{"id":1252,"date":"2020-07-24T00:01:00","date_gmt":"2020-07-24T05:01:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1252"},"modified":"2021-06-21T14:07:54","modified_gmt":"2021-06-21T19:07:54","slug":"newport-jazz-part-ii","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ii\/","title":{"rendered":"A History of the Newport Jazz Festival \u2013 Chapter II: Diminuendo and Crescendo, 1956"},"content":{"rendered":"\n<p>The 1956 Newport Jazz Festival\u2019s schedule was adjusted slightly compared to the prior two outings. While still a three-day event with a focus on nighttime performances, it was moved up a day to begin on Thursday and end on Saturday while also having an earlier start time. Much of the festival took place under torrential rain, however, under Wein\u2019s \u201crain or shine\u201d policy, other than moving the scheduled panel discussion indoors, the event proceeded as planned and thousands still attended.<\/p>\n\n\n\n<p>Thursday, July 5th, the audience experienced music from a mixture of older and new names, including Count Basie, Percy Heath, Milt Jackson, Connie Kay, John Lewis, The Modern Jazz Quartet, Roy Haynes, Sarah Vaughn, and Joe Williams. The Charles Mingus Sextet debuted two pieces commissioned by the Foundation. Two gifted immigrant female pianists also impressed listeners. Toshiko Akiyoshi, freshly transported from Japan, gave a peak out of the impressive music scene developing there. Jutta Hipp was a reminder of jazz\u2019s role as a music of freedom. Growing up in Leipzig, at threat of death she had to hide her love of what was deemed \u201cdegenerate\u201d music from the oppressive Nazi government. By the mid-1950s she moved to the United States and recorded with Blue Note Records, a label co-founded by Francis Wolff who came to the country to flee the same horrific regime. Unlike Akiyoshi, who would ultimately become a legendary pianist, Hipp soon gave up her life of music.&nbsp;<\/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_BshOsfIEZIk\"><div id=\"lyte_BshOsfIEZIk\" data-src=\"\/\/i.ytimg.com\/vi\/BshOsfIEZIk\/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\/BshOsfIEZIk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/BshOsfIEZIk\/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>Friday brought, among others, Louis Armstrong, Art Blakey, Dave Brubeck, Donald Byrd, Buck Clayton, Eddie Condon, \u201cWild\u201d Bill Davison, Paul Desmond, Ella Fitzgerald, Bud Freeman, and trombonists Kai Winding and J.J. Johnson. It was also Miles Davis\u2019 first visit to Newport since his success of the prior summer. It wasn\u2019t just the trumpeter who drew George Avakian\u2019s attention, as an arrangement was made between Newport Jazz Festival, Inc. and Columbia Records to capture a number of the sets from the 1956 Festival. While the foundation ended up not faring well under the arrangement, it was for the benefit of listening audiences, as it resulted in <em>Louis Armstrong &amp; Eddie Condon at Newport<\/em> (Columbia, 1956)<em>,<\/em> <em>Dave Brubeck &amp; J.J. Johnson-Kai Winding at Newport <\/em>(Columbia, 1956), two volumes of <em>Duke Ellington &amp; The Buck Clayton All-Stars at Newport <\/em>(Columbia, 1956), and one other.<\/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_-rgIcyF3rRw\"><div id=\"lyte_-rgIcyF3rRw\" data-src=\"\/\/i.ytimg.com\/vi\/-rgIcyF3rRw\/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\/-rgIcyF3rRw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/-rgIcyF3rRw\/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>The afternoon of July 7th showcased a panel discussion and performances by Phineas Newborn, Teddy Charles, pianist Mario Patron, and the Friedrich Gulda Septet. Like Hipp, Gulda was a figure who developed his love of jazz music despite living under Nazi rule before emigrating to the United States and becoming an early advocate of free improvisation.&nbsp;<\/p>\n\n\n\n<p>But it is the evening of July 7th that produced one of the most memorable moments in music history.<\/p>\n\n\n\n<p>In his first appearance at Newport as an artist, Duke Ellington started the festivities by leading his orchestra with \u201cThe Star-Spangled Banner\u201d, \u201cBlack and Tan Fantasy\u201d and \u201cTea for Two\u201d but then left the stage to be used by the other scheduled artists. These included Anita O\u2019Day, Teddy Wilson\u2019s Trio, Bud Shank\u2019s Quartet, Jo Jones\u2019 Trio, Jimmy Giuffre, and Chico Hamilton\u2019s Band. Then, after an uncharacteristic pep talk to the Orchestra, Ellington and his group reclaimed the stage to close out the evening.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"419\" data-attachment-id=\"1268\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ii\/duke-ellington-newport-jazz-festival-1956\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?fit=640%2C419&amp;ssl=1\" data-orig-size=\"640,419\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Duke-Ellington-Newport-Jazz-Festival-1956\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?fit=300%2C196&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?fit=640%2C419&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?resize=640%2C419&#038;ssl=1\" alt=\"\" class=\"wp-image-1268\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?w=640&amp;ssl=1 640w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/Duke-Ellington-Newport-Jazz-Festival-1956.jpg?resize=300%2C196&amp;ssl=1 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/figure>\n\n\n\n<p>The event came at a low point in the iconic bandleader\u2019s career. With the rise of rock and roll &#8211; 1956 is often noted as the year that made Elvis Pressley a star &#8211; big bands waned in popularity. Although together for decades, Ellington\u2019s Orchestra was not immune from these shifting tastes.&nbsp;<\/p>\n\n\n\n<p>Many of his best musicians left the group and rumors spread he could no longer afford to keep the band touring as they increasingly hemorrhaged money. In some ways, he saw Newport as his last chance. In hope of supporting the group, the Foundation commissioned Ellington\u2019s chief composer Billy Strayhorn to assemble a three-part suite. It was hastily composed and not widely received. Continuing, the pianist called for one of his older tunes, \u201cDiminuendo and Crescendo in Blue.\u201d&nbsp;<\/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_PYgow060zOg\"><div id=\"lyte_PYgow060zOg\" data-src=\"\/\/i.ytimg.com\/vi\/PYgow060zOg\/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\/PYgow060zOg\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/PYgow060zOg\/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>The song was originally written by Ellington in 1937 as different pieces, \u201cCrescendo in Blue\u201d and \u201cDiminuendo in Blue.\u201d For years, he would try to spread the two apart and place other songs between them.&nbsp; Neither contained a tenor saxophone solo. On this occasion, he merged them in reverse order and gave saxophonist Paul Gonsalves space for an incredibly long 27 chorus solo. As the song progressed, a platinum blonde woman wearing a dark evening dress jumped from her seat to dance with someone in the crowd. The woman, Elaine Anderson of New Bedford, Massachusetts, is often credited with the frenzy that subsequently arose among the rest of the otherwise subdued and sitting crowd. <\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"406\" height=\"500\" data-attachment-id=\"1255\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ii\/elaine-anderson-dancing-bis\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?fit=406%2C500&amp;ssl=1\" data-orig-size=\"406,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"elaine-anderson-dancing-bis\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?fit=244%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?fit=406%2C500&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?resize=406%2C500&#038;ssl=1\" alt=\"\" class=\"wp-image-1255\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?w=406&amp;ssl=1 406w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/elaine-anderson-dancing-bis.jpg?resize=244%2C300&amp;ssl=1 244w\" sizes=\"auto, (max-width: 406px) 100vw, 406px\" \/><\/figure>\n\n\n\n<p>The song\u2019s driving rhythm and the crowd reaction brought energy few had seen before. As George Wein noted, by the end \u201cthe applause and cheering was immense &#8211; stronger, louder, and more massive than anything ever heard at a jazz concert before.\u201d&nbsp;<\/p>\n\n\n\n<p>It would ultimately result in the other Columbia recording from that year\u2019s Festival,<em> Ellington<\/em> <em>at Newport<\/em> (Columbia, 1956). Although only about 40% of the release was actually from that evening with the rest in studio, it captured the concert\u2019s magic. It has since become not only Duke\u2019s highest-selling album but also one of the best captured at Newport. He soon appeared on the cover of <em>Time<\/em> magazine and his career completely revitalized. As Ellington would later frequently remark, \u201cI was born in 1956 at the Newport Festival.\u201d<br><br><\/p>\n\n\n\n<p>Significant portions of this chapter were adapted from George Wein\u2019s autobiography (written with Nate Chinen) \u2018Myself Among Others\u2019 (Da Capo Press, 2004), and \u201850: The Newport Jazz Festival, 1954-2004\u2019.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The 1956 Newport Jazz Festival\u2019s schedule was adjusted slightly compared to the prior two outings. While still a three-day event with a focus on nighttime performances, it was moved up a day to begin on Thursday and end on Saturday while also having an earlier start time. Much of the festival took place under torrential [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1264,"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":564,"_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":[1159,561],"tags":[756,687,741,730,743,722,684,754,665,758,697,755,734,742,739,752,726,732,738,66,746,725,666,48,49,50,721,727,749,713],"class_list":["post-1252","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-newport-jazz-history","category-special-series","tag-billy-strayhorn","tag-buck-clayton","tag-bud-freeman","tag-charles-mingus","tag-columbia-records","tag-connie-kay","tag-count-basie","tag-duke-ellington-orchestra","tag-eddie-condon","tag-elaine-anderson","tag-ella-fitzgerald","tag-ellington-at-newport","tag-francis-wolff","tag-george-avakian","tag-j-j-johnson","tag-jimmy-giuffre","tag-john-lewis","tag-jutta-hipp","tag-kai-winding","tag-louis-armstrong","tag-mario-patron","tag-milt-jackson","tag-modern-jazz-quartet","tag-newport","tag-newport-jazz","tag-newport-jazz-festival","tag-percy-heath","tag-roy-haynes","tag-teddy-wilson","tag-wild-bill-davison"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-kc","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":6104,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-performances-that-changed-music-history\/","url_meta":{"origin":1252,"position":0},"title":"The Recorded Legacy: Five Newport Performances that Changed Music History","author":"Rob Shepherd","date":"June 19, 2023","format":false,"excerpt":"One cannot adequately assess the history of the Newport Jazz Festival without examining the recordings captured at the event through the years. In many ways approaching the recorded history of Newport is a gargantuan task. Discogs currently reflects 3,292 Newport Jazz releases. Many of these are reissues of albums, and\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-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\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1323,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-iv\/","url_meta":{"origin":1252,"position":1},"title":"A History of the Newport Jazz Festival \u2013 Chapter IV: Revival, 1961-1964","author":"Rob Shepherd","date":"July 26, 2020","format":false,"excerpt":"Following the riots of the prior summer, there was no Newport Jazz Festival in 1961. However, the city had not abandoned the idea of being a cultural center for jazz. Instead, promoter Sid Bernstein hosted \u201cMusic at Newport.\u201d In some ways, it emulated the original. It was set in both\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.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\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2796,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xiii\/","url_meta":{"origin":1252,"position":2},"title":"A History of the Newport Jazz Festival &#8211; Chapter XIII: Echoes of the Past, 2004","author":"Rob Shepherd","date":"June 21, 2021","format":false,"excerpt":"An intense and unceasing downpour left a twenty-eight-year-old George Wein with the difficult question of whether to abruptly cancel his new jazz festival. In response, he adopted a \u201crain or shine\u201d policy which refused to stop the music. This mindset served the Newport Jazz Festival well over the years. The\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.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\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2709,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ix\/","url_meta":{"origin":1252,"position":3},"title":"A History of the Newport Jazz Festival \u2013 Chapter IX: Homecoming, 1981-1983","author":"Rob Shepherd","date":"April 4, 2021","format":false,"excerpt":"\u201cWe\u2019re Back\u201d announced the front page of The Providence Journal, complete with a photo of a smiling George Wein, upon the news of the Newport Jazz Festival\u2019s return to America\u2019s First Resort. And while it was indeed a cause for celebration, the newly reborn festival differed significantly from its predecessor.\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1981-1983.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\/04\/newport-1981-1983.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1981-1983.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1981-1983.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8998,"url":"https:\/\/postgenre.org\/staging\/4567\/jaleel-shaw-newport-2024\/","url_meta":{"origin":1252,"position":4},"title":"Truly Magical Place: Jaleel Shaw Previews his 2024 Newport Jazz Festival Leader Debut","author":"Rob Shepherd","date":"July 14, 2024","format":false,"excerpt":"The Newport Jazz Festival\u2019s history of saxophonists is vast, including heroes like John Coltrane, Sonny Rollins, and Ornette Coleman. What are less discussed are the incredible sidemen at the event over the years. Often, recognition comes only to those who lead their own groups at the Festival. One could argue\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\/06\/img_8834-1.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\/06\/img_8834-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/img_8834-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/img_8834-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1354,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-v\/","url_meta":{"origin":1252,"position":5},"title":"A History of the Newport Jazz Festival \u2013 Chapter V: The New Thing, 1965-1968","author":"Rob Shepherd","date":"July 28, 2020","format":false,"excerpt":"Despite its rough shape, the new site was at a fantastic location. Near the JT Connell Highway, it had sufficient space for both a large stage - more than a third bigger than the prior one - and extensive audience seating. It also allowed for convenient parking, a frequent concern\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-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\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1252","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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=1252"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1252\/revisions"}],"predecessor-version":[{"id":2816,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1252\/revisions\/2816"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/1264"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}