{"id":1771,"date":"2020-10-19T23:59:29","date_gmt":"2020-10-20T04:59:29","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1771"},"modified":"2021-06-24T17:01:41","modified_gmt":"2021-06-24T22:01:41","slug":"azymuth-jid-004","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/azymuth-jid-004\/","title":{"rendered":"Review: Azymuth, Adrian Younge &#038; Ali Shaheed Muhammad\u2019s \u2018Azymuth JID 004&#8242;"},"content":{"rendered":"\n<p>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 <em>as-sum\u016bt<\/em>, roughly translated into &#8220;the directions.&#8221;&nbsp; It is an excellent descriptor for a trio that has been spanning outward from set ideas into new territories. While the group has performed together for nearly half a century, its latest, <em>Azymuth JID004<\/em> proves that time has not docked its sonic travels.&nbsp;<\/p>\n\n\n\n<p>The release is also a fitting follow-up to its immediately preceding chapter of Ali Shaheed Muhammad and Adrian Younge\u2019s unique series. Like Marcos Valle, Azymuth used Brazilian samba as its start, drifting out to incorporate concepts from jazz, funk, disco, and psychedelic rock to create its own form of M\u00fasica Popular Brasileira (MPB). This trajectory did not run parallel to the vocalist\u2019s, but rather intersected it. The ensemble of pianist-keyboardist Jose Roberto Bertrami, bassist Alex Malheiros, and drummer Ivan Conti originally went by many different names. In primarily creating cover music, they were known first as Grupo Sele\u00e7\u00e3o. When later joined by Valle, they went as <em>Som Ambiente<\/em> (CID, 1972) and then Fly Cruzeiro (<em>Brazil by Music<\/em>, Believe Musc\/The Orchard Music, 1972). In 1973, they provided the soundtrack to <em>O Fabuloso Fittipaldi<\/em>, a film honoring the great Brazilian Formula 1 driver Emerson Fittipaldi. It is in these sessions the name Azymuth emerged, borrowing its title from one of the Valle-penned compositions.&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_frDpc0zd-mk\"><div id=\"lyte_frDpc0zd-mk\" data-src=\"\/\/i.ytimg.com\/vi\/frDpc0zd-mk\/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\/frDpc0zd-mk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/frDpc0zd-mk\/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 group\u2019s self-titled release in 1975 (<em>Azimuth<\/em>, Som Livre) laid out its trademark sound blending traditional Brazilian rhythms with contemporary synthesizers and improvisation. Later, Azymuth was the first band to utilize electronic instruments at the Teatro Municipal de S\u00e3o Paulo; in fact, some credit them as progenitors of modern EDM. <em>Agua Nao Come Mosca <\/em>(Atlantic, 1977) spread the trio\u2019s music throughout the world, setting the stage for its most successful album. <em>Light as a Feather<\/em> (Milestone, 1979) would sell over half a million copies with the song \u201cJazz Carnival\u201d becoming a hit. In turn, this generated a significant following for much of the 1980s.<\/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_C9n02sGMaiU\"><div id=\"lyte_C9n02sGMaiU\" data-src=\"\/\/i.ytimg.com\/vi\/C9n02sGMaiU\/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\/C9n02sGMaiU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/C9n02sGMaiU\/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>Over the ensuing decades, the group would continue to record and tour albeit with a personnel change; when Bertrami died in 2012, Kiko Continentino stepped into the role. They also obtained a new following from various DJs using their work, including MF Doom,&nbsp; Madlib, Jazzanova, and Flying Lotus. Given this backdrop and Muhammad and Younge\u2019s own histories, it should come as no surprise that so much of <em>JID004<\/em> seems designed for sampling. The various hooks &#8211; from the mid-tempo guitar on \u201cSumar\u00e9\u201d to, the pop-influenced piano on \u201cPulando Corda\u201d- feel like building blocks for music to come.&nbsp;<\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1347690555\/album=3744356464\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The opening track, \u201cA Redor Do Samba,\u201d or \u201cAround Samba\u201d in Portuguese, well-encapsulates the band\u2019s long-standing concept as it starts with style as a focal point around which it circumnavigates using a relaxed guitar and upbeat tempo to propel to the shores of jazz-funk rhythms with an organ and keyboards serving as the waves pushing them in one direction or another, sometimes pacifically and other times virulently.&nbsp; On \u201cSumar\u00e9,\u201d these chordal instruments mimic a Philly soul style orchestral sound as powerhouse bass lays down a deep groove.&nbsp;<\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=532397597\/album=3744356464\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Most compositions are smoother and set foot on a gentler ground than much of the band\u2019s classic recordings. This is perhaps best exhibited on \u201cFall Afternoon\u201d where the pyrotechnic electronic timbres well known from \u201cJazz Carnival\u201d are replaced with a softer saxophone led walk through a path alongside trees with changing colored leaves. But this is not the case for the entirety of the album. \u201cApocal\u00edptico\u201d is built around an aggressive bassline, raucous and seemingly freely-improvised synthesizers and keyboards, and variable time signatures. The end product is fascinating yet rougher than the sounds to which Azymuth\u2019s name is typically associated. Slightly more subdued, \u201cCat Jump\u201d adopts thunderous percussion and baritone sax to invoke a large cat (or possibly a much smaller feline friend) jumping across platforms.&nbsp;<\/p>\n\n\n\n<p>At 41 minutes, <em>JID004<\/em> is longer than its overly short predecessors, each of which clocked in under a half-hour. Despite its longer duration, however, it is still missed an opportunity. Given the Azymuth\u2019s long history with Valle and that Muhammad and Younge teamed up with him as part of this same series, it would have been nice for him to have taken a guest spot on one of the tunes. His soothing tones would be particularly welcome on various portions of either \u201cSumar\u00e9\u201d or \u201cQuiet Storm.\u201d&nbsp;<\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=2778162494\/album=3744356464\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Despite this minor misgiving, however, Azymuth\u2019s contribution is a welcome addition to the Jazz is Dead series. It is generally steeped in the sounds of years past, particularly the 1970s and 1980s. But, as with samba itself, the group is neither shying away from that fact nor content to confine themselves to it. <em>JID004 <\/em>is not afraid to explore new avenues and affirms that concepts from more traditional Brazilian musical forms can still grow and produce novel sonic ideas, both by the artists themselves and by future beat-makers who will revisit them.&nbsp;&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/jazzisdead.bandcamp.com\/album\/azymuth-jid004\"><em>JID004 <\/em>will be available on October 23, 2020 on CD, LP, digital, or as part of the series&#8217; subscription service. <\/a><\/p>\n\n\n\n<p>Tracklist: (1) A Redor Do Samba, (2) Sumar\u00e9, (3)Cat Jump, (4) Fall Afternoon, (5) Friendship Samba, (6), Apocal\u00edptico, (7) Pulando Corda, (8) Quiet Storm<\/p>\n\n\n\n<p>Personnel: Alex Malheiros (bass), Ivan \u201cMam\u00e3o\u201d Conti (drums), Kiko Continentinho (synthesizer, keyboards, piano), Ali Shaheed Mahammad (various instruments), Adrian Younge (various instruments).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>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 &#8220;the directions.&#8221;&nbsp; It is an excellent descriptor for a trio that has been spanning outward from [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1775,"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":79,"_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":[2,1184],"tags":[],"class_list":["post-1771","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","category-jazz-is-dead"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/211A1628.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-sz","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":982,"url":"https:\/\/postgenre.org\/staging\/4567\/review-roy-ayers-adrian-younge-ali-shaheed-muhammad-roy-ayers-jid-002\/","url_meta":{"origin":1771,"position":0},"title":"Review: Roy Ayers, Adrian Younge &#038; Ali Shaheed Muhammad&#8217;s &#8216;Roy Ayers JID 002&#8217;","author":"Rob Shepherd","date":"June 21, 2020","format":false,"excerpt":"Humanity has a longstanding fascination with incorporating the latest technological developments into music. This interest is perhaps most evident in the history of sampling. In the 1940s, Pierre Schaeffer started producing sonic collages by splicing and manipulating sound recordings. His works formed the base of an experimental form known as\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"Roy Ayers Ali Shaheed Muhammad Adrian Younge","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/06\/0Z3A9960-e1592536780708.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\/2020\/06\/0Z3A9960-e1592536780708.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/06\/0Z3A9960-e1592536780708.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/06\/0Z3A9960-e1592536780708.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/06\/0Z3A9960-e1592536780708.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1600,"url":"https:\/\/postgenre.org\/staging\/4567\/review-valle-jid003\/","url_meta":{"origin":1771,"position":1},"title":"Review: Marcos Valle, Adrian Younge &amp; Ali Shaheed Muhammad\u2019s \u2018Marcos Valle JID 003\u2019","author":"Rob Shepherd","date":"August 20, 2020","format":false,"excerpt":"In the year 1500, navigator Pedro \u00c1lvares Cabral claimed Brazil as a colony for the Portuguese empire. Despite the region\u2019s immense beauty, the measure was primarily a strategic one, beginning an era deemed \u201cThe Sugar Age,\u201d in which millions of slaves were imported, particularly from Congo,\u00a0 to harvest the resource\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\/08\/0Z3A3465-scaled.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\/2020\/08\/0Z3A3465-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/0Z3A3465-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/0Z3A3465-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/0Z3A3465-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":10060,"url":"https:\/\/postgenre.org\/staging\/4567\/protecting-the-history-a-conversation-with-ebo-taylor\/","url_meta":{"origin":1771,"position":2},"title":"Protecting the History: A Conversation with Ebo Taylor","author":"Rob Shepherd","date":"January 23, 2025","format":false,"excerpt":"Many define \u201cjazz\u201d as the meeting of African rhythms and European harmonies. In a sense, this narrative is accurate - if you remove the influence of the church, songs of the field, or cues from the homeland - the form would cease to exist. But, in another sense, this effort\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\/2025\/01\/img_0968-1.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\/2025\/01\/img_0968-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0968-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/01\/img_0968-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":3587,"url":"https:\/\/postgenre.org\/staging\/4567\/anthony-dean-harris-favorite-albums-of-2021\/","url_meta":{"origin":1771,"position":3},"title":"Anthony Dean-Harris\u2019 Favorite Albums of 2021","author":"Anthony Dean-Harris","date":"December 19, 2021","format":false,"excerpt":"[Editor\u2019s Note: We are excited to have Anthony Dean-Harris join us again for our year-end lists to share his 25 favorite \"jazz\" albums and 10 \"other\" albums of 2021. Anthony is a skilled writer whose credits include being a contributor to Downbeat and serving as the former Editor-in-Chief of Nextbop.\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-8.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\/BeFunky-collage-8.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-8.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/BeFunky-collage-8.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5993,"url":"https:\/\/postgenre.org\/staging\/4567\/peace-sound-lonnie-liston-smith-i\/","url_meta":{"origin":1771,"position":4},"title":"Peace Through Sound:  A Conversation with Lonnie Liston Smith (Part One)","author":"Rob Shepherd","date":"June 8, 2023","format":false,"excerpt":"Across their almost twenty volumes of the Jazz is Dead series, performer-producers Ali Shaheed Muhammad and Adrian Younge have exposed listening audiences to under-discussed legends among us who continue to shape music. Of particular focus have been the luminaries who made incredible improvisation-based music during the era of jazz\u2019s alleged\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\/2023\/06\/IMG_7202-1.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\/IMG_7202-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/IMG_7202-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/IMG_7202-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4906,"url":"https:\/\/postgenre.org\/staging\/4567\/2022-newport-preview-sunday\/","url_meta":{"origin":1771,"position":5},"title":"What to See at the 2022 Newport Jazz Festival &#8211; Sunday","author":"Rob Shepherd","date":"July 27, 2022","format":false,"excerpt":"Especially after attending for nearly two decades, this author has a deep admiration and respect for the Newport Jazz Festival. Our site extensively covers the history of the legendary festival from before its formation to the present. Under normal circumstances, our site would feature coverage from Fort Adams of 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\/2022\/07\/P80600961.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\/2022\/07\/P80600961.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80600961.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80600961.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1771","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=1771"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1771\/revisions"}],"predecessor-version":[{"id":2850,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1771\/revisions\/2850"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/1775"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1771"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}