2C506&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=759%2C506&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2508.jpg?fit=759%2C506&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11151,"url":"https:\/\/postgenre.org\/staging\/4567\/review-colson-glow-trio-add-voice\/","url_meta":{"origin":11472,"position":2},"title":"Review: Adegoke Steve Colson and Iqua Colson\u2019s \u2018GLOW: Music for Trio \u2026. Add Voice\u2019","author":"Jim Hynes","date":"August 18, 2025","format":false,"excerpt":"It has been quite some time since we heard from second generation AACM members\u00a0 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\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\/08\/img_1017.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\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1017.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5217,"url":"https:\/\/postgenre.org\/staging\/4567\/once-around-bro-lovano\/","url_meta":{"origin":11472,"position":3},"title":"Review: Jakob Bro and Joe Lovano\u2019s \u2018Once Around the Room: A Tribute to Paul Motian\u2019","author":"John Chacona","date":"November 7, 2022","format":false,"excerpt":"In an interview with Ethan Iverson on his Do the M@th blog, writer Ben Ratliff related an anecdote that Paul Motian once told him. \u201cHank Jones said to [Motian] one day, after they\u2019d been playing, \u2018I know your secret.\u2019 [Ratliff] said, \u2018Oh yeah? And what do you think he meant?\u2019\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\/2022\/11\/11.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\/2022\/11\/11.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/11\/11.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10337,"url":"https:\/\/postgenre.org\/staging\/4567\/edges-big-ears-2025\/","url_meta":{"origin":11472,"position":4},"title":"Musical Tourism on the Edges &#8211; Big Ears 2025","author":"Jim Hynes","date":"April 6, 2025","format":false,"excerpt":"My sister and I made the scenic journey through the picturesque farmlands of central Pennsylvania, through the bucolic splendor of Virginia\u2019s Shenandoah Valley, on a nine-hour road trip to Knoxville, TN, for the annual Big Ears Festival. The fest has become America\u2019s - and perhaps the world\u2019s - most diverse,\u2026","rel":"","context":"In &quot;Live Reviews&quot;","block_context":{"text":"Live Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/live\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/big-ears-2025-scaled-e1742321551957-1-1.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\/2025\/04\/big-ears-2025-scaled-e1742321551957-1-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/big-ears-2025-scaled-e1742321551957-1-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/04\/big-ears-2025-scaled-e1742321551957-1-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1137,"url":"https:\/\/postgenre.org\/staging\/4567\/clayton-happening-vanguard\/","url_meta":{"origin":11472,"position":5},"title":"Review: Gerald Clayton\u2019s \u2018Happening: Live at the Village Vanguard\u2019","author":"Brian Kiwanuka","date":"July 6, 2020","format":false,"excerpt":"Pianist Gerald Clayton first came to the attention of many jazz fans by way of the late Roy Hargrove's quintet on Earfood (Emarcy, 2008). Since then, the musician has grown to be a fine bandleader in his own right. He has released nothing but high-quality work, with a notable artistic\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\/2020\/07\/GeraldClayton-e1594130691566.jpg?fit=750%2C563&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/GeraldClayton-e1594130691566.jpg?fit=750%2C563&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/GeraldClayton-e1594130691566.jpg?fit=750%2C563&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/GeraldClayton-e1594130691566.jpg?fit=750%2C563&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11472","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=11472"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11472\/revisions"}],"predecessor-version":[{"id":11499,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11472\/revisions\/11499"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11475"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}