{"id":2137,"date":"2020-12-15T23:46:58","date_gmt":"2020-12-16T05:46:58","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2137"},"modified":"2020-12-15T23:54:46","modified_gmt":"2020-12-16T05:54:46","slug":"rob-shepherd-best-of-2020","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/rob-shepherd-best-of-2020\/","title":{"rendered":"The Editor\u2019s Reflections on a Crazy Year and his Best of 2020"},"content":{"rendered":"\n<p>Historians will probably remember 2020 primarily for the COVID pandemic, movements for racial justice, and lots and lots of politics. While all of that is true, to me it will also mark the creation of this site. Postgenre was born on February 20, 2020, less than a month before state and local governments would begin shutting down live performances, I picked a \u201cgreat\u201d time to start this new venture focused on music.<\/p>\n\n\n\n<p>Nevertheless, we persisted. We went from a very small group to <a href=\"https:\/\/postgenre.org\/staging\/4567\/contributors\/\">a strong team of eight &#8211; and growing &#8211; writers<\/a>. Reviews expanded to incorporate interviews with fascinating figures from producers <a href=\"https:\/\/postgenre.org\/staging\/4567\/hal-willner-marc-urselli\/\">Marc Urselli<\/a> and <a href=\"https:\/\/postgenre.org\/staging\/4567\/analog-players-society-tilted-soundtrack\/?_thumbnail_id=1667\">Ben Rubin<\/a> to artists <a href=\"https:\/\/postgenre.org\/staging\/4567\/monster-rally-interview\/\">Ted Feighan<\/a> and <a href=\"https:\/\/postgenre.org\/staging\/4567\/beating-with-heart-alexander-floods-percussive-exploration-of-cultures-and-technology\/?preview=true&amp;_thumbnail_id=937\">Alexander Flood<\/a>. We have a periodic column analyzing music. We found ways to <a href=\"https:\/\/postgenre.org\/staging\/4567\/bitches-brew-50th-anniversary-celebration\/\">celebrate the influence of Bitches Brew on its 50th anniversary<\/a> and to <a href=\"https:\/\/postgenre.org\/staging\/4567\/jazz-is-dead\/\">regularly explore Adrian Younge and Ali Shaheed Muhammad\u2019s fascinating work on the Jazz is Dead Series<\/a>. And then, there is Newport.\u00a0<\/p>\n\n\n\n<p>Initial plans called for live coverage of this year\u2019s edition of the Newport Jazz Festival to play a major role on the site. With the event canceled, <a href=\"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-history\/\">our focus shifted to its incredible history, <\/a>something I have long hoped to write on. Thus far, the series has stopped with 1981 but we hope to bring the remaining four decades sometime soon, along with many other fascinating projects we already have planned for 2021.&nbsp;<\/p>\n\n\n\n<p>I would like to thank everyone who played a role in making it possible to get to where we are today. Though I am sure I will forget someone, I would particularly like to thank, in no particular order, Brian, John, Avery, Colin, Scott, Daniel, Julian, and Anthony. I would also like to especially thank my wife, Jordan. Better half does not begin to describe her. She has also played a significant role in forming and running this site behind the scenes.&nbsp;<\/p>\n\n\n\n<p>Without much further ado, the reason you clicked this link; my ten selections (and 15 honorable mentions) for the best albums of 2020. I would like to make one last observation, however. In writing summaries for this piece, I came to realize that half of the main list consisted of releases by groups led or co-led by women. As I did not notice this fact until the list was completed, it was not an overtly conscious choice on my part. One hopes it reflects increased- long overdue &#8211; attention by the music industry to the works of brilliant female artists.&nbsp;<\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>10. George Burton, <em>Reciprocity<\/em> (self-released)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"435\" style=\"position: relative; display: block; width: 560px; height: 435px;\" src=\"\/\/bandcamp.com\/VideoEmbed?track=2052392143&#038;size=venti&#038;bgcol=ffffff&#038;linkcol=0687f5&#038;minimal=true\" allowtransparency=\"true\" frameborder=\"0\" mozallowfullscreen='1' webkitallowfullscreen='1' allowfullscreen='1'><\/iframe>\n\n\n\n<p>&nbsp;&nbsp;&nbsp; <\/p>\n\n\n\n<p>As the<a href=\"https:\/\/postgenre.org\/staging\/4567\/review-george-burtons-reciprocity\/\"> first album reviewed specifically for PostGenre<\/a>, <em>Reciprocity <\/em>has significant sentimental value. Because of this, considerable time and attention were needed to ensure this choice was not a biased one. Repeat listenings only further confirmed its placement among this year\u2019s finest. Burton is a gifted pianist with a clear intent and purpose behind his work. He does not release music lightly. And, in this case, his focus on the relationship between audience and artist seems particularly prescient. To some extent, this dynamic has been redefined during a time of quarantine. But shutdowns did not begin until a month after <em>Reciprocity <\/em>was shared with the public. The expanded septet uses this focal point to not only blur lines between genre &#8211; adopting from \u201cjazz,\u201d \u201chip hop,\u201d \u201crock,\u201d and \u201celectronic\u201d among others &#8211; but also spoken word and music generally. Sigmund Washington\u2019s beautiful stop-motion animated video for &#8220;Finding&#8221; just further adds to this focus by narrowing the gap between visual and aural art. The result is an exquisite multi-faceted work.&nbsp;<\/p>\n\n\n\n<p><em>Reciprocity is available on <a href=\"https:\/\/georgeburton.bandcamp.com\/album\/rec-i-proc-i-ty-2\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/3p98KnF\">our Amazon Affiliate Store. <\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>&nbsp;9. Susan Alcorn Quintet, <em>Pedernal<\/em> (Relative Pitch)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3406451949\/album=306898340\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/minimal=true\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><em>Pedernal <\/em>is another project with personal connections. The last live performance I was able to attend in the \u201cbefore times\u201d was an awe-inspiring evening of Thumbscrew joined by Alcorn; 3\/5s of this group\u2019s lineup. But, again, the recording stands on its own. Susan Alcorn is a brilliant steel guitarist who has never artificially limited her creative focus. Those paying attention are already familiar with her prowess in moving the lap steel guitar beyond its traditional realms of Hawaiian or Country\/Western music. This includes her breathtaking renditions of Astor Piazzolla\u2019s compositions on <em>Soledad<\/em> (Relative Pitch, 2015). <em>Pedernal <\/em>adds to this by showing her strengths as a songwriter. The pieces never fit into neat boxes in terms of style or approach and are simultaneously respective of her instrument\u2019s tradition and untethered to it. Indeed, for the majority of the album, the leader\u2019s sound seems to shift dramatically; at times reminiscent of a solo guitarist in a desolate land and others, due to its unique timbre, exhibiting the power of an orchestra. It also helps she\u2019s assembled a superpowered team &#8211;&nbsp; Mary Halvorson, Michael Formanek, Mark Feldman, and Ryan Sawyer- which reads like a who\u2019s who of artists willing to push beyond conventions.&nbsp;<\/p>\n\n\n\n<p>Check out John Chacona\u2019s review of the album <a href=\"https:\/\/postgenre.org\/staging\/4567\/alcorn-pedernal\/\">here<\/a>.&nbsp;<\/p>\n\n\n\n<p><em>Pedernal is available on <a href=\"https:\/\/relativepitchrecords.bandcamp.com\/track\/pedernal\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/38341Ne\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>8. Angelica Sanchez &amp; Marilyn Crispell, <em>How to Turn the Moon<\/em> (Pyroclastic)<\/strong><\/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_NV4CtceSDC0\"><div id=\"lyte_NV4CtceSDC0\" data-src=\"\/\/i.ytimg.com\/vi\/NV4CtceSDC0\/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\/NV4CtceSDC0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/NV4CtceSDC0\/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 piano duo concept is hardly new, dating back at least two centuries to Bach\u2019s \u201cSonata in G Major for Two Harpsichords or Two Pianos, Op. 15, No. 5\u201d (1778), if not earlier. However, when those pianists are Sanchez and Crispell, the last thing one should expect is adherence to orthodoxy. Artists have long confirmed the piano\u2019s role as a percussion instrument due to its use of hammers striking strings. But most listeners find this hard to appreciate, even while conceding physical logistics make it true. <em>How to Turn the Moon<\/em> does an exemplary job at eradicating this disconnect. Crispell has an extensive history of pushing 52 keys beyond a listener\u2019s zone of comfort. <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-tyshawn-sorey-marilyn-crispells-the-adornment-of-time\/\">This includes emphasizing percussiveness on last year\u2019s <em>The Adornment of Time<\/em> (Pi Recordings, 2019) with Tyshawn Sorey. <\/a>&nbsp;Sanchez, a generation younger than Crispell, holds her own throughout the recording while exploring this thought in her compositions. Perhaps the best example is on \u201cAncient Dream,\u201d where strings are plucked and struck with various items other than the usual mallets, in turn evoking a duet, not between two of the same tools but of one and an unusual drum kit.&nbsp;&nbsp;<\/p>\n\n\n\n<p><em>How to Turn the Moon is available on <a href=\"https:\/\/angelicasanchezmarilyncrispell.bandcamp.com\/album\/how-to-turn-the-moon\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/3afMiF9\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>7. Charles Lloyd, <em>8: Kindred Spirits (Live From the Lobero)<\/em> (Blue Note)<\/strong><\/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_BqqnOjzv-zA\"><div id=\"lyte_BqqnOjzv-zA\" data-src=\"\/\/i.ytimg.com\/vi\/BqqnOjzv-zA\/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\/BqqnOjzv-zA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/BqqnOjzv-zA\/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 saxophonists are not generally known as folk artists, Charles Lloyd has long established himself as one. But even this descriptor is a bit off-base. Typically folk musicians hone into the essence of their own cultural landscape. Lloyd is more of a sonic polymath, merging ideas from multiple locations across the globe and finding a way to make them fit into his own sound. Captured live at Santa Barbara\u2019s Lobero Theater, <em>8: Kindred Spirits<\/em> finds the musical elder statement celebrating his 80th birthday by revisiting songs throughout his career and giving them new textures and colors. Extended versions of everything from his classic \u201cDream Weaver\u201d to \u201cLa Llorona\u201d are provided new breath by him and his younger band &#8211; Gerald Clayton, Julian Lage, Reuben Rogers, and Eric Harland. The deluxe edition is even better than the regular, tripling the number of songs and providing a unique opportunity to see the bandleader teamed with another iconic figure from his home city of Memphis, Booker T. Jones.&nbsp;<\/p>\n\n\n\n<p>Read my full review <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-charles-lloyds-8-kindred-spirits-live-from-the-lobero\/\">here<\/a>.&nbsp;<\/p>\n\n\n\n<p><em>8: Kindred Spirits (Live at the Lobero) is available at your nearest music store <a href=\"https:\/\/amzn.to\/3anyzfc\">or from our Amazon Affiliate Store. <\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>6. Carla Bley-Andy Sheppard-Steve Swallow, <em>Life Goes On<\/em> (ECM)<\/strong><\/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_OBvgNz0bTNE\"><div id=\"lyte_OBvgNz0bTNE\" data-src=\"\/\/i.ytimg.com\/vi\/OBvgNz0bTNE\/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\/OBvgNz0bTNE\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/OBvgNz0bTNE\/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>Humans often tend to overlook how fleeting our lives can be until confronted with the loss of another or a threat to our own well-being. For most of this past year, the COVID-19 pandemic has left many considering their own mortality and clinging to loved ones &#8211; even remotely &#8211; to help cope. For the legendary Carla Bley, this recent existentialist threat came by way of her surgery for a brain tumor and, fortunately for the listener, her closest colleagues include the two men with whom she has created art for decades. For the past five decades, Bley has solidified her role as not only a capable pianist but one of the era\u2019s finest composers. Her skills as a writer make <em>Life Goes On<\/em> different from what one may expect from its context. Space is used well, something further aided by producer Manfred Eicher\u2019s characteristically superb production. The titular micro-suite is primarily a slow blues invoking the image of someone pondering the meaning of their life &#8211; the highs and lows &#8211; as they walk down a barren metropolitan street in the middle of a dark and rainy night. The \u201cBeautiful Telephone\u201d tracks inject both humor and pointed political commentary while \u201cCopycat\u201d is more a more contemplative experiment in call-and-response and analyses our relationships with others.&nbsp;<\/p>\n\n\n\n<p><em>Life Goes On is available at your nearest music store <a href=\"https:\/\/amzn.to\/37nwTR9\">or from our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>5. Josh Johnson, <em>Freedom Exercise<\/em> (Northern Spy)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=4066938026\/album=3189035354\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/minimal=true\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Over the past decade, Josh Johnson has shown his skills as a saxophonist on many excellent albums as a sideman for Makaya McCraven, Jeff Parker, and others. And while these talents recur on his debut as a leader, they are not the sole emphasis. Instead, its greatest moments are brought out by his adroitness as a composer. While <em>Freedom Exercise<\/em> speaks in the languages of jazz, hip hop, rock, and electronic music, it takes these in directions not often examined. In so doing, he raises the question of why one must distinguish between these forms at all. Often it becomes difficult to classify his inspirations or thoughts as anything beyond being themselves in that specific moment. Acoustic or electric. Pre-composed or improvised. Shifting tempos. All is malleable in Johnson\u2019s grasp.&nbsp;<\/p>\n\n\n\n<p>Click <a href=\"https:\/\/postgenre.org\/staging\/4567\/josh-johnson-freedom-exercise\/\">here<\/a> for my full review of <em>Freedom Exercise<\/em>.<\/p>\n\n\n\n<p><em>Freedom Exercise is available on <a href=\"https:\/\/joshjohnsonmusic.bandcamp.com\/album\/freedom-exercise\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/3ac9h3P\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>4. Lakecia Benjamin, <em>Pursuance: The Coltranes<\/em> (Ropeadope)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=2448192891\/album=2318794395\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/minimal=true\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>&nbsp;<\/p>\n\n\n\n<p>Alice Coltrane\u2019s blurring of historically Black American music, classical Indian concepts, atonal orchestration, and (sometimes) synthesizer has significantly guided the following generations, often subtly, including in jazz, New Age, and experimental electronic music. And yet, in most circles, she remains criminally underrated.&nbsp; Any release primarily dedicated to her work &#8211; including Alice influenced interpretations of her husband John\u2019s compositions- is worth celebrating. This is particularly the case when the album is timed near the Golden anniversary of one of Mrs. Coltrane\u2019s great recordings, <em>Ptah El Daoud <\/em>(Impulse!, 1970) and on the eve of the same for her magnum opus <em>Journey in Satchidananda <\/em>(Impulse!, 1971).&nbsp; However, <em>Pursuance<\/em>\u2019s true brilliance lies in the care with which Benjamin approaches the underlying compositions. An album of \u201ccovers\u201d can turn predictable or stale, but this album never falls into such traps; instead, it confirms that while Benjamin is well-versed and respectful towards that which came before, she is also an artist who paves her own path. Additionally, in some ways, she is also like an expert painter, taking the shades and timbres of her incredibly diverse and exhaustive list of guest artists- from Brandee Younger and Keyon Harrold to Ron Carter and Reggie Workman- and mixing them to create a richer portrait. This is most evident in pieces penned by Alice &#8211; particularly \u201cPrema\u201d and \u201cGoing Home\u201d- where colors are added to existing structures to give them new life.&nbsp;&nbsp;<\/p>\n\n\n\n<p>Read my full review <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-lakecia-benjamins-pursuance-the-coltranes\/\">here<\/a>.&nbsp;<\/p>\n\n\n\n<p><em>Pursuance: The Coltranes is available on <a href=\"https:\/\/lakeciabenjamin.bandcamp.com\/album\/pursuance-the-coltranes\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/3oXbmow\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>3. Kahil El&#8217;Zabar, <em>Kahil El&#8217;Zabar&#8217;s Spirit Groove<\/em> <em>ft. David Murray <\/em>(Spiritmuse)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"560\" height=\"435\" style=\"position: relative; display: block; width: 560px; height: 435px;\" src=\"\/\/bandcamp.com\/VideoEmbed?track=1968069196&#038;size=venti&#038;bgcol=ffffff&#038;linkcol=0687f5&#038;minimal=true\" allowtransparency=\"true\" frameborder=\"0\" mozallowfullscreen='1' webkitallowfullscreen='1' allowfullscreen='1'><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Percussionist-vocalist El\u2019Zabar, one of the former chairmen of the AACM, has always been open to exploring new avenues of musical expression. The kalimba and bells are not stereotypical instruments in creative music. Saxophonist Murray has likewise spent his career furthering an expansive view of art with everything from co-founding the World Sax Quartet to merging Nat King Cole with Cuban music. While the two have collaborated on several projects over four decades, <em>Spirit Groove<\/em> is their finest. Given their long-standing relationship, both artists have an almost telepathic connection which imbues the release with rare magic. Neither is compelled to sacrifice their own vision to fit the other\u2019s, yet complement together wonderfully, creating an environment large enough for the younger bassist Emma Dayhuff and pianist Justin Dillard to find their place as well. Essentially, the album showcases a spiritual dialogue between the four. In the process, they draw connections between varied forms, from the R&amp;B aesthetic of \u201cIn My House,\u201d to the rap-like phrasing of \u201cNecktar,\u201d to the overt indebtedness to John Coltrane on \u201cTrane in Mind.\u201d And yes, it grooves. Hard.&nbsp;<\/p>\n\n\n\n<p><em>Spirit Groove is available on <a href=\"https:\/\/spiritgroove.bandcamp.com\/album\/kahil-elzabars-spirit-groove-ft-david-murray\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/37pkTPg\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\"><strong>2. Alabaster Deplume, To Cy &amp; Lee: The Instrumentals Vol. 1 (International Anthem)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=4144733520\/album=43264658\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/minimal=true\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><em>To Cy &amp; Lee<\/em> is a somewhat unusual choice for this list as only some of the songs are new, with the remainder shared on previous albums. Indeed, this fact is what kept it from inclusion on my submission to NPR\u2019s Jazz Critics poll. However, the release is uniquely fit for 2020. To many, social distancing coupled with our over-reliance on technology has led to massive lapses in communication. In times of stress, we increasingly need emotional support systems to thrive but they are often denied. Efforts to bridge this distance comprehensively guide the album. The album\u2019s melodies developed from those used by Alabaster Deplume, the nom de plume of Gus Fairbairn, in helping disabled individuals to socialize. Where words failed, music broke down communication barriers. These pieces, at times deceptively simple, are elegantly beautiful. Occasionally, hauntingly so. Fittingly, the recorded versions also minimize cultural divides, borrowing from Japanese Min\u2019y\u014d, Celtic, Ethio-jazz, and ambient influences. The careful use of space and continued reliance on vibrato produces a work that somehow seamlessly merges the exoticism of something foreign with the assuasive calmness of that which is familiar. Even when the bandleader\u2019s instrument is broken &#8211; as on \u201cThe Lucky Ones\u201d &#8211; its warmth still shines through, confirming that artistic essence often matters far more than technical ability. <em>To Cy and Lee<\/em> is also a testament to the continually expanding London scene, featuring Sarathy Korwar and The Comet is Coming\u2019s Dan \u2018Danalogue\u2019 Leavers among others.&nbsp;<\/p>\n\n\n\n<p><em>To Cy &amp; Lee: The Instrumentals Vol. 1, is available on <a href=\"https:\/\/intlanthem.bandcamp.com\/album\/to-cy-lee-instrumentals-vol-1\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/37nrbyP\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p style=\"font-size:clamp(15.747px, 0.984rem + ((1vw - 3.2px) * 0.938), 24px);px\">&nbsp;<strong>1.&nbsp; Jennifer Curtis &amp; Tyshawn Sorey, <em>Invisible Ritual<\/em> (Tundra\/ New Focus)<\/strong><\/p>\n\n\n<iframe loading=\"lazy\" width=\"350\" height=\"470\" style=\"position: relative; display: block; width: 350px; height: 470px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1035408040\/album=3076579979\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/minimal=true\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>Tyshawn Sorey, already one of the preeminent composers of his generation, has excelled at delving into the region between \u201cclassical\u201d composition and improvised \u201cjazz.\u201d This includes his work on <em>The Inner Spectrum of Variables, <\/em>arguably <a href=\"https:\/\/postgenre.org\/staging\/4567\/rob-shepherds-favorite-jazz-albums-of-the-2010s\/\">the best album of the 2010s. <\/a>Although not on a path followed by many musicians, he finds a welcome group of compatriots in the International Contemporary Ensemble (ICE), including Jennifer Curtis. Just as Sorey- already one of the preeminent composers of his generation- is not a stereotypical \u201cjazz\u201d percussionist, Curtis is not a conventional violinist, having also played drums in \u201crock\u201d bands. Both artists\u2019 eclectic tastes pervade <em>Invisible Ritual<\/em>.&nbsp; Hues of the blues, rock, classical, jazz, and Celtic, East Asian, and Appalachian music emerge throughout its eight movements. \u201cIV\u201d seemingly marries Eastern European fiddle with Mahavishnu Orchestra-like melodies and driving drumbeats before morphing into a frenzy of notes and pizzicato phrases. Throughout the album, one can sense the impression of both Steve Reich and Henry Flynt, among many others.&nbsp; At times, the duo even escapes expectations on their instruments\u2019 respective timbres. In addition to Sorey putting aside his sticks to sit behind a piano, Curtis produces unexpected but welcome tones with her four strings. For a few moments in \u201cII,\u201d she finds a way to make it sound like she is wielding a panflute from an indigenous group in Latin America, to which she is met with a series of gongs. And on \u201cVII,\u201d manipulation on the vibrancy of strings produces new tones entirely. Overall, <em>Invisible Ritual <\/em>is an intricate exposition on the universality of sound.&nbsp;<\/p>\n\n\n\n<p><em>Invisible Ritual is available on <a href=\"https:\/\/newfocusrecordings.bandcamp.com\/album\/invisible-ritual\">Bandcamp<\/a> or in <a href=\"https:\/\/amzn.to\/38dOV7R\">our Amazon Affiliate Store.<\/a><\/em><\/p>\n\n\n\n<p><strong><span style=\"text-decoration: underline;\">Honorable Mentions:<\/span><\/strong><\/p>\n\n\n\n<p>11. Lionel Loueke, <em>HH<\/em> (Edition)- A touching tribute by the master guitarist to his friend, colleague, and mentor. Particularly commendable is Loueke\u2019s song choices. Herbie Hancock has made many great compositions through the decades which lend themselves well to a solo guitar aesthetic. But, Loueke doesn\u2019t take the easy way out. An unaccompanied \u201cRockit\u201d is as intriguing and enjoyable as it sounds.<\/p>\n\n\n\n<p>12. Keith Jarrett, <em>Budapest Concert<\/em> (ECM)- A master work by one of the best solo pianists today. Among his finest. Read my full review <a href=\"https:\/\/postgenre.org\/staging\/4567\/jarrett-budapest-concert\/\">here.<\/a><\/p>\n\n\n\n<p>13. Dougie Stu, Familiar Future (Ropeadope)- An album that somehow completely flew under most people\u2019s radars, despite Jeff Parker\u2019s inclusion. A gorgeous, often very soothing, middle-ground between jazz, electronica, and cinematic orchestras.<\/p>\n\n\n\n<p>14.&nbsp; Christian Scott aTunde Adjuah, <em>Axiom<\/em> (Ropeadope)- Stepping away from the studio provides new energies and emotions to existing tunes. It is also fascinating to hear Scott, one of the finest trumpeters of his generation, visiting<em> <\/em>Miles Davis\u2019 rendition of \u201cGuinnevere.\u201d Overall, <em>Axiom is <\/em>a reminder of the importance of live performance in a time of shutdown. My full review is available <a href=\"https:\/\/postgenre.org\/staging\/4567\/christian-scott-atunde-adjuah-axiom\/\">here.<\/a>&nbsp;<\/p>\n\n\n\n<p>15. Ambrose Akinmusire, <em>a tender spot in every calloused moment<\/em> (Blue Note)- From reminiscing on his father, to remembering a fallen hero, to reflecting on injustice, it is an all around personal and touching record which also brings the concept of the blues into the 21st Century. Check out my full review <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-ambrose-akinmusires-on-the-tender-spot-of-every-calloused-moment\/\">here.<\/a><\/p>\n\n\n\n<p>16. Exploding Star Orchestra, <em>Dimensional Stardust<\/em> (International Anthem) &#8211; Rob Mazurek has long produced interesting recordings, including <em>Pharoah and the Underground<\/em> (Clean Feed) with Pharoah Sanders. But he outdid himself with this one. TIghtly orchestrated yet leaving enough room for individual expression and creativity. The music is about as incredible as you would expect from a group featuring Damon Locks, Nicole Mitchell, Tomeka Reid, Joel Ross, Jeff Parker, Chad Taylor, Jaimie Branch, and Angelica Sanchez (see #8 above).<\/p>\n\n\n\n<p>17. Mary Halvorson, <em>Artlessly Falling<\/em> (Firehouse 12) &#8211; Halvorson continues to blaze her own inimitable path. Joined by some of today\u2019s finest artists, she seemingly sets her sights towards progressive rock with impressive results.&nbsp;<\/p>\n\n\n\n<p>18. Sun Ra Arkestra, <em>Swirling<\/em> (Strut) &#8211; Almost three decades after Sun Ra\u2019s passing, space is <strong>still<\/strong> the place. Read the full review <a href=\"https:\/\/postgenre.org\/staging\/4567\/sun-ra-legacy\/\">here.&nbsp;<\/a><\/p>\n\n\n\n<p>19. Ben Williams, <em>I AM A MAN<\/em> (Rainbow Blonde) &#8211; In capturing the late 90\u2019s\/early 00\u2019s Soulquarian vibe, Williams connects past sounds to the present. It works exceedingly well as a backdrop for emphasizing the lineal history from 1968 Memphis to today\u2019s current events. My full review can be read <a href=\"https:\/\/postgenre.org\/staging\/4567\/ben-williams-i-am-a-man-album-reviewed\/\">here.<\/a>&nbsp;<\/p>\n\n\n\n<p>20. Brandee Younger and Dezron Douglas, <em>Force Majeure <\/em>(International Anthem) &#8211; An incredibly intimate album that is reassuring and delightful even if the pandemic is a necessary part of its backstory. A full review is available<a href=\"https:\/\/postgenre.org\/staging\/4567\/younger-douglas-force-majeure\/\"> here.&nbsp;<\/a><\/p>\n\n\n\n<p>21. Derrick Hodge, <em>Color of Noize<\/em> (Blue Note) &#8211; Hodge\u2019s finest to date is striking, difficult to characterize, and unafraid of risk. Also a great introduction to the young pianist Jahari Stampley.&nbsp;<\/p>\n\n\n\n<p>22. Avishai Cohen, <em>Big Vicious <\/em>(ECM)- \u201cWe\u2019re all coming from jazz, but some of us left it earlier.\u201d Jazz, rock, trip-hop, punk, funk, classical, and more. The raw material is all familiar but it is rearranged in fresh and memorable ways.&nbsp;<\/p>\n\n\n\n<p>23. Mino Cin\u00e9lu\/Nils Petter Molv\u00e6r, <em>SulaMadiana <\/em>(Modern Recordings)- Two master musicians &#8211; the former a Miles Davis and Weather Report alum and the latter a \u201cfuture jazz\u201d pioneer- chart out to explore some unexplored sonic territories located somewhere between the Carribean and Norway.&nbsp;<\/p>\n\n\n\n<p>24. Deer Hoof &amp; Wadada Leo Smith, <em>To Be Surrounded By Beautiful, Curious, Breathing, Laughing Flesh Is Enough <\/em>(Joyful Noise)- A live recording from Winter Jazzfest when experimental pop met one of avant garde\u2019s finest.<\/p>\n\n\n\n<p>25. Steve Lehman, <em>Xenakis and the Valedictorian<\/em> (Pi) &#8211; The album excels at showing the resourcefulness of artists as it emerged from necessity &#8211;&nbsp; an iphone recording in a car. Challenging but worthwhile. To some extent, a perfect summation of 2020.&nbsp;<\/p>\n\n\n\n<p><strong>Stay turned as we will be sharing additional writers\u2019 individual lists.  Agree or disagree with the choices above? Please comment below.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Historians will probably remember 2020 primarily for the COVID pandemic, movements for racial justice, and lots and lots of politics. While all of that is true, to me it will also mark the creation of this site. Postgenre was born on February 20, 2020, less than a month before state and local governments would begin [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2139,"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":27,"_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":[17],"tags":[],"class_list":["post-2137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/BeFunky-collage8.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-yt","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":1823,"url":"https:\/\/postgenre.org\/staging\/4567\/sun-ra-legacy\/","url_meta":{"origin":2137,"position":0},"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":1699,"url":"https:\/\/postgenre.org\/staging\/4567\/jazz-from-a-to-g-sullivans-travels-2020\/","url_meta":{"origin":2137,"position":1},"title":"Jazz from A to G: Sullivan\u2019s Travels, 2020","author":"Scott Haas","date":"September 9, 2020","format":false,"excerpt":"It\u2019s 1941, the world is up in flames, fascism has a chokehold, racism and imperialism are the fundaments of effective governance.\u00a0 Where does that leave artists?\u00a0 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\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\/09\/BeFunky-collage-2.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\/09\/BeFunky-collage-2.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/BeFunky-collage-2.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/BeFunky-collage-2.jpg?fit=750%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":2137,"position":2},"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":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":2137,"position":3},"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":2251,"url":"https:\/\/postgenre.org\/staging\/4567\/2020-postgenre-hall-of-fame-inductee-igor-stravinskys-the-rite-of-spring\/","url_meta":{"origin":2137,"position":4},"title":"2020 PostGenre Hall of Fame Inductee: Igor Stravinsky&#8217;s &#8220;The Rite of Spring&#8221;","author":"Rob Shepherd","date":"January 1, 2021","format":false,"excerpt":"On May 29, 1913, a violent brawl broke out between the audience at Paris\u2019 brand-new venue, the Th\u00e9\u00e2tre des Champs-Elys\u00e9es. There was such extreme brutality the police were called to restore order among the furious crowd but ultimately proved ineffective as attendees continued to throw punches mid-performance. 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Since beginning is career in 2017, the saxophonist's online streams have passed the nine million mark. In part his popularity has come from his openness to other sounds.\u2026","rel":"","context":"In &quot;Premieres&quot;","block_context":{"text":"Premieres","link":"https:\/\/postgenre.org\/staging\/4567\/category\/premieres\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/IMG_2827.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\/IMG_2827.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/IMG_2827.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/IMG_2827.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2137","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=2137"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2137\/revisions"}],"predecessor-version":[{"id":2148,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2137\/revisions\/2148"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/2139"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=2137"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=2137"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=2137"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}