{"id":11843,"date":"2025-12-22T18:42:58","date_gmt":"2025-12-23T00:42:58","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11843"},"modified":"2025-12-24T09:19:30","modified_gmt":"2025-12-24T15:19:30","slug":"cellar-door-sessions-at-fifty-five-night-three","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/","title":{"rendered":"The Cellar Door Sessions at Fifty-Five: December 18, 1970"},"content":{"rendered":"\n<p><strong>Friday, December 18, 1970<\/strong><\/p>\n\n\n\n<p>When <em>The<\/em> <em>Cellar Door<\/em> <em>Sessions 1970<\/em> (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, Friday and Saturday, had to be a workout. The liner notes to the recording state that all three sets on both nights were recorded, yet only the second and third made it to disc. Hmmm.<\/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_IKfDsm5nduo\"><div id=\"lyte_IKfDsm5nduo\" data-src=\"\/\/i.ytimg.com\/vi\/IKfDsm5nduo\/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\/IKfDsm5nduo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/IKfDsm5nduo\/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;Directions<\/strong>. Rolling tape, producer Teo Macero catches Keith Jarrett and Michael Henderson warming up, but Jack DeJohnette calls the meeting to order with the crack of his backbeat like a starter\u2019s pistol&#8211;and the track meet begins. No wonder Miles chose this composition to begin his sets.<\/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_VE0zlG5qdaQ\"><div id=\"lyte_VE0zlG5qdaQ\" data-src=\"\/\/i.ytimg.com\/vi\/VE0zlG5qdaQ\/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\/VE0zlG5qdaQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/VE0zlG5qdaQ\/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>After the sprint of \u201cDirections,\u201d the placidity of \u201cHonky Tonk\u201d feels like a breather. DeJohnette\u2019s epic, three-minute press roll on Thursday\u2019s version of the song is reduced to 1:45 here, and instead of ending with an orgiastic explosion, it leads to one of Bartz\u2019s most get-down blues solos of the four-night engagement, with Airto moaning wordlessly in sympathy.<\/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_VE0zlG5qdaQ\"><div id=\"lyte_VE0zlG5qdaQ\" data-src=\"\/\/i.ytimg.com\/vi\/VE0zlG5qdaQ\/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\/VE0zlG5qdaQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/VE0zlG5qdaQ\/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> The moderate energy level of \u201cHonky Tonk\u201d extends to a relatively polite reading of \u201cWhat I Say,\u201d though Miles, playing open and without electronics, is appropriately pushy in his solo statement. In his<a href=\"https:\/\/www.popmatters.com\/davismiles-cellardoor2005-2495886372.html\"> Pop Matters review at the time of its release<\/a>, Will Layman called Miles\u2019 contributions on this set his \u201cbest pure trumpet playing on record.\u201d Reasonable listeners can disagree, but there\u2019s no gainsaying the forthrightness and sheer muscularity of his sound. At forty-six minutes, this was a relatively short set. Was this a matter of musical choice, a late start or the need to clear the room for the third-set crowd? Whatever the reason, the late began as the second set did with . . .<\/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_-auP7CIg49c\"><div id=\"lyte_-auP7CIg49c\" data-src=\"\/\/i.ytimg.com\/vi\/-auP7CIg49c\/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\/-auP7CIg49c\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/-auP7CIg49c\/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;Directions<\/strong>. A more exploratory take on the familiar opener, especially for Henderson, who anticipates both Jaco Pastorius and the \u201clead bass\u201d concept of Miles\u2019 \u201880s bands. While the bassist is most often credited for laying down a solid, R&amp;B-oriented bottom, he did more than this. Like his exact contemporary Bootsy Collins did when he joined James Brown\u2019s band nine months earlier, Henderson pulls and stretches the groove here without ever losing it. He could be a timekeeper and soloist simultaneously.<\/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_hIkeJ_M-7UU\"><div id=\"lyte_hIkeJ_M-7UU\" data-src=\"\/\/i.ytimg.com\/vi\/hIkeJ_M-7UU\/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\/hIkeJ_M-7UU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hIkeJ_M-7UU\/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>The musical association between Keith Jarrett and Jack DeJohnette began in 1966 when both came together with bassist Cecil McBee &#8211; still with us at 90! &#8211; in the Charles Lloyd Quartet that worked and recorded regularly, in the U.S. and abroad. When DeJohnette brought Jarrett into Miles\u2019 band, the two had developed some chemistry. You can hear it at the beginning of \u201cHonky Tonk\u201d when the drummer sets up a proto-drum \u2018n\u2019 bass groove that Jarrett wanders away from before returning to it before Miles\u2019 solo. It happens again at the end when DeJohnette sets up a marcato rhythm that reels Jarrett in. The two would enter L.A.\u2019s Sunset Sound six months later to record <em>Ruta and Daitya<\/em> (ECM, 1973), sticking a pin in a musical partnership that would continue for more than fifty years.<\/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_95XyfIK4YrI\"><div id=\"lyte_95XyfIK4YrI\" data-src=\"\/\/i.ytimg.com\/vi\/95XyfIK4YrI\/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\/95XyfIK4YrI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/95XyfIK4YrI\/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> As in the first set, the energy level on this rager was not as high as it had been on Wednesday and Thursday nights, and certainly not as electrifying as it would be on the famous Saturday session. Given a wider field of expression, DeJohnette opts for precision over power in his solo\u2014or maybe it\u2018s two solos separated by a false ending. Every stroke is precisely articulated and cleanly delivered. Miles responds with an open-horn solo that its faraway loneliness recalls his work of two years earlier.<\/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_1PsWyfoUvRo\"><div id=\"lyte_1PsWyfoUvRo\" data-src=\"\/\/i.ytimg.com\/vi\/1PsWyfoUvRo\/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\/1PsWyfoUvRo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/1PsWyfoUvRo\/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> Two minutes of vaporous, near-unison mystery from Miles and Bartz.<\/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_DWlsQIkkXr4\"><div id=\"lyte_DWlsQIkkXr4\" data-src=\"\/\/i.ytimg.com\/vi\/DWlsQIkkXr4\/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\/DWlsQIkkXr4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/DWlsQIkkXr4\/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 #3.<\/strong> Squint hard enough and you can begin to make out the contours of the rhapsodic solo piano style that would establish Jarrett\u2019s reputation on ECM Records in the year to come.<\/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_swD0qzQz-WY\"><div id=\"lyte_swD0qzQz-WY\" data-src=\"\/\/i.ytimg.com\/vi\/swD0qzQz-WY\/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\/swD0qzQz-WY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/swD0qzQz-WY\/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>Another two-man game, this time involving Jarrett and Michael Henderson. After a Bartz solo that erupts into hoarse-toned screaming, Henderson\u2019s bassline comes to the fore, and Jarrett doubles it to begin his own solo. Something similar happens at the end of the song when Jarrett enters the conversation on what begins as a solo feature for Henderson. After leaving Miles, the pianist would never play with this kind of bassist again, and that\u2019s kind of a shame.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Next: <a href=\"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/\">The second and third sets from Saturday, December 19.<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>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, Friday and Saturday, had to [&hellip;]<\/p>\n","protected":false},"author":12,"featured_media":11845,"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":17,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"The Cellar Door Sessions at Fifty-Five: December 18, 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":[1453,1460,1459,1457,1458,1454,1462,1456,1455,1461],"class_list":["post-11843","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-series","category-the-cellar-door-sessions-at-fifty-five","tag-cellar-door-sessions-1970","tag-honky-tonk","tag-jack-dejohnette-2","tag-keith-jarrett-2","tag-michael-henderson-2","tag-miles-band","tag-pop-matters-review","tag-teo-macer","tag-the-cellar-door-sessions-1970-recordings","tag-what-i-say"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-351","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":11843,"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":11848,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/","url_meta":{"origin":11843,"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":11821,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-two\/","url_meta":{"origin":11843,"position":2},"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":11814,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-one\/","url_meta":{"origin":11843,"position":3},"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":4126,"url":"https:\/\/postgenre.org\/staging\/4567\/do-right-anderson\/","url_meta":{"origin":11843,"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":98,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-rubberband-album-reviewed\/","url_meta":{"origin":11843,"position":5},"title":"Review: Miles Davis\u2019 \u2018Rubberband\u2019","author":"Rob Shepherd","date":"November 8, 2019","format":false,"excerpt":"Recorded mostly in 1985, the height of Miles Davis\u2019 most critically maligned era, Rubberband is unlikely to be appreciated by one who generally disfavors the artist\u2019s 1980s oeuvre. However, for a listener open to Davis\u2019 music from that period, there is much to enjoy. Full appreciation partly requires an understanding\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"Miles Rubberband","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/miles-davis-rubberband.jpg?fit=1024%2C475&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/miles-davis-rubberband.jpg?fit=1024%2C475&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/miles-davis-rubberband.jpg?fit=1024%2C475&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/miles-davis-rubberband.jpg?fit=1024%2C475&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11843","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=11843"}],"version-history":[{"count":3,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11843\/revisions"}],"predecessor-version":[{"id":11859,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11843\/revisions\/11859"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11845"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11843"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11843"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11843"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}