{"id":11610,"date":"2025-12-01T22:29:16","date_gmt":"2025-12-02T04:29:16","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11610"},"modified":"2025-12-11T12:37:25","modified_gmt":"2025-12-11T18:37:25","slug":"review-martian-sunset-bill-ware","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-martian-sunset-bill-ware\/","title":{"rendered":"Review: Bill Ware and the Club Bird All Stars\u2019 \u2018Martian Sunset\u2019"},"content":{"rendered":"\n<p>The vibraphonist Bill Ware is perhaps best known for his work with The Jazz Passengers and Groove Collective. He has a cross-genre bent that includes work with Steely Dan and Elvis Costello. He is also incredibly prolific. Since 2016, he has composed over two hundred and fifty pieces, including sixty during the pandemic. These pieces often gravitate toward dense passages, wild courses for his bandmates to navigate. <em>Martian Sunset, <\/em>recorded at the famed Van Gelder Studios, courageously revamps his sound with an eye towards simplification. Drawing inspiration from the striking openness of Joe Lovano\u2019s Paramount Quartet featuring Julian Lage, the leader decided only a few days before his recording session to throw away what he initially planned. In its stead, he wrote new music rooted in the blues and reconfigured for a new band.<\/p>\n\n\n\n<p class=\"MsoNormal\"><\/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_QTghpwFy8k8\"><div id=\"lyte_QTghpwFy8k8\" data-src=\"\/\/i.ytimg.com\/vi\/QTghpwFy8k8\/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\/QTghpwFy8k8\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/QTghpwFy8k8\/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 class=\"MsoNormal\">The Club Bird All Stars takes its name from a long-shuttered Japanese club that, in the mid-nineties, provided him a three-month residency with a rotating cast of horn and rhythm players. For the new ensemble bearing its name, Ware tapped his longtime collaborator, guitarist Rez Abbasi to join a quintet of pianist Matt King, bassist Jay Anderson, and drummer Taru Alexander. All of the band\u2019s members are certified talents and bandleaders.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p>The title, <em>Martian Sunset<\/em>, itself evokes a futurism and, fittingly, shadows of Sun Ra fill space in its dozen compositions. Yet, sonically, of the album more fully reflects the hard bop of the late \u201860s by people like Herbie Hancock, Freddie Hubbard, and Cannonball Adderley who cut such legendary tracks at Van Gelder. <\/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-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_xrxA6-w3UuA\"><div id=\"lyte_xrxA6-w3UuA\" data-src=\"\/\/i.ytimg.com\/vi\/xrxA6-w3UuA\/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\/xrxA6-w3UuA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/xrxA6-w3UuA\/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 class=\"MsoNormal\">The opener, \u201cAround The Horn,\u201d features a bouncy melody with Ware taking the lead, before solos pass among Abassi, King, and ultimately back to Ware as Anderson and Alexander lay down a steady groove. \u201cThat Dirty Road\u201d starts as a blues tune but rapidly morphs into a spacey, ethereal number well-suited to the three main soloists. The layers of harmony resonate, leading to a robust bass solo from Anderson.&nbsp; The band\u2019s reflective approach continues with the odd colored harmonies of \u201cSafer Journey,\u201d which pays respect to individuals with mental health challenges. As detailed in the liner notes, that group includes Ware himself, who struggled mightily during the pandemic.<\/p>\n\n\n\n<p class=\"MsoNormal\">&nbsp;<\/p>\n\n\n\n<p class=\"MsoNormal\">In the rollicking \u201cLittle Lizzard,\u201d guitarist Abbasi articulates his lines, sounding like a horn player as Alexander delivers shifting rhythms on his kit. Alexander continues shifting patterns &#8211; representing the rocky terrain of Mars on the title track &#8211; while inspired by the work of Sun Ra and Ornette Coleman. Built from fragments of previous compositions, \u201cIn a Spiral\u201d  becoming even more dizzying in its resonating blend of guitar, piano, and vibraphone even as Alexander and Anderson keep the music grounded.<\/p>\n\n\n\n<p class=\"MsoNormal\"><\/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_ww1DlwCPPS8\"><div id=\"lyte_ww1DlwCPPS8\" data-src=\"\/\/i.ytimg.com\/vi\/ww1DlwCPPS8\/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\/ww1DlwCPPS8\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/ww1DlwCPPS8\/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 class=\"MsoNormal\">The quintet finally returns to more of a hard bop approach on \u201cHappy Bird,\u201d an uptempo piece with a John Coltrane whole-tone harmonic pattern. Gripping interplay forms between Abbasi, King, and Ware as all go full throttle. A piece Ware identified as his purest composition, the elastic groove of \u201cDon\u2019t Get Me Wrong\u201d builds its melody from the composer\u2019s own vocalizations. The piece sits right comfortably between the density he is known for and the openness he yearns for in his new work. It proves to be an especially dynamic feature for the ever exploratory Abbasi, who also thrives again on \u201cHangin\u2019 at The Rez,\u201d named  for the hippie hangout in Maplewood, New Jersey, where Ware grew up.<\/p>\n\n\n\n<p class=\"MsoNormal\"><\/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__AJZQYdYNvc\"><div id=\"lyte__AJZQYdYNvc\" data-src=\"\/\/i.ytimg.com\/vi\/_AJZQYdYNvc\/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\/_AJZQYdYNvc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/_AJZQYdYNvc\/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 class=\"MsoNormal\">\u201cDog Furr\u201d is an anomaly with vocals provided by Hanka Singer. Moving forward, Alexander pushes the momentum in \u201cAll the Way Down,\u201d another piece that retains bluesy overtones. Closer \u201cBlue Alteration\u201d is an older piece that fits the mood of the record and provides an underpinned groove ideal for the soloists to improvise over. Like so many of these pieces, prepare yourself for unexpected changes.<\/p>\n\n\n\n<p class=\"MsoNormal\">At first listen, <em>Martian Sunset<\/em> may seem eclectic and a little disorganized. But further listening reveals its cohesiveness in spirit and groove. It\u2019s not easy for an artist to so wildly change course on a project only a few days before entering the recording studio but Ware pulls it off.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018Martian Sunset\u2019 is out now ln Sunnyside Records. It can be<a href=\"https:\/\/sunnysiderecords.bandcamp.com\/album\/martian-sunset\"> purchased on Bandcamp<\/a>.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The vibraphonist Bill Ware is perhaps best known for his work with The Jazz Passengers and Groove Collective. He has a cross-genre bent that includes work with Steely Dan and Elvis Costello. He is also incredibly prolific. Since 2016, he has composed over two hundred and fifty pieces, including sixty during the pandemic. These pieces [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11617,"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":42,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Review: Bill Ware and the Club Bird All Star\u2019s \u2018Martian Sunset\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":[1428,1431,1163,1434,1429,67,1427,1432,1430,1433],"class_list":["post-11610","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-bill-ware","tag-cross-genre","tag-elvis-costello","tag-futurism","tag-groove-collective","tag-jazz","tag-martian-sunset","tag-prolific","tag-steely-dan","tag-van-gelder-studios"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2767-9.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-31g","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":9252,"url":"https:\/\/postgenre.org\/staging\/4567\/fearless-donny-mccaslin\/","url_meta":{"origin":11610,"position":0},"title":"Fearless: A Conversation with Donny McCaslin on David Bowie, Elvis Costello, and the Newport Jazz Festival","author":"Rob Shepherd","date":"July 18, 2024","format":false,"excerpt":"According to a 2015 Nielsen report, \u201cjazz\u201d makes up a paltry 1.3% of total music consumption in the United States. This dire statistic suggests that the art form\u2019s reach is relegated to its small clique of loyal followers. Fortunately, the value of art lies not in its commercial properties. Far\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\/07\/img_8970-1.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\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4217,"url":"https:\/\/postgenre.org\/staging\/4567\/peaks-valleys-michael-leonhart-ii\/","url_meta":{"origin":11610,"position":1},"title":"Peaks and Valleys: A Conversation with Michael Leonhart (Part Two)","author":"Rob Shepherd","date":"March 23, 2022","format":false,"excerpt":"For the second part of our conversation with Michael Leonhart on The Normyn Suites (Sunnyside, 2022), we discuss Elvis Costello, the Avant-Garde, scoring Red Dead Redemption II (Rockstar, 2018), and how the beauty of \"Catharsis\" with Bill Frisell came to life. Check out part one here. PostGenre: How did Elvis\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\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.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\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/LEONHART-BERLIN-NO1-2017-BY-FRANK-JERKE-small.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4168,"url":"https:\/\/postgenre.org\/staging\/4567\/peaks-valleys-michael-leonhart-i\/","url_meta":{"origin":11610,"position":2},"title":"Peaks and Valleys: A Conversation with Michael Leonhart (Part One)","author":"Rob Shepherd","date":"March 20, 2022","format":false,"excerpt":"Sometimes the most complicated things in life are those that appear deceptively simple. We all understand, at a surface level, our emotions. We learn, from an early age, what it means to be happy, sad, or angry. But the reality is that these sensations are often far more complex than\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\/2022\/03\/PhotoSep0412343AM1.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\/03\/PhotoSep0412343AM1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/PhotoSep0412343AM1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/PhotoSep0412343AM1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11264,"url":"https:\/\/postgenre.org\/staging\/4567\/review-george-coleman-strings\/","url_meta":{"origin":11610,"position":3},"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":10718,"url":"https:\/\/postgenre.org\/staging\/4567\/review-cosmic-piano-shipp\/","url_meta":{"origin":11610,"position":4},"title":"Review: Matthew Shipp\u2019s \u2018The Cosmic Piano\u2019","author":"Jim Hynes","date":"June 18, 2025","format":false,"excerpt":"Pianist and composer Matthew Shipp seems to be garnering as much publicity for his criticisms of Andr\u00e9 3000\u2019s piano album as his own music lately. As is often said, even negative publicity may be good in the long run. This site has certainly given Shipp his fair due, 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\/06\/img_2609-1.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\/06\/img_2609-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/img_2609-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7248,"url":"https:\/\/postgenre.org\/staging\/4567\/brian-carpenter-ghost-train-orchestra-moondog\/","url_meta":{"origin":11610,"position":5},"title":"Viking of Sixth Avenue: A Conversation with Ghost Train Orchestra&#8217;s Brian Carpenter on Moondog","author":"Rob Shepherd","date":"November 14, 2023","format":false,"excerpt":"For several decades starting in the late 1940s, one could frequently find a blind, long-bearded, mysterious figure - cloaked with a horned helmet and spear - surveilling the looming highrise towers of his urban midtown Manhattan kingdom. Dubbed the \u201cViking of Sixth Avenue'', many passers-by wrote the man off as\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\/2023\/11\/0032221028_10.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\/11\/0032221028_10.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/0032221028_10.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/11\/0032221028_10.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11610","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=11610"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11610\/revisions"}],"predecessor-version":[{"id":11710,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11610\/revisions\/11710"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11617"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11610"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11610"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11610"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}