{"id":11821,"date":"2025-12-19T10:45:39","date_gmt":"2025-12-19T16:45:39","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11821"},"modified":"2025-12-24T09:18:54","modified_gmt":"2025-12-24T15:18:54","slug":"cellar-door-sessions-at-fifty-five-night-two","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-two\/","title":{"rendered":"The Cellar Door Sessions at Fifty-Five: December 17, 1970"},"content":{"rendered":"\n<p><strong>Thursday, December 17, 1970<\/strong><\/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_vvPgGwVNgJU\"><div id=\"lyte_vvPgGwVNgJU\" data-src=\"\/\/i.ytimg.com\/vi\/vvPgGwVNgJU\/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\/vvPgGwVNgJU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/vvPgGwVNgJU\/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><strong>&#8211;What I Say.<\/strong> 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 ring. It\u2019s not quite shock and awe, but it might have felt that way to longtime fans from the genteel Maryland suburbs who came to Georgetown expecting to hear \u201cMy Funny Valentine.\u201d A few of those Marylanders might have come from Baltimore to hear their native son, saxophonist Gary Bartz. And he didn\u2019t disappoint, flashing his Coltrane chops on a winding solo.&nbsp; On his Fender Rhodes electric piano and Fender organ, Keith Jarrett worked out some of the gospel-y funk material over a backbeat 4\/4 that would reappear on later recordings by the American Quartet. And it\u2019s time to namecheck percussionist, Airto Moreira, heretofore buried in the mix, who responds to Jack DeJohnette\u2019s adrenalized drum solo with ringing agogo accents and cries of delight. A good start.<\/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_MfHOUDWzL_I\"><div id=\"lyte_MfHOUDWzL_I\" data-src=\"\/\/i.ytimg.com\/vi\/MfHOUDWzL_I\/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\/MfHOUDWzL_I\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/MfHOUDWzL_I\/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><strong>&#8211;Honky Tonk. <\/strong>Following the manic, Times-Square-at-10 p.m. energy of \u201cWhat I Say,\u201d \u201cHonky Tonk\u201d arrives as the indigo stillness of pre-dawn at an alpine lake. Another recent addition to the band book, \u201cHonky Tonk,\u201d made its first documented appearance on a setlist just two months earlier. It is not the Bill Doggett jukebox shuffle from 1956 nor the Hank Williams blues, but it is a blues and an exercise in tension and release, albeit over a long scale. Speaking of long scales, how about the snare drum roll that DeJohnette quietly initiates around the six-minute mark and sustains for three minutes, before exploding into a clattering drum solo so feverish that Davis comments with trumpet yelps and cries. Bartz\u2019s solo is appropriately bluesy, and you could say Jarrett\u2019s is too. But the blues was not a native language for him. What to do? Counter-program with splattery fistful-of-keys abstraction, ably supported by DeJohnette.<\/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_83tZUsoC_2w\"><div id=\"lyte_83tZUsoC_2w\" data-src=\"\/\/i.ytimg.com\/vi\/83tZUsoC_2w\/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\/83tZUsoC_2w\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/83tZUsoC_2w\/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><strong>&#8211;It\u2019s About That Time.<\/strong> This holdover from Miles&#8217; previous band with Chick Corea, bassist Dave Holland, and saxophonist Steve Grossman marches in on a stately 4\/4. Yet not much happens during its 14:41 duration. At nearly thirteen minutes into the song, Miles peeks in, decides the scene is lame, and quickly cues Inamorata while off-mic.<\/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_dQLncHniNHc\"><div id=\"lyte_dQLncHniNHc\" data-src=\"\/\/i.ytimg.com\/vi\/dQLncHniNHc\/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\/dQLncHniNHc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/dQLncHniNHc\/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><strong>&#8211;Improvisation #2.<\/strong> Begins with an extended rubato solo by Jarrett, accompanied by eerie vocalizations from Airto\u2019s cuica. The percussionist hasn\u2019t been mentioned much before, maybe because he is frequently buried in the tumult of the mix. In truth, his contributions to Miles\u2019 bands are mainly coloristic and atmospheric and thrive better in a controlled studio setting.&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_nYL8UUtxlCA\"><div id=\"lyte_nYL8UUtxlCA\" data-src=\"\/\/i.ytimg.com\/vi\/nYL8UUtxlCA\/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\/nYL8UUtxlCA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/nYL8UUtxlCA\/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><strong>&#8211;Inamorata.<\/strong> The mood shift clearly energized Michael Henderson, who responds by making his bass whoop with delight. Here and through, his solid yet flexible throb lays the foundation\u2014literally and figuratively\u2014for No Wave music and the Downtown School style of players such as Melvin Gibbs and Bill Laswell at the decade\u2019s close. Bartz is up next with a skirling modal solo over crashing drums &#8211; DeJohnette\u2019s endurance, even at twenty-eight, is breathtaking &#8211; that rises to overblown screams before returning to the Spanish feeling. Somehow, Jarrett heard a bit of Faure\u2019s \u201cPavane\u201d in all of this, and he worries the melancholy theme for a while on Rhodes before finding nothing in it, and Miles returns to shout \u201cFocus!\u201d and the band responds with tight playing over Henderson\u2019s true-north bass and a tougher vamp from Jarrett. Miles rips off a couple of altitudinous rips which are intriguingly cut short by an abrupt splice to . . .<\/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_7-8QiId4FuI\"><div id=\"lyte_7-8QiId4FuI\" data-src=\"\/\/i.ytimg.com\/vi\/7-8QiId4FuI\/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\/7-8QiId4FuI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/7-8QiId4FuI\/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><strong>&#8211;Sanctuary.<\/strong> The only Wayne Shorter composition in the setlist makes its first appearance as thirty seconds of the melody and nothing more.&nbsp;<\/p>\n\n\n\n<p><strong><em>Next: <a href=\"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/\">The second and third sets from Friday, December 18.<\/a><\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Thursday, December 17, 1970 &#8211;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 ring. It\u2019s not quite shock and [&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":28,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"The Cellar Door Sessions at Fifty-Five: December 17, 1970","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-11821","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-34F","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":11821,"position":0},"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. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets. https:\/\/youtu.be\/d4dtGbrYKLs?si=uaLubwdtr11eKZ4P Edited versions of material from\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":11843,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/","url_meta":{"origin":11821,"position":1},"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":11814,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/","url_meta":{"origin":11821,"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":11848,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/","url_meta":{"origin":11821,"position":3},"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":4126,"url":"https:\/\/postgenre.org\/staging\/4567\/do-right-anderson\/","url_meta":{"origin":11821,"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":3487,"url":"https:\/\/postgenre.org\/staging\/4567\/alternative-holiday-playlist\/","url_meta":{"origin":11821,"position":5},"title":"An Alternative Holiday Playlist","author":"John Chacona","date":"December 3, 2021","format":false,"excerpt":"Remember the old \"Saturday Night Live\" parody of the \"60 Minutes\" Point\/Counterpoint debate, the one remembered for the line \"Jane, you ignorant slut\"? Things didn't get that heated on the December 3, 2021, edition of WBGO's excellent \"Jazz United\" podcast, but co-hosts Nate Chinen and Greg Bryant revealed a definite\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Blizzard_of_1977.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\/Blizzard_of_1977.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Blizzard_of_1977.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/Blizzard_of_1977.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11821","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=11821"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11821\/revisions"}],"predecessor-version":[{"id":11858,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11821\/revisions\/11858"}],"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=11821"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11821"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11821"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}