{"id":2709,"date":"2021-04-04T21:26:23","date_gmt":"2021-04-05T02:26:23","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=2709"},"modified":"2021-07-10T21:08:24","modified_gmt":"2021-07-11T02:08:24","slug":"newport-jazz-part-ix","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ix\/","title":{"rendered":"A History of the Newport Jazz Festival \u2013 Chapter IX: Homecoming, 1981-1983"},"content":{"rendered":"\n<p>\u201cWe\u2019re Back\u201d announced the front page of The Providence Journal, complete with a photo of a smiling George Wein, upon the news of the Newport Jazz Festival\u2019s return to America\u2019s First Resort. And while it was indeed a cause for celebration, the newly reborn festival differed significantly from its predecessor. These differences emerged primarily from conscious efforts to avoid the chaos that caused the Festival\u2019s exile to New York almost a decade earlier. Four days of performances were scaled back to only Saturday, August 22nd, and Sunday, August 23rd. Whereas the older incarnation mostly scheduled nighttime events, the new one would take place from noon to 6:30 PM. The intended audience also shifted from younger crowds to families. Alcohol was prohibited on the grounds. The wooden chairs which provided most seating at Festival Field &#8211; and Freebody Park before it &#8211; were mostly gone, replaced by open spots of grass on which attendees could place blankets and tarps.&nbsp;<\/p>\n\n\n\n<p>The venue also played a critical role in maintaining order. The surge which destroyed the 1971 festival came from a hill nearby Festival Field. Interestingly, Fort Adams\u2019 military history caused the location to be intentionally difficult to attack. Located on a peninsula, it is surrounded by Narragansett Bay on three sides, rendering only its Southern entrance &#8211; a flat open space &#8211; as a feasible entryway by land. A stage was placed alongside the fortress\u2019s northern wall, making only those in the intended audience and nearby boats able to witness the events. Though, in true Newport fashion, the presence of sixty or seventy cruisers, sloops, and brigantines was indeed felt; each time a band ended a piece, a black ship full of young couples would fire a cannon.&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_qRoYjhMqzWs\"><div id=\"lyte_qRoYjhMqzWs\" data-src=\"\/\/i.ytimg.com\/vi\/qRoYjhMqzWs\/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\/qRoYjhMqzWs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/qRoYjhMqzWs\/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>But as Dizzy Gillespie would comment regarding the reformed event, Newport remained the mother of all festivals and \u201c[a]lthough there are improvements, the mother is always best.\u201d Instead of including acts at jazz\u2019s edges, the 1981 Festival focused primarily on established names with long ties to Wein\u2019s event. Of course, they were still among the music\u2019s finest. Respect was also given to the Festival\u2019s history. The longstanding tradition of having artists sit in with others returned. On Saturday, Zoot Sims joined Mel Lewis\u2019 Jazz Orchestra and Art Farmer collaborated with Dexter Gordon\u2019s Quartet. On Sunday, Milt Jackson performed with Gillespie\u2019s Quartet. The legendary jam sessions were also revisited with a pairing of Gilespie, trombonist Al Grey, saxophonist Buddy Tate, and pianist Mike Renzi. Partly in honor of the Festival\u2019s first set in 1954, older sounds were represented by the Classic Jazz Band consisting of Dick Hyman, Bob Wilber, Major Holley, Oliver Jackson, Vic Dickenson, Doc Cheatham, and special guest Ruby Braff. Dave Brubeck, one of the last artists to perform before 1971&#8217;s riot brought his quartet. Other acts included McCoy Tyner\u2019s Quintet, Buddy Rich with his band, Art Blakey and the Jazz Messengers, and Nancy Wilson. Lionel Hampton and his All-Star Band closed the weekend.&nbsp;<\/p>\n\n\n\n<p>On Saturday night, George Wein also brought the festival back to its original home &#8211; the Casino. To celebrate the location\u2019s centennial, Dick Hyman\u2019s Classic Jazz Band entertained a black-tie audience of a little under two hundred of Newport\u2019s social elite.&nbsp;<\/p>\n\n\n\n<div class=\"wp-block-image is-style-default\"><figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/lh4.googleusercontent.com\/r4w5eR9Nnug9CBTbpfNblf4gcrwHMDEfXF7QqLDcZE22giro7NkBg0YgDs9Y95zj35CE3MYkeT6VpiM3Ha4GV6BA7BBr6ZRfQPi0bDV1GqziD5qfvXAjIrgVV1lm6OaWmHK09FJk\" alt=\"\" width=\"538\" height=\"404\"\/><\/figure><\/div>\n\n\n\n<p>1981\u2019s main event brought a combined 8,000 people across the two days. It was a small crowd compared to the up to 20,000 that would attend Festival Field each day. But the event was nevertheless peaceful, orderly, and successful enough to justify the Festival\u2019s return the following year. Earlier that summer Wein&#8217;s Festival Productions Inc. also presented The Kool Jazz Festival in New York City. Among its highlights was Miles Davis\u2019 reappearance after a five-year retirement. The New York festival proved successful enough that it convinced Brown &amp; Williamson, Kool\u2019s parent company, to expand its hosting of jazz festivals throughout the country. This included sponsoring the 1982 Newport Jazz Festival. The company which once convinced Wein\u2019s Festival Productions to drop the Newport name now desired to support the reborn Festival.&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_go9-LFUxywo\"><div id=\"lyte_go9-LFUxywo\" data-src=\"\/\/i.ytimg.com\/vi\/go9-LFUxywo\/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\/go9-LFUxywo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/go9-LFUxywo\/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 1982 event &#8211; now retitled The Kool Jazz Festival &#8211; prominently featured duets with pianists. Saturday, August 21 paired George Shearing with Don Thompson and Dorothy Donegan with Page Cavanaugh. The next day, Chick Corea with vibraphonist Gary Burton. Sunday also brought The Great Quartet &#8211; a special offering that Kool booked for its festivals featuring Ron Carter, Freddie Hubbard, Elvin Jones, and McCoy Tyner. The group also performed at that year\u2019s Newport Jazz branded Festival in Madaro, Japan, an event that occurred annually until 2004. Other acts at Fort Adams included Mel Torme, Gerry Mulligan and his Orchestra, the Modern Jazz Quartet, Oscar Peterson, Sarah Vaughan with her trio, and Tal Farlow\u2019s trio with Red Norvo.<\/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_9cMWIL2ekuQ\"><div id=\"lyte_9cMWIL2ekuQ\" data-src=\"\/\/i.ytimg.com\/vi\/9cMWIL2ekuQ\/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\/9cMWIL2ekuQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/9cMWIL2ekuQ\/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>Overall, the early 1980s was an unusual time in jazz history. Although many giants of the music remained, throughout the 1970s, several of its heavyweights &#8211; Louis Armstrong and Duke Ellington chief among them &#8211; passed away. And, in their absence, new music increasingly incorporated ideas from other styles. One of these &#8211; which would later reach commercial prominence as &#8220;smooth jazz&#8221; &#8211; incorporated some jazz elements into instrumental R&amp;B and pop music.&nbsp; The Newport Jazz Festival was not immune from these influences and began to book several \u201csmooth\u201d artists throughout the 1980s. In 1983, this approach was represented by the band Spyro Gyra, fresh off of their album <em>City Kids<\/em> (MCA, 1983), the second-highest-grossing album on that year\u2019s Billboard jazz charts. Gato Barbieri, a saxophonist who emerged from the avant-garde also showcased his movement in a gentler direction.<\/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_RkbzObHwASk\"><div id=\"lyte_RkbzObHwASk\" data-src=\"\/\/i.ytimg.com\/vi\/RkbzObHwASk\/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\/RkbzObHwASk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/RkbzObHwASk\/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>Of course, these new sounds were significantly different from the music that came before and created an uproar among some ardent jazz fans. Part of this response included the emergence of a neotraditionalist school which argued that jazz had strayed artistically sometime in the 1960s and should be returned to sounds more reminiscent of its origins. Perhaps the best known of these advocates being the critic Stanley Crouch and a young trumpeter, Wynton Marsalis. A year after leaving Art Blakey\u2019s Jazz Messengers &#8211; itself a group that performed at Newport that weekend &#8211; Marsalis appeared at Newport to promote <em>Think of One<\/em> (Columbia, 1983). Marsalis\u2019 solo on the album\u2019s version of Thelonious Monk\u2019s \u201cThink of One &#8221; would later win him a Grammy.<\/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_aKx1CIZa2v4\"><div id=\"lyte_aKx1CIZa2v4\" data-src=\"\/\/i.ytimg.com\/vi\/aKx1CIZa2v4\/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\/aKx1CIZa2v4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/aKx1CIZa2v4\/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 performances that weekend included those by Oscar Peterson, Brazilian vocalist Tania Maria, Carmen McRae and her trio, Ella Fitzgerald, Dizzy Gillespie, and a trumpet duet between Freddie Hubbard and Jon Faddis. George Wein again reformed a Newport All-Star Band, this time dubbed \u201cGeorge Wein\u2019s Kool Jazz Festival All-Stars\u201d and featuring Scott Hamilton, Oliver Jackson, Warren Vache, Vic Dickenson, and Slam Stewart.&nbsp;<\/p>\n\n\n\n<p>While the 1983 Festival was another success, by 1984 Brown &amp; Williamson began to feel that its sponsorship of jazz festivals had run its course. Aware of the company\u2019s increased exhaustion with its marketing strategy, George Wein asked that Newport be released from the company\u2019s sponsorship. Brown &amp; Williamson readily agreed and the event was renamed the Newport Jazz Festival once more. But a new sponsor was needed to make the event financially viable. Enter the Japan Victor Corporation.<br><br><strong><strong>The 2021 Edition of the Newport Jazz Festival will take place from July 30th to August 1st at Fort Adams State Park. We plan to have live coverage of the event.<a href=\"https:\/\/www.newportjazz.org\/\"> More information can be found on the Festival\u2019s website.<\/a><\/strong><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cWe\u2019re Back\u201d announced the front page of The Providence Journal, complete with a photo of a smiling George Wein, upon the news of the Newport Jazz Festival\u2019s return to America\u2019s First Resort. And while it was indeed a cause for celebration, the newly reborn festival differed significantly from its predecessor. These differences emerged primarily from [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2711,"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":138,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1159,561],"tags":[],"class_list":["post-2709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-newport-jazz-history","category-special-series"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1981-1983.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-HH","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2746,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xi\/","url_meta":{"origin":2709,"position":0},"title":"A History of the Newport Jazz Festival \u2013 Chapter XI: Futures, 1990-1994","author":"Rob Shepherd","date":"May 9, 2021","format":false,"excerpt":"The 1990s was a period of change. The geopolitical order in place for nearly half a century ended with the collapse of the Soviet Union. The first American president to be born after the Second World War took office, bringing different attitudes and policies to the office. Rapid technological development\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.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\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2725,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-x\/","url_meta":{"origin":2709,"position":1},"title":"A History of the Newport Jazz Festival \u2013 Chapter X: Smooth Sailing?, 1984-1989","author":"Rob Shepherd","date":"April 19, 2021","format":false,"excerpt":"Created in 1927, The Victor Talking Machine Company of Japan, Limited - more commonly known as Japan Victor Company (JVC) - was originally a Japanese subsidiary of America\u2019s Victor Talking Machine Company. The parent was the most prominent photograph and record company of the era, renown for its Victrola record\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1984-1989.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1984-1989.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1984-1989.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1984-1989.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1280,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-iii\/","url_meta":{"origin":2709,"position":2},"title":"A History of the Newport Jazz Festival \u2013 Chapter III: Goodbye Newport Blues, 1957-1960","author":"Rob Shepherd","date":"July 24, 2020","format":false,"excerpt":"The 1957 Festival extended to four days - Thursday, July 4 to Sunday, July 7- with every minute captured by Voice of America. Most were also recorded, though much remains unreleased, by Norman Granz\u2019s Verve Records. The first evening centered around Louis Armstrong's purported 57th birthday* with plans to feature\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19608.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19608.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19608.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19608.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1323,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-iv\/","url_meta":{"origin":2709,"position":3},"title":"A History of the Newport Jazz Festival \u2013 Chapter IV: Revival, 1961-1964","author":"Rob Shepherd","date":"July 26, 2020","format":false,"excerpt":"Following the riots of the prior summer, there was no Newport Jazz Festival in 1961. However, the city had not abandoned the idea of being a cultural center for jazz. Instead, promoter Sid Bernstein hosted \u201cMusic at Newport.\u201d In some ways, it emulated the original. It was set in both\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19609.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2796,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xiii\/","url_meta":{"origin":2709,"position":4},"title":"A History of the Newport Jazz Festival &#8211; Chapter XIII: Echoes of the Past, 2004","author":"Rob Shepherd","date":"June 21, 2021","format":false,"excerpt":"An intense and unceasing downpour left a twenty-eight-year-old George Wein with the difficult question of whether to abruptly cancel his new jazz festival. In response, he adopted a \u201crain or shine\u201d policy which refused to stop the music. This mindset served the Newport Jazz Festival well over the years. The\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/BeFunky-collage11.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2997,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xv\/","url_meta":{"origin":2709,"position":5},"title":"A History of the Newport Jazz Festival &#8211; Chapter XV: Passing the Torch, 2009-2016","author":"Rob Shepherd","date":"July 22, 2021","format":false,"excerpt":"For most music festivals, the loss of a longtime sponsor could be a death knell.\u00a0 After all, organizers killed the Newport Rhythm and Blues Festival due to its inability to maintain a steady sponsor. The death of the company hosting the event on top of it would be - for\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/BeFunky-collage16.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\/07\/BeFunky-collage16.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/BeFunky-collage16.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/07\/BeFunky-collage16.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2709","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=2709"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2709\/revisions"}],"predecessor-version":[{"id":2988,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/2709\/revisions\/2988"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/2711"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=2709"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=2709"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=2709"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}