{"id":274,"date":"2020-03-08T22:21:00","date_gmt":"2020-03-09T03:21:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=274"},"modified":"2020-03-09T06:48:18","modified_gmt":"2020-03-09T11:48:18","slug":"review-lakecia-benjamins-pursuance-the-coltranes","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-lakecia-benjamins-pursuance-the-coltranes\/","title":{"rendered":"Review: Lakecia Benjamin&#8217;s &#8216;Pursuance: The Coltranes&#8217;"},"content":{"rendered":"\n<p>In the over fifty years since John Coltrane\u2019s death, dozens, if not hundreds, of recordings have honored his artistic genius. The sheer quantity seemingly dwarfs even the number of releases by the saxophonist during his lifetime. This, of course, raises a fairly simple question: does the world truly need yet another homage to Coltrane? If the album in question is Lakecia Benjamin\u2019s <em>Pursuance: The Coltranes<\/em> (Ropeadope Records, 2020), the answer is a resounding &#8220;yes.&#8221; Ultimately, it is unlike any other Trane-centric work which preceded it. <\/p>\n\n\n\n<iframe style=\"border: 0; width: 350px; height: 853px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2318794395\/size=large\/bgcol=ffffff\/linkcol=0687f5\/package=3874817724\/transparent=true\/\" seamless=\"\"><a href=\"http:\/\/lakeciabenjamin.bandcamp.com\/album\/pursuance-the-coltranes\">Pursuance : The Coltranes by Lakecia Benjamin<\/a><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>To be fair, calling <em>Pusuance <\/em>a tribute to John Coltrane is a bit misleading as, in substance, it more adequately reflects the brilliance of Alice Coltrane. Every bit the musical equal of her husband, her contributions remain largely under-appreciated to this day.&nbsp; Despite dedicated fans of her records, particularly her best-known <em>Journey in Satchidananda<\/em> (Impulse!, 1971), her music still lacks the recognition it merits. This is partly due to the deep shadow of John\u2019s significance and partly caused by lingering sexism. Most encounter her music, if at all, only after initially exploring John\u2019s. By contrast, Benjamin has the rare perspective of one who loved the pianist\/harpist first. \u201cAlice meant so much to me; I knew her music before I knew John\u2019s. I saw John\u2019s name in the liner notes of her albums and wondered, Who is that?\u201d&nbsp;<br><\/p>\n\n\n\n<p>Alice\u2019s influence permeates throughout <em>Pursuance. <\/em>Half of the songs are her compositions. Of these, Benjamin selected some fairly deep cuts. Gone are tracks from <em>Journey <\/em>and in their place ones from <em>Transfiguration <\/em>(Warner Bros., 1978), <em>Translinear Light<\/em> (Impulse!, 2004), <em>Lord of Lords <\/em>(Impulse!, 1973). Each is given a modern update while retaining their deeply spiritual and Eastern-influenced sound.  \u201cWalk With Me\u201d with violinist Regina Carter and two tracks with a string trio and harpist Brandee Younger &#8211; &#8220;Prema&#8221; and \u201cGoing Home\u201d &#8211; perfectly encapsulate the heart of Ms. Coltrane\u2019s work. The latter does it so beautifully it almost brought this reviewer to tears upon initial listen. <\/p>\n\n\n\n<p><\/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_AOVY7gMdRYk\"><div id=\"lyte_AOVY7gMdRYk\" data-src=\"\/\/i.ytimg.com\/vi\/AOVY7gMdRYk\/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\/AOVY7gMdRYk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/AOVY7gMdRYk\/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 remaining songs, compositions by John, are similarly imbued with the sentimentality common to Alice\u2019s discography. It helps that some of those selected are among his devotional works &#8211; \u201cAcknowledgement\u201d and \u201cPursuance\u201d from <em>A Love Supreme<\/em> (Impulse!, 1965) and \u201cAlabama\u201d from <em>Live at Birdland <\/em>(Impulse!, 1963). The latter, written in memory of children who died in the 1963 Birmingham church bombing, is a particularly bold choice for Benjamin to cover. Although her version differs from the original, it is still emotionally powerful and moving. Even her approach to traditional postbop pieces such as \u201cSpiral\u201d and \u201cSyeeda\u2019s Song Flute\u201d off of <em>Giant Steps<\/em>  (Atlantic Records, 1960) imply a deeper meaning. <em>Pursuance<\/em> overwhelmingly succeeds in bridging the gap between the music of the two Coltranes. <\/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_LlIA3afFduU\"><div id=\"lyte_LlIA3afFduU\" data-src=\"\/\/i.ytimg.com\/vi\/LlIA3afFduU\/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\/LlIA3afFduU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/LlIA3afFduU\/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 focus on Alice\u2019s artistry by itself is sufficient to distinguish <em>Pursuance <\/em>from all other tributes. However, it is far from the only demarcating feature; another emerges from Benjamin\u2019s pop, soul, and R&amp;B leanings. Most of her contemporaries draw primarily from postbop or the avant-garde, but the bandleader resists the urge to follow such viewpoints and pretend to be anyone other than herself. This does not mean she \u201cpopularizes\u201d the songs. Nor does it mean she ignores other approaches. The final minute of \u201cWalk With Me\u201d pushes her sound further \u201cout\u201d than on either of her prior releases. Instead, she finds a middle ground where her musical background can peacefully coexist with the original compositions. This is aptly showcased on \u201cCentral Park West\u201d which begins with a hip-hop like beat before turning into an incredibly soulful version of the tune. <\/p>\n\n\n\n<p>An equally important characteristic develops from the musicians\u2019 diversity. A wide variety of guests appear, representing a broad spectrum of artists. These include Younger, Reggie Workman, Ron Carter, Gary Bartz,&nbsp; Meshell Ndegeocello, Regina Carter, Dee Dee Bridgewater, Bertha Hope, Last Poets, Greg Osby, Marcus Strickland, Marcus Gilmore, Keyon Harrold, Steve Wilson, Marc Cary, Georgia Anne Muldrow, and Jazzmeia Horn. They differ significantly in their styles and techniques, as well as representing a broad age range. Some &#8211; Workman and Ron Carter &#8211; once performed with John while most know of him merely as a legendary figure. These differences implicitly impact their performances and interactions with one another in a way uncommon to most recordings. <\/p>\n\n\n\n<p>Similarly, much of the discrimination that existed during Alice\u2019s career sadly continues to this day. Female jazz artists generally remain outliers in an overwhelmingly \u201cboys club.\u201d Although not the first woman to release an album dedicated to Trane, Benjamin still provides a necessary, and insufficiently heard, feminine voice that subtly guides the work.&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_RwWVAgQXJuU\"><div id=\"lyte_RwWVAgQXJuU\" data-src=\"\/\/i.ytimg.com\/vi\/RwWVAgQXJuU\/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\/RwWVAgQXJuU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/RwWVAgQXJuU\/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><em>Pursuance<\/em> is a fantastic release. Not only does it provide a long-overdue honor to Alice Coltrane\u2019s work, but it also restructures decades-old songs to present them in breathtaking new ways. These fresh approaches serve to expose further hidden beauty contained therein. It sends a strong message that, while so many giants of the music are no longer with us, in many ways, they never leave us. Undiscovered albums by either Coltrane may, and have been, found over the years. However, they are mere snapshots of their perspective at that given time. Instead, it is truly in the influence of their art on subsequent generations in which their essence continues to reside. With progeny like Benjamin, their legacy shall remain bright indeed.  <\/p>\n\n\n\n<p><a href=\"https:\/\/ropeadope.com\/artists#\/lakecia-benjamin\/\">Lakecia Benjamin&#8217;s <em>Pursuance: The Coltranes,<\/em> will be available on March 27, 2020, on Ropeadope Records.  <\/a><\/p>\n\n\n\n<p>Track list: 1.  Liberia; 2. Prema; 3. Central Park West; 4. Walk With Me; 5.  Going Home; 6.  Syeedas Song Flute; 7. Spiral; 8. Om Shanti; 9. Alabama; 10. Acknowledgment; 11. Pursuance; 12. Turiya and Ramakrishna; 13. Affinity.<\/p>\n\n\n\n<p>Personnel:  Lakecia Benjamin (alto sax, keyboards (8), background vocals (8), piano (8)), Sharp Radway (piano (1,2-5,7,9,10,13)), Lonnie Plaxico (bass (1-6,9,12)), Darrell Green (drums (1,2,5,6, 9-13)), Reggie Workman (bass (2,4,9,13)), Chris Rob (piano (1) organ (3) Rhodes (6,8)), Joe Blaxx (drums (3,4), background vocals (8), percussion (8)), Gamiel Lyons (flute (2,5)), Brandee Younger (harp (2,5)), Juliette Jones (violin (2,5)), Jarvis Benson (viola (2,5)), Malcom Parson (cello (2,5)),  Surya Botofasina (piano (2, 11)), Bendji Allonce (percussion ((10, 12)),  Jonathan Michel (bass (10, 11)), Gary Bartz (alto sax (1)), Jazzmeia Horn (vocals (3)), Regina Carter (violin (4)), Marcus Strickland (bass clarinet (5)), Ron Carter (bass (6)), Keyon Harrold (trumpet (6)), Steve Wilson (alto sax (7)), Marcus Gilmore (drums (7)), John Benetiz (bass (7)), Georgia Anne Muldrow (vocals, percussion ((8)), Meshell Ndegeocello (bass (8)), Richard Ramos (guitar (8)), Dudley Perkins (percussion and background vocals (8)), Zakiyyah Modeste (percussion (8)), Bertha Hope (piano (9)), Dee Dee Bridgewater (vocals (10)), Abiodun Oyewole (spoken word (10)), Marc Cary (piano (11)), Greg Osby (alto sax (13)), Bruce Williams (alto sax (13)). <\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the over fifty years since John Coltrane\u2019s death, dozens, if not hundreds, of recordings have honored his artistic genius. The sheer quantity seemingly dwarfs even the number of releases by the saxophonist during his lifetime. This, of course, raises a fairly simple question: does the world truly need yet another homage to Coltrane? If [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":517,"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":56,"_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":[154,158,71,152,59,157,132,130,153,150,134,140,147,156,136,141,133,146,159,139,135,76,127,129,137,155,145,78,148,131,142,149,143,5,128,144,138,151],"class_list":["post-274","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-abiodun-oyewole","tag-alice-coltrane","tag-bendji-allonce","tag-bertha-hope","tag-brandee-younger","tag-bruce-williams","tag-chris-rob","tag-darrell-green","tag-dee-dee-bridgewater","tag-dudley-perkins","tag-gamiel-lyons","tag-gary-bartz","tag-georgia-anne-muldrow","tag-greg-osby","tag-jarvis-benson","tag-jazzmeia-horn","tag-joe-blaxx","tag-john-benetiz","tag-john-coltrane","tag-jonathan-michel","tag-juliette-jones","tag-keyon-harrold","tag-lakecia-benjamin","tag-lonnie-plaxico","tag-malcom-parson","tag-marc-cary","tag-marcus-gilmore","tag-marcus-strickland","tag-meshell-ndegeocello","tag-reggie-workman","tag-regina-carter","tag-richard-ramos","tag-ron-carter","tag-ropeadope","tag-sharp-radway","tag-steve-wilson","tag-surya-botofasina","tag-zakiyyah-modeste"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/lakeciabenjamin_slider.png?fit=751%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-4q","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":5537,"url":"https:\/\/postgenre.org\/staging\/4567\/january-2023-capsule-reviews\/","url_meta":{"origin":274,"position":0},"title":"January 2023 Capsule Reviews","author":"Rob Shepherd","date":"January 15, 2023","format":false,"excerpt":"With the start of a new year, we also start a new feature on this site. These capsule reviews aim to provide very brief reviews - a few hundred words at most - of albums of note which have come out around the month at issue. For this month, only\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2563,"url":"https:\/\/postgenre.org\/staging\/4567\/marcus-miller-part-ii\/","url_meta":{"origin":274,"position":1},"title":"Moving Forward: A Conversation with Marcus Miller (Part Two)","author":"Rob Shepherd","date":"March 1, 2021","format":false,"excerpt":"We continue our dialogue with legendary bassist Marcus Miller with a focus on his current and more recent projects from his many film scores to the supergroup Mega Nova with Carlos Santana, Herbie Hancock, Wayne Shorter, and Cindy Blackman Santana. He also shares his thoughts on genre and how his\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/Miller.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\/02\/Miller.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/Miller.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/02\/Miller.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8686,"url":"https:\/\/postgenre.org\/staging\/4567\/engagement-lakecia-benjamin\/","url_meta":{"origin":274,"position":2},"title":"Engagement: A Conversation with Lakecia Benjamin on &#8216;Phoenix Reimagined (Live)&#8217;","author":"Rob Shepherd","date":"June 29, 2024","format":false,"excerpt":"There is something special about a live recording compared to one edited in the studio. An increased openness to risk and chance creates a palpable energy that is difficult to recreate in a more controlled setting. This is particularly true for improvised music, where art is crafted in a fleeting\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/9d6d406a-8e4f-4274-a7cb-b38cd2b58350.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\/2024\/06\/9d6d406a-8e4f-4274-a7cb-b38cd2b58350.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/9d6d406a-8e4f-4274-a7cb-b38cd2b58350.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/06\/9d6d406a-8e4f-4274-a7cb-b38cd2b58350.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2755,"url":"https:\/\/postgenre.org\/staging\/4567\/impulse-60-black-to-the-future\/","url_meta":{"origin":274,"position":3},"title":"Review: &#8216;Impulse! Records: Music, Message &#038; The Moment&#8217; and Sons of Kemet&#8217;s &#8216;Black to the Future&#8217;","author":"Rob Shepherd","date":"May 15, 2021","format":false,"excerpt":"In 1960, Creed Taylor founded Impulse! Records, which he dubbed \"The New Wave in Jazz.\" While over time, Impulse! established itself as one of the premier labels in the genre, it was always happiest around categorical edges. Ray Charles\u2019\u00a0Genius + Soul = Jazz\u00a0(Impulse!, 1960) blurred lines between the two styles.\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\/2021\/05\/Impulse-60-Sons-of-Kemet.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\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Impulse-60-Sons-of-Kemet.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11594,"url":"https:\/\/postgenre.org\/staging\/4567\/review-john-ogallagher-ancestral\/","url_meta":{"origin":274,"position":4},"title":"Review: John O&#8217;Gallagher&#8217;s &#8216;Ancestral&#8217;","author":"Jim Hynes","date":"November 25, 2025","format":false,"excerpt":"With Ancestral (Whirlwind, 2025), alto saxophonist and composer John O'Gallagher explores the late-period work of John Coltrane, specifically Interstellar Space (Impulse!, 1974) and Stellar Regions (Impulse!, 1995). These examinations build upon O\u2019Gallagher\u2019s doctoral work, which argues that so-called \u201cfree\u201d music is not actually free as the term is commonly used.\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\/2025\/11\/0014970438_10.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/0014970438_10.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1345,"url":"https:\/\/postgenre.org\/staging\/4567\/regina-carter-swing-states\/","url_meta":{"origin":274,"position":5},"title":"Review: The Regina Carter Freedom Band&#8217;s &#8216;Swing States: Harmony in the Battleground&#8217;","author":"Rob Shepherd","date":"July 26, 2020","format":false,"excerpt":"American presidential campaigns are often very narrowly focused. One study showed that in the 2016 election a whopping ninety-four percent of events were held within twelve states with little, if any, attention paid to the remaining thirty-eight. The modern campaigning process often trades compassion among the populace for political power.\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\/07\/unnamed5.jpg?fit=800%2C508&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/unnamed5.jpg?fit=800%2C508&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/unnamed5.jpg?fit=800%2C508&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/unnamed5.jpg?fit=800%2C508&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/274","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=274"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/274\/revisions"}],"predecessor-version":[{"id":538,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/274\/revisions\/538"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/517"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=274"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=274"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}