{"id":1699,"date":"2020-09-09T13:28:33","date_gmt":"2020-09-09T18:28:33","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1699"},"modified":"2020-09-09T21:01:56","modified_gmt":"2020-09-10T02:01:56","slug":"jazz-from-a-to-g-sullivans-travels-2020","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/jazz-from-a-to-g-sullivans-travels-2020\/","title":{"rendered":"Jazz from A to G: Sullivan\u2019s Travels, 2020"},"content":{"rendered":"\n<p>It\u2019s 1941, the world is up in flames, fascism has a chokehold, racism and imperialism are the fundaments of effective governance.&nbsp; Where does that leave artists?&nbsp; What is their role in creation during life-threatening and stressful times?<\/p>\n\n\n\n<p><em>Sullivan\u2019s Travels <\/em>(Paramount, 1941) was movie director Preston Sturges\u2019 response that year: A comedy?&nbsp; A drama?&nbsp; A faux-documentary? Yes, yes, and yes.&nbsp; Ultimately, the filmmaker decided to bust open genres and show us that great art is immediate, lasting, and not confined to one form.&nbsp; Life is formless. It has no preordained shape. Our narratives must reflect our experiences past, present, and future; imagined and real.&nbsp; It was Sturges\u2019 genius to make that happen in a movie.<\/p>\n\n\n\n<p>It\u2019s 2020, and while the world is not yet at war, many of the systems and institutions that plagued people in 1941 have morphed into vaguely familiar as well as unrecognizable shapes, placing the artist into a similar&nbsp;predicament as back then. From jazz musicians, we are seeing and hearing sounds and stories that are overtly political in response.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Consider Immanuel Wilkins\u2019 new album&nbsp; <em>Omega<\/em> (Blue Note Records, 2020).&nbsp; His first as a leader includes songs like, \u201c<em>Mary<\/em> <em>Turner<\/em>,\u201d and \u201c<em>Ferguson<\/em>,\u201d both called \u201c<em>An American Tradition<\/em>,\u201d &nbsp; In these moments, the 23-years old saxophonist relies upon music both as catharsis and outcry.&nbsp; He balances the pain of his expressiveness with, \u201c<em>Grace and Mercy<\/em>,\u201d a harmonious tune that draws upon his faith.<\/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__F6uaBtZRHE\"><div id=\"lyte__F6uaBtZRHE\" data-src=\"\/\/i.ytimg.com\/vi\/_F6uaBtZRHE\/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\/_F6uaBtZRHE\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/_F6uaBtZRHE\/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>Music producer and multi-instrumentalist Terrace Martin commented directly on the killing of George Floyd in Minneapolis with the single \u201c<em>Pig Feet<\/em>\u201d (Sound of Crenshaw\/Empire, 2020).&nbsp; As much a rap song as a work of jazz, it features saxophone player Kamasi Washington punctuating sorrowfully and defiantly when the video for the song reveals the names of other Black Americans killed by the police.&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_4VXa28_pWL4\"><div id=\"lyte_4VXa28_pWL4\" data-src=\"\/\/i.ytimg.com\/vi\/4VXa28_pWL4\/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\/4VXa28_pWL4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/4VXa28_pWL4\/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>Martin occupies a unique position in the world of music due to his ability to synthesize various types of composition.\u00a0 He put that to the test in late June by forming a \u201csupergroup\u201d called <em>Dinner Party <\/em>(Sound of Crenshaw\/Empire, 2020), which includes Kamasi Washington, producer 9th Wonder, and jazz pianist Robert Glasper.<\/p>\n\n\n\n<p>\u201cA lot of musicians have so many fucking rules in their heads that they limit themselves,\u201d Terrace Martin is quoted in the June 25th issue of <em>Fader<\/em> magazine when he was asked about <em>Dinner Party<\/em>. \u201cThey know so fucking much, they don&#8217;t know anything.\u201d<\/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_e_zD_w18ysw\"><div id=\"lyte_e_zD_w18ysw\" data-src=\"\/\/i.ytimg.com\/vi\/e_zD_w18ysw\/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\/e_zD_w18ysw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/e_zD_w18ysw\/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>Last year, drummer Terri Lyne Carrington put out <em>Waiting Game<\/em> with her ensemble, <em>Social Science <\/em>(Mot\u00e9ma, 2019), including pianist Aaron Parks and guitarist Matthew Stevens.&nbsp; Carrington, as the founder and artistic director of the Berklee Institute of Jazz and Gender Justice, is no stranger to social justice and music.&nbsp; One of the release\u2019s songs, &#8220;<em>Bells (Ring Loudly)<\/em>,&#8221; written by Parks and Carrington, concerns the murder by police of Philando Castile, a Black citizen of Falcon Heights, a suburb of St. Paul, Minnesota during a routine traffic stop in 2016.&nbsp;&nbsp;&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_jswEBSPLv8Q\"><div id=\"lyte_jswEBSPLv8Q\" data-src=\"\/\/i.ytimg.com\/vi\/jswEBSPLv8Q\/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\/jswEBSPLv8Q\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/jswEBSPLv8Q\/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>Other jazz musicians are of course drawing upon histories&#8211;personal, cultural, and political&#8211;to inspire listeners and express pain.&nbsp; Some remain overt in their art while others recognize implicitly, closer to Sturges, that entertainment as an artist, also has purpose.&nbsp; The vitality of that work, by allowing listeners to feel the depth of their experience, and establishing a refuge away from stress, is meaningful.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Freedom of the music surmounts the idea that jazz must conform or adhere to expectations, whether political or not; it is up to each musician to decide what their task is as an artist (not critics or audiences).<\/p>\n\n\n\n<p>The best creators, outspoken in ideology or implicit, know that art, from their perspective as outsiders, has stories to tell, that are not reflected in the day-to-day.&nbsp; Those narratives are the essence of art.As Brecht said in the musical, <em>The Threepenny Opera \u2013 <\/em>\u201cIt\u2019s art.&nbsp; And art isn\u2019t nice.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3fGqFwD\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"190\" data-attachment-id=\"1518\" data-permalink=\"https:\/\/postgenre.org\/staging\/4567\/columns-haas-way-in\/untitled-3\/\" data-orig-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?fit=590%2C748&amp;ssl=1\" data-orig-size=\"590,748\" 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=\"Untitled\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?fit=237%2C300&amp;ssl=1\" data-large-file=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?fit=590%2C748&amp;ssl=1\" class=\"wp-image-1518\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?resize=150%2C190&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?w=590&amp;ssl=1 590w, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/Untitled-1.jpg?resize=237%2C300&amp;ssl=1 237w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/> Scott Haas&#8217; latest book, &#8220;Why Be Happy?: The Japanese Way of Acceptance&#8221; is available in our Amazon affiliate store.<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3bFBfDT\">The film <em>Sullivan&#8217;s Travels<\/em> is available for rent or purchase in our Amazon affiliate store.<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/35kucPD\">Immanuel Wilkins&#8217; <em>Omega<\/em> is now out on Blue Note Records. It can also be purchased from our Amazon affiliate store.<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/35k7Cqi\">Supergroup <em>Dinner Party<\/em>&#8216;s self-titled album is now available on Sounds of Crenshaw\/EMPIRE. It is available in our Amazon affiliate store.<\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3bJ9dr0\">Terri Lynne Carrington and Social Science&#8217;s <em>Waiting Game<\/em> is also out now on Mot\u00e9ma. It too can be purchased from our Amazon affiliate store.  <br><\/a><br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s 1941, the world is up in flames, fascism has a chokehold, racism and imperialism are the fundaments of effective governance.&nbsp; Where does that leave artists?&nbsp; What is their role in creation during life-threatening and stressful times? Sullivan\u2019s Travels (Paramount, 1941) was movie director Preston Sturges\u2019 response that year: A comedy?&nbsp; A drama?&nbsp; A faux-documentary? [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":1700,"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":11,"_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":[1127,1128],"tags":[],"class_list":["post-1699","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-columns","category-scott-haas-jazz-from-a-to-g"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/BeFunky-collage-2.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-rp","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":1502,"url":"https:\/\/postgenre.org\/staging\/4567\/columns-haas-way-in\/","url_meta":{"origin":1699,"position":0},"title":"Jazz from A to G: The Way In","author":"Scott Haas","date":"August 11, 2020","format":false,"excerpt":"Early on, listening to Led Zeppelin or Jimi Hendrix, jazz was something in another yard, walled-off, and separated from what I was listening to on the radio.\u00a0 It was an idea--segregated by race, primarily, and from behind that wall, everything else in the music stayed hidden. So when I listened\u2026","rel":"","context":"In &quot;Columns&quot;","block_context":{"text":"Columns","link":"https:\/\/postgenre.org\/staging\/4567\/category\/columns\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/scott4.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\/08\/scott4.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/scott4.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/scott4.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":1699,"position":1},"title":"John Chacona\u2019s Best Albums of 2020","author":"John Chacona","date":"January 17, 2021","format":false,"excerpt":"Here it is, a \"Best Of\" list for the worst of years. Alright, that's a bit jokey; the fact is that 2020 produced an extraordinary efflorescence of great music. Lilacs out of the dead land of pandemic-ravaged, polarized America. This list was culled from a larger list of superb recordings,\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\/01\/chacona-list-2020.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\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1823,"url":"https:\/\/postgenre.org\/staging\/4567\/sun-ra-legacy\/","url_meta":{"origin":1699,"position":2},"title":"Traveling the Spaceways: Sun Ra Arkestra&#8217;s &#8216;Swirling&#8217; and M&#8217;Lumbo and Jane Ira Bloom&#8217;s &#8216;Celestial Mechanics&#8217;","author":"Rob Shepherd","date":"October 31, 2020","format":false,"excerpt":"Sun Ra was born on the planet Saturn sometime presumably in the early 20th Century. Some historians mistake him for a gifted pianist named Herman Poole \u201cSonny\u201d Blount, who was born in Birmingham, Alabama in 1914. In reality, he was the first great composer born on another planet to came\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\/2020\/10\/sun-ra.jpg?fit=951%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/sun-ra.jpg?fit=951%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/sun-ra.jpg?fit=951%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/sun-ra.jpg?fit=951%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":202,"url":"https:\/\/postgenre.org\/staging\/4567\/five-genre-defying-selections-from-newport-jazz-festivals-first-wave-of-2020-performers\/","url_meta":{"origin":1699,"position":3},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s First Wave of 2020  Performers","author":"Rob Shepherd","date":"February 11, 2020","format":false,"excerpt":"The historic Newport Jazz Festival has released a list of 36, out of approximately 60, groups which will appear across its four stages at Fort Adams this summer. As the first modern music festival, one may mistakenly assume that most of the acts reflect a more traditional view of jazz.\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"Newport 2020","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1771,"url":"https:\/\/postgenre.org\/staging\/4567\/azymuth-jid-004\/","url_meta":{"origin":1699,"position":4},"title":"Review: Azymuth, Adrian Younge &#038; Ali Shaheed Muhammad\u2019s \u2018Azymuth JID 004&#8242;","author":"Rob Shepherd","date":"October 19, 2020","format":false,"excerpt":"In the field of astrodynamics, azimuth is essentially a way of navigating based on an established location, usually true North. Even its etymology suggests use in voyaging as it was derived from the Arabic term as-sum\u016bt, roughly translated into \"the directions.\"\u00a0 It is an excellent descriptor for a trio that\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\/2020\/10\/211A1628.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\/10\/211A1628.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/211A1628.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/211A1628.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2388,"url":"https:\/\/postgenre.org\/staging\/4567\/hof-on-the-corner\/","url_meta":{"origin":1699,"position":5},"title":"2020 PostGenre Hall of Fame Inductee: Miles Davis&#8217; &#8216;On the Corner&#8217;","author":"Rob Shepherd","date":"January 18, 2021","format":false,"excerpt":"\u201cAn insult to the intellect of the people.\u201d \u201cRepetitious crap.\u201d \u201cPure arrogance.\u201d These are just a few of the choice descriptions provided to Miles Davis\u2019 On the Corner (Columbia, 1972) upon its initial release. Or, as Stan Getz described it, \u201c[t]hat music is worthless. It means nothing; there is no\u2026","rel":"","context":"In &quot;Hall of Fame&quot;","block_context":{"text":"Hall of Fame","link":"https:\/\/postgenre.org\/staging\/4567\/category\/hall-of-fame\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/On-the-Corner.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\/On-the-Corner.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/On-the-Corner.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/On-the-Corner.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1699","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\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=1699"}],"version-history":[{"count":3,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1699\/revisions"}],"predecessor-version":[{"id":1705,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1699\/revisions\/1705"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/1700"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1699"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1699"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1699"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}