{"id":1925,"date":"2020-11-17T21:55:36","date_gmt":"2020-11-18T03:55:36","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=1925"},"modified":"2021-06-24T16:49:29","modified_gmt":"2021-06-24T21:49:29","slug":"jarrett-budapest-concert","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/jarrett-budapest-concert\/","title":{"rendered":"Review: Keith Jarrett&#8217;s &#8216;Budapest Concert&#8217;"},"content":{"rendered":"\n<p>On January 24, 1975, Keith Jarrett sat, in pain, at the keys of a decrepit and horribly out-of-tune piano. The instrument\u2019s pedals did not function properly, giving both a dampened lower register and a harsh upper one. Even after several hours of adjustments, it was still defective.&nbsp; Anyone rationally analyzing this situation would see these failings as the culminating moment of a tour full of malaise. It came as Jarrett suffered from intense back pain for several days, which in turn also caused physical exhaustion from lack of sleep. The five-hour drive to the concert hall only made matters worse. Due to some confusion by wait staff at a local restaurant, he also ate almost nothing before taking the stage. Despite all this, Jarrett looked deep into his soul and threw everything &#8211; frustration, pain, longing, and dreams of a better time &#8211; onto the canvas of his broken tool&#8217;s fifty-two keys and created art that continues to inspire and invigorate. To do so, he borrowed from a palette of ideas from jazz, classical, Latin, gospel, folk, and country to create a holistic whole. The resulting album, <em>The K\u00f6ln Concert <\/em>(ECM Records, 1975), continues to serve as both a model for modern solo piano recordings and a high-point in the discography of ECM, a label that has consistently produced excellence. The music is a powerful statement on the beauty that can emerge in even the most difficult of circumstances. And so, to hear the pianist now hold out <em>Budapest Concert<\/em> (ECM Records, 2020), as his \u201cgold standard\u201d against which to measure his other unaccompanied outings must initially give pause.&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_y9rTZLjBOfI\"><div id=\"lyte_y9rTZLjBOfI\" data-src=\"\/\/i.ytimg.com\/vi\/y9rTZLjBOfI\/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\/y9rTZLjBOfI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/y9rTZLjBOfI\/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>Although Jarrett has had dozens of solo releases throughout his career, given <em>K\u00f6ln\u2019s<\/em> preeminence, it does seem like the best for comparative purposes. Structurally, the older work was fully improvised and made up of two major parts with three sub-parts for the second. <em>Budapest Concert<\/em> does not precisely follow this compositional approach; it includes two pre-composed pieces &#8211; a heavy-hearted rendition of \u201cIt\u2019s a Lonesome Old Town\u201d and a hopeful \u201cAnswer Me.\u201d Their addition is not out of place among Jarrett\u2019s overall output, as he has covered both several times but still differs from <em>K\u00f6ln.&nbsp;<\/em><\/p>\n\n\n\n<p>These two songs notwithstanding, at first glance, the remainder of <em>Budapest Concert<\/em> appears to follow <em>K\u00f6ln<\/em>\u2019s structure, one carried through much of Jarrett\u2019s solo releases. The other twelve tracks are indeed titleless spontaneous compositions. However, they are significantly shorter and numerous. This generally also means they are much more regimented. The parts now thoroughly resemble distinct and isolated movements instead of more amorphous concepts. That does not mean that <em>Budapest Concert<\/em>\u2019s list of influences is truncated compared to <em>K\u00f6ln. <\/em>However, they are generally more compartmentalized.&nbsp;<\/p>\n\n\n\n<p>Consider \u201cPart IV,\u201d where pounding bass notes move tumultuously below a blues-based line on the upper register. It is oddly reminiscent of heavier sounding rock music with his left hand approximating a raging rhythm section while his right forges a melody. It is a testament to Jarrett\u2019s skill as an improviser with seemingly pre-written when fully created within the moment. But, the entirety of the \u201cPart\u201d rotates around a central approach. Although it may roughly turn the corner at times, it never veers into other lanes.&nbsp;<\/p>\n\n\n\n<iframe allow=\"autoplay *; encrypted-media *; fullscreen *\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https:\/\/embed.music.apple.com\/us\/album\/budapest-concert-live\/1528317085\" height=\"450\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>\u201cPart XII- Blues\u201d sits somewhere between the piano heritages of East Texas and New Orleans in a manner reminiscent of &#8220;True Blues&#8221; off of <em>The Carnegie Hall Concert <\/em>(ECM Records, 2006). Jarrett\u2019s notorious vocalizations, for which some have criticized him in the past, fit wonderfully, suggesting a weakened old bluesman whose voice wasn\u2019t what it once was but still sings from the heart because he can\u2019t imagine not doing otherwise.&nbsp; Jarrett\u2019s vocals also add color to \u201cPart III,\u201d&nbsp; where they often sound like a string instrument, possibly a cello. A series of trills develop as the piano twists and winds over this imaginary orchestral instrument. High notes and low ones send warning signals before discordant chords pave a path for a frantic fury across the keyboard, testing the instrument\u2019s limits. Both cases, however, clearly locate themselves within certain generally identifiable frameworks.&nbsp;<\/p>\n\n\n\n<p>The foregoing notwithstanding, there is not always sturdy walls constructed between precepts. With \u201cPart I\u201d the audience ostensibly joins a performance already in progress. The piece straddles some space between \u201cjazz,\u201d late 20th Century \u201cclassical,\u201d and even \u201cnoise.\u201d A torrential rain of notes resonates like an orchestra crammed into the small wooden frame of his piano. It is not immediately accessible but, like the best art, does reward increased focus and attention to detail. Of course, ECM head Manfred Eicher\u2019s stereotypically exemplary production also creates an environment in which the space between the notes is just as instructive as that which is heard.&nbsp;<\/p>\n\n\n\n<p>This interplay between sound and silence also allows for ghosts of musicians past to appear. At times \u201cPart I\u201d hints the melody of \u201cGiant Steps.\u201d \u201cPart V\u201d does the same with Charlie Parker\u2019s \u201cNow the Time\u201d and \u201cPart VII\u201d with Bernstein\u2019s \u201cSomewhere.\u201d Are these Jarrett\u2019s influences subconsciously emerging? Intentional decisions by the artist? Or this writer\u2019s own biases attempting to make something objective out of the undeniably subjective? Ultimately, the fact these questions remain unresolved gives an increased depth to Jarrett\u2019s art.&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_hHYJ_IdHJG0\"><div id=\"lyte_hHYJ_IdHJG0\" data-src=\"\/\/i.ytimg.com\/vi\/hHYJ_IdHJG0\/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\/hHYJ_IdHJG0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hHYJ_IdHJG0\/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 soulful \u201cPart VII\u201d is a beautiful reminder of the sonic lineage stretching from B\u00e9la Bart\u00f3k &#8211; for whom the concert hall hosting this 2016 performance was named &#8211; to Jarrett. Bart\u00f3k, himself a pianist who pieced together ideas from different styles and cultures to create something new, was one of the founders of ethnomusicology. He refused to draw needless cultural or social lines in his art. \u201cPart VII\u201d takes this to heart by drawing upon folk, country, and jazz to produce a sound that is simultaneously contemplative and ebullient. Of the entirety of <em>Budapest Concert<\/em>, in this sense, it is also the portion most reminiscent of the best moments on<em> K\u00f6ln<\/em>. It also further confirms that while on many tracks Jarrett increasingly separates concepts, such division is more of an organizational mechanism than any commentary on the worthiness or compatibility of parts. <\/p>\n\n\n\n<p>The recent news that Jarrett suffered two strokes in 2018 and would likely never perform in public again is devastating. For an artist to be deprived of the ability to continue to produce their life\u2019s work is, of course, a travesty. But, as this album confirms, it is also a grave loss to the listener. <em>Budapest Concert<\/em> should rank among Jarrett\u2019s finest due to its ability to both stir the audience\u2019s emotions while generating significant contemplation. But will it ultimately dethrone <em>The K\u00f6ln Concert<\/em> as his best solo release? While this writer currently suspects not, only time and serious reflection will tell.&nbsp;<br><br><em><a href=\"https:\/\/ecmrecords.com\/shop\/1594369609\/budapest-concert-keith-jarrett\">Budapest Concert is now available on CD.  <\/a><\/em><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/32MaJWb\"><em>A digital copy can also be purchased through our Amazon affiliate store. <\/em><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On January 24, 1975, Keith Jarrett sat, in pain, at the keys of a decrepit and horribly out-of-tune piano. The instrument\u2019s pedals did not function properly, giving both a dampened lower register and a harsh upper one. Even after several hours of adjustments, it was still defective.&nbsp; Anyone rationally analyzing this situation would see these [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1947,"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":216,"_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],"tags":[],"class_list":["post-1925","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/2700_Keith-Jarrett_Daniela-Yohannes2.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-v3","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11843,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-three\/","url_meta":{"origin":1925,"position":0},"title":"The Cellar Door Sessions at Fifty-Five: December 18, 1970","author":"John Chacona","date":"December 22, 2025","format":false,"excerpt":"Friday, December 18, 1970 When The Cellar Door Sessions 1970 (Columbia, 2005) recordings were made, none of the members of Miles\u2019 band had yet reached age thirty. The leader himself was only forty-four. But even at their younger ages, the intense physicality of the playing for three sets a night,\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_3247.jpg?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11848,"url":"https:\/\/postgenre.org\/staging\/4567\/cellar-door-sessions-at-fifty-five-night-four\/","url_meta":{"origin":1925,"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":1925,"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":1925,"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":364,"url":"https:\/\/postgenre.org\/staging\/4567\/review-charles-lloyds-8-kindred-spirits-live-from-the-lobero\/","url_meta":{"origin":1925,"position":4},"title":"Review: Charles Lloyd&#8217;s &#8216;8: Kindred Spirits (Live from the Lobero)&#8217;","author":"Rob Shepherd","date":"February 26, 2020","format":false,"excerpt":"For one unfamiliar with Charles Lloyd\u2019s illustrious discography, an octogenarian NEA Jazz Master may seem like an odd focal point for a site focused on music that pushes beyond categorical lines. However, the saxophonist has spent his entire career defying convention. From his early sideman recordings with Chico Hamilton to\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"Charles Lloyd","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/2019CharlesLloyd_image01.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/2019CharlesLloyd_image01.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/2019CharlesLloyd_image01.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/2019CharlesLloyd_image01.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":1925,"position":5},"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":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1925","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=1925"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1925\/revisions"}],"predecessor-version":[{"id":2840,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/1925\/revisions\/2840"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/1947"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=1925"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=1925"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=1925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}