{"id":11798,"date":"2025-12-17T15:50:17","date_gmt":"2025-12-17T21:50:17","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11798"},"modified":"2025-12-19T11:39:43","modified_gmt":"2025-12-19T17:39:43","slug":"introduction-cellar-door-sessions-fifty-five","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","title":{"rendered":"The Cellar Door Sessions at Fifty-Five: An Introduction"},"content":{"rendered":"\n<p class=\"\">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. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets.<\/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_d4dtGbrYKLs\"><div id=\"lyte_d4dtGbrYKLs\" data-src=\"\/\/i.ytimg.com\/vi\/d4dtGbrYKLs\/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\/d4dtGbrYKLs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/d4dtGbrYKLs\/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=\"\">Edited versions of material from the final night\u2019s three sets found their way onto <em>Live-Evil<\/em> (Columbia, 1971), a two-record set released exactly eleven months later in somewhat dim sound. It took almost three decades, <a href=\"https:\/\/postgenre.org\/staging\/4567\/do-right-anderson\/\" title=\"\">with the release of <em>The Cellar Door Sessions<\/em> <em>1970<\/em> (Columbia Records, 2005), a six-CD set<\/a>, for a fuller appraisal of this pivotal band to emerge.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">In 1970, Davis was moving fast and breaking things. By the fall, pianist Chick Corea and bassist <a href=\"https:\/\/postgenre.org\/staging\/4567\/no-isolation-dave-holland-i\/\" title=\"\">Dave Holland<\/a> left to form Circle, leaving Keith Jarrett as the sole harmonic instrument. Saxophonist Steve Grossman also left around that time, and <a href=\"https:\/\/postgenre.org\/staging\/4567\/hearing-future-gary-bartz\/\" title=\"\">Gary Bartz<\/a>, a player strongly rooted in blues and R&amp;B language, joined the band. But it was the arrival of nineteen-year-old bassist Michael Henderson that changed the direction of Davis\u2019 electric music away from jazz and toward the hard funk of Sly Stone and James Brown.<\/p>\n\n\n\n<p class=\"\"><em>The Cellar Door Sessions<\/em> are the first commercial recordings of Miles&#8217; new band, which also included drummer Jack DeJohnette and percussionist Airto Moreira (this lineup made no studio recordings). The recording was also the last Davis would make for eighteen months, though there are many bootleg recordings of European concerts from 1971.<\/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_DEBKksupBVA\"><div id=\"lyte_DEBKksupBVA\" data-src=\"\/\/i.ytimg.com\/vi\/DEBKksupBVA\/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\/DEBKksupBVA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/DEBKksupBVA\/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=\"\">Taken in the context of the releases that preceded it in 1970 alone, <em>The Cellar Door Sessions<\/em> doesn\u2019t have the explosive, uncontainable power of <em>A Tribute to Jack Johnson<\/em> (Columbia, 1971), which was recorded in February and April of 1970. It also lacked the world-changing import of <a href=\"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/\" title=\"\"><em>Bitches Brew<\/em> (Columbia, 1970) <\/a>that, while recorded in August 1969, came out in March 1970.&nbsp; The <em>Cellar Door<\/em> band was a fairly new unit playing a new setlist. Gone were \u201cI Fall In Love Too Easily,\u201d \u201cParaphernalia,\u201d and \u201cSpanish Key.\u201d In were simpler, vamp- and groove-oriented tunes like the \u201cHonky Tonk,\u201d a slow blues, the floating, trance-y \u201cYesternow,\u201d and the stomping funk blowout \u201cWhat I Say.\u201d<\/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_hc12IZ0k3bA\"><div id=\"lyte_hc12IZ0k3bA\" data-src=\"\/\/i.ytimg.com\/vi\/hc12IZ0k3bA\/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\/hc12IZ0k3bA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hc12IZ0k3bA\/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<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_e3GLh5XQ0S4\"><div id=\"lyte_e3GLh5XQ0S4\" data-src=\"\/\/i.ytimg.com\/vi\/e3GLh5XQ0S4\/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\/e3GLh5XQ0S4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/e3GLh5XQ0S4\/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<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_3t-c5HYQ_4c\"><div id=\"lyte_3t-c5HYQ_4c\" data-src=\"\/\/i.ytimg.com\/vi\/3t-c5HYQ_4c\/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\/3t-c5HYQ_4c\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/3t-c5HYQ_4c\/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=\"\">Miles Davis is often credited with inventing what was called at the time \u201cjazz-rock.\u201d He didn\u2019t; Tony Williams got there first with Lifetime. Yet <em>Bitches Brew<\/em> and <em>In A Silent Way<\/em> (Columbia, 1969) maintained a connection with jazz, a way of thinking about musical organization that all but disappeared when the six (and for a night, seven) players took the stage at 34th &amp; M Street NW in the Georgetown neighborhood of Washington. Fifty-five years later, what they laid down still matters.<\/p>\n\n\n\n<p class=\"\"><strong><a href=\"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/\" title=\"\">Tomorrow: A breakdown of the Wednesday, December 16 sessions.<\/a><\/strong><\/p>\n\n\n\n<p class=\"\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>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. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets. Edited versions of material from the final night\u2019s three sets found [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":11800,"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":144,"_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":[561,1452],"tags":[],"class_list":["post-11798","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-series","category-the-cellar-door-sessions-at-fifty-five"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-34i","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11843,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/","url_meta":{"origin":11798,"position":0},"title":"The Cellar Door Sessions at Fifty-Five: December 18, 1970","author":"John Chacona","date":"December 22, 2025","format":false,"excerpt":"Friday, December 18, 1970 When The Cellar Door Sessions 1970 (Columbia, 2005) recordings were made, none of the members of Miles\u2019 band had yet reached age thirty. The leader himself was only forty-four. But even at their younger ages, the intense physicality of the playing for three sets a night,\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11848,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/","url_meta":{"origin":11798,"position":1},"title":"The Cellar Door Sessions at Fifty-Five: December 19, 1970","author":"John Chacona","date":"December 22, 2025","format":false,"excerpt":"Saturday, December 19, 1970 For first-time listeners to The Cellar Door Sessions 1970 (Columbia, 1970), the first four discs can be like a side trip to unfamiliar neighborhoods of a well-known place. The language is the same, the architecture familiar, but the details are new and delightfully alive. Arriving at\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11814,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/","url_meta":{"origin":11798,"position":2},"title":"The Cellar Door Sessions at Fifty-Five: December 16, 1970","author":"John Chacona","date":"December 18, 2025","format":false,"excerpt":"Before diving in, a note on inspiration. This project is the child of a small-scale obsession. Last fall, I moved my collection of five thousand, six hundred and sixty-four CDs across town to a new home. I like to file them alphabetically by artist and then chronologically within each artist.\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11821,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-two\/","url_meta":{"origin":11798,"position":3},"title":"The Cellar Door Sessions at Fifty-Five: December 17, 1970","author":"John Chacona","date":"December 19, 2025","format":false,"excerpt":"Thursday, December 17, 1970 https:\/\/youtu.be\/vvPgGwVNgJU?si=z1v0v57ieh_rhnLF --What I Say. With \u201cWhat I Say,\u201d Miles Davis and his band answered the bell for Round two at the Cellar Door like a boxer bursting off his stool to land a volley of combinations before his opponent has even reached the center of the\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4126,"url":"https:\/\/postgenre.org\/staging\/4567\/do-right-anderson\/","url_meta":{"origin":11798,"position":4},"title":"Trying to Do Right by the Music: Selected Recordings with Jim Anderson","author":"Rob Shepherd","date":"March 14, 2022","format":false,"excerpt":"We continue our conversation with Jim Anderson (click here for our prior discussion with him and Ulrike Schwarz on immersive audio) by covering some of his prior recordings. Our selections show that while Anderson defines most of his work within the jazz tradition, that category is broad. Its breadth encompasses\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\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/03\/202108_clique_jim_anderson.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":2478,"url":"https:\/\/postgenre.org\/staging\/4567\/review-dave-brubecks-time-outtakes-and-bill-evans-live-at-ronnie-scotts\/","url_meta":{"origin":11798,"position":5},"title":"Review: Dave Brubeck&#8217;s &#8216;Time OutTakes&#8217; and Bill Evans &#8216;Live at Ronnie Scott\u2019s&#8217;","author":"John Chacona","date":"January 27, 2021","format":false,"excerpt":"Dave Brubeck and Bill Evans were the twin Great White Hopes of jazz piano at the apex of the Pax Americana. Born on opposite coasts at the opposite ends of the 1920s, both men achieved great popular success. Brubeck, the elder of the two, became a cult figure on college\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\/brubeck-evans.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\/brubeck-evans.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/brubeck-evans.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11798","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=11798"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11798\/revisions"}],"predecessor-version":[{"id":11828,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11798\/revisions\/11828"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11800"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}