{"id":3134,"date":"2021-08-17T00:28:40","date_gmt":"2021-08-17T05:28:40","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3134"},"modified":"2021-11-15T12:05:48","modified_gmt":"2021-11-15T18:05:48","slug":"2021-newport-jazz-iii","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/2021-newport-jazz-iii\/","title":{"rendered":"Observations from Day Three of the 2021 Newport Jazz Festival"},"content":{"rendered":"\n

Jimmy Heath. Tony Allen<\/a>. Chick Corea. Wallace Roney. McCoy Tyner. The names and pictures of iconic artists who passed since the last Newport Jazz Festival regularly flashed on both stage\u2019s large screens between sets. While the Festival had made such touching presentations in years past, they were particularly noticeable at the 2021 Festival as thoughts of those lost were at the heart of the programming choices for the third day of the event, Sunday, August 1. For a music that has long revered its architects, a focus on elders should be unsurprising. At the same time, however, the day challenged the notion of what it means for an artist to be truly \u201cgone\u201d while celebrating the legends still among us. <\/p>\n\n\n\n

The day started at the Quad Stage with the Vibes Summit, an exclusive performance by three of today\u2019s top vibraphonists – Warren Wolf, Joel Ross, and Sasha Berliner – backed by pianist Emmet Cohen\u2019s trio. With Wolf as the oldest performer (41 years old), it was a young collective and easy to overlook its historical antecedents, specifically Milt Jackson, Gary Burton, Lionel Hampton, Red Norvo, and Bobby Hutcherson congregating at the 1967 Newport Jazz Festival.<\/a> In introducing Wolf, Ross, and Berliner, Artistic Director Christian McBride referenced this history, noting that while the vibes are not as prevalent in improvisatory music as other instruments, they have as rich a heritage as a trumpet or saxophone. <\/p>\n\n\n\n

The 1967 Vibes Workshop built off of old Broadway songs like \u201cAutumn in New York,\u201d \u201cHow High the Moon,\u201d and \u201cSoftly as in a Morning Sunrise.\u201d The modern incarnation went a step further down the generational line, visiting the bebop compositions that themselves became standards off of the chord structures to such older tunes. A united ensemble traded bars over Gillespie\u2019s \u201cBe Bop\u201d and Monk\u2019s \u201cEvidence,\u201d adding new touches to each. In between, each vibraphonist was allowed to perform on their own in front of the trio. <\/p>\n\n\n\n

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First, Wolf added his vocals and mallets to Roy Ayers\u2019 classic \u201cEverybody Loves the Sunshine.\u201d The choice was brilliant for several reasons. It subtly underscored connections to the 1967 Festival; while not part of the Vibes Workshop, Ayers was also at Newport that summer as part of Herbie Mann\u2019s globetrotting quintet. Secondly, it emphasized Ayers\u2019 role as a living legend in the lineage of vibraphone music<\/a>. Finally, Wolf\u2019s performance was soulful and laid back atop a tight drum rhythm. It sounded ripe for sampling, hinting at Ayers\u2019 role as a heavily sampled artist and suggesting that musical approach\u2019s role as a continuation in the historical narrative.<\/p>\n\n\n\n

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Sasha Berliner then shared a hauntingly beautiful rendition of \u201cMy Funny Valentine.\u201d Her version, set to be released on next year\u2019s Onyx<\/em>, gave new life to an eighty-four-year-old song. Her unconventional use of echos and space suggested some exotic land just starting to be musically explored. As an aside, it was excellent to see Berliner as part of this performance. While Wolf and Ross both have strong groups of well-deserved followers, at times it seems their success has unfairly overshadowed Berliner. Her debut, Azalea <\/em>(self-released, 2019), uniquely blurred alternative rock, jazz, and contemporary classical influences. Her work with Tyshawn Sorey has been equally compelling. Berliner is an artistic force to be reckoned with and it is commendable that the Festival seems cognizant of that fact.\u00a0<\/p>\n\n\n\n

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Joel Ross added a contemporary spin on Coltrane\u2019s \u201cCousin Mary.\u201d At times, his instrument almost sounded bell-like in its clarity of tone. He also referenced Miles\u2019 \u201cJean Pierre,\u201d bridging the gap between music of the 1960s and 1980s. <\/p>\n\n\n\n

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Over on the Lawn Stage, harpist Brandee Younger led her ensemble with bassist Dezron Douglas and drummer Allan Mednard. During the pandemic, Younger and Douglas hosted several at-home livestream performances, including pieces released on Force Majure<\/em> (International Anthem, 2020). <\/a>In the process, the two string players developed an incredible ability to interact and respond to each other musically. This was evident at Newport on \u201cToilet Paper Romance\u201d from that recording, as well as \u201cTickled Pink\u201d from Younger\u2019s newest album, Something Different<\/em> (Impulse!, 2021). But while leaving focused on originals, Younger made sure to clarify that she is part of a heritage formed by Dorothy Ashby and Alice Coltrane before calling harpist Mikaela Davis out to join the group for Ashby\u2019s \u201cAction Line.\u201d<\/p>\n\n\n\n

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Back inside the Fort\u2019s walls, two NEA Jazz Masters prepared to take the Quad Stage with one of the finest drummers of his generation. Pianist Kenny Barron\u2019s beautiful lyricism and bassist Dave Holland\u2019s deep clear tone have well accentuated one another since their first recording together, The Art of Conversation<\/em> (Impulse!, 2013). The addition of Johnathan Blake further adds motion and fluidity to their conversation. The trio presented songs from their latest, Without Deception<\/em> (Dare2, 2020), a portfolio of compositions from both elders. The upbeat Latin-inspired \u201cPorto Allegre.\u201d The romantic balladry of \u201cIn Your Eyes.\u201d The high-energy chase of \u201cSpeed Trap.\u201d Each delicately underscored the importance of communication between improvising artists and how, when done correctly by skilled tacticians, such dialogues can expose new colors. But even these legendary artists left room to honor the past.<\/p>\n\n\n\n

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Monk\u2019s \u201cWorry Later\u201d allowed the group to go a bit \u201cout\u201d even as it deemphasized some of its composer\u2019s structural eccentricities. In so doing, it not only spotlighted Monk\u2019s unique style but skills as a composer. A highlight of the performance, Holland\u2019s composition, \u201cPass It On,\u201d was dedicated to Ed Blackwell. Although perhaps best known for his work with Ornette Coleman, the exploration of Blackwell\u2019s New Orleans roots primarily allowed for Afro-Latin and second line influences to emerge while providing an opportunity to showcase Blake\u2019s drum skills. <\/p>\n\n\n\n

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Next on the Quad Stage was The Jazz Gallery All-Stars. Founded in 1995, New York City\u2019s The Jazz Gallery has been at the forefront of supporting new and emerging artists.* Its role as such was evident in the group\u2019s membership. Reading like a who\u2019s who of today\u2019s young voices in jazz – saxophonists Jaleel Shaw and Melissa Aldana, vibraphonist Joel Ross, guitarist Charles Altura, pianist Gerald Clayton<\/a>, bassist Ben Williams<\/a>, and drummer Marcus Gilmore – each have contributed to some of the most interesting original recordings of the past decade. <\/p>\n\n\n\n

After an introduction by the Gallery\u2019s Artistic Director, Rio Sakairi, the first half of the All-Stars\u2019 set brought original compositions by some of the group\u2019s members. Ross\u2019 soft and dreamlike \u201cAbsence Makes the Heart Grow Fonder\u201d was driven by vibes and guitar, while Clayton\u2019s \u201cOf Asking\u201d resourcefully built a groove out of a simple melody. <\/p>\n\n\n\n

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With Gallery co-founder Lezlie Harrison in the audience, the second half found vocalist Renee Neufville stepping in front of the band to remember one of the club\u2019s other two originators, Roy Hargrove.** Once a vocalist in the trumpeter\u2019s RH Factor, Neufville led the group in blending R&B and jazz as that group once did. This included her use of lyrics that unequivocally marked out Hargrove\u2019s lodestar such as \u201c[i]f you could only see that the magic of your legacy would stand on its own feet.\u201d To the crowd\u2019s delight, this soon turned into a version of Hargrove\u2019s perhaps best-known song, \u201cStrasbourg\/St. Denis.\u201d Neufville then took the opportunity to morph this anthem into the Spinners\u2019 \u201cCould It Be I\u2019m Falling in Love.\u201d This crumbling of stylistic walls poignantly and powerfully posited that Hargrove belongs to the pantheon of legendary artists who shaped the music over the decades. <\/p>\n\n\n\n

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One such master musician, Charles Lloyd, took the Quad Stage following the All-Stars. The saxophonist began his set by reminiscing about his first time at Newport in 1961 as part of Chico Hamilton\u2019s band. <\/a>He also dedicated his performance to the Festival\u2019s absent founder, noting that Wein belongs in the tradition outlined by \u201cArmstrong Bird, Prez, and Lady Day.\u201d<\/p>\n\n\n\n

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Lloyd has long been a potent analyst of the American sonic melting pot<\/a>; an artist who extracts some of the finer points of various cultural ideas and places them together into a cohesive collage. In his first public performance in 18 months, he and his young band – Clayton, guitarist Marvin Sewell, drummer Eric Harland, and bassist Harish Raghavan – borrowed heavily from the blues. These influences were particularly apparent from Swell\u2019s slide guitar and Harland\u2019s rhythmic lines suggesting a train going down tracks. But even here, Middle Eastern flute motifs, gospel, and 60s soul hues, occasionally emerged through his revisitation of longstanding pieces like his \u201cDream Weaver.\u201d And, in exploring Ornette Coleman\u2019s \u201cRamblin\u2019\u201d these were also tied to free jazz. While Lloyd has little to prove at this point in his career, he inspired the audience with his continued expansiveness in search of new sounds. <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

The Quad Stage\u2019s closer, the third of Artist-in-Residence Robert Glasper\u2019s performances, provided a party-like atmosphere to end the weekend, complete with the group drinking from red solo cups. Throughout, there were even bubbles floating through the audience. Billed as a \u201cBlack Radio Presentation,\u201d<\/a> a common thread across the songs was the fusing of ideas from jazz, hip hop, and R&B. Though receiving significant attention for doing so since the first \u201cBlack Radio\u201d album almost a decade ago, Glasper didn\u2019t originate the concept of combining these influences. He also doesn\u2019t claim to have done so. The broad phrase \u201cBlack Radio\u201d itself suggests a shared cultural bandwidth between them, one explored by more recent legends like Hargrove and his fellow Soulquarian, the great composer J Dilla<\/a>. This is where the Newport presentation- with Justin Tyson on drums, Burniss Travis on electric bass, Jahi Sundance on turntables, and Isaiah Sharkey on guitar- most excelled; in connecting the present moment to the genre-blurers of the past. <\/p>\n\n\n\n

This was particularly evident once special guest Ledisi joined the ensemble. The vocalist was present at the Fort that weekend for her tribute to another boundary-pushing artist, Nina Simone. With Ledisi\u2019s vocals added, the group performed \u201cGonna Be Alright (F.T.B.)\u201d off of the first Black Radio album. Lyrics like \u201cIt\u2019s gonna be alright, I know it\u2019s going to be okay\u201d took on profound importance after the year that was 2020. The song also briefly morphed into \u201cAlright\u201d off of Kendrick Lamar\u2019s To Pimp a Butterfly. <\/p>\n\n\n\n

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Even more significant was the performance of \u201cI\u2019m Leaving You,\u201d perhaps the best summation of the set. Originally produced for Everything\u2019s Beautiful<\/em> (Columbia, 2016), the piece is built around sounds from 1970s Miles Davis recordings but sounds fresh and modern. The heavy African-based groove produced by the band\u2019s rhythm session sounded as if derived from albums like On the Corner<\/em> (Columbia, 1972)<\/a>. At the same time, however, it fit comfortably alongside the rest of Glasper\u2019s performances across the weekend. Jahi Sundance looped Miles\u2019 own spoken word statement \u201cwait a minute,\u201d not only fighting the singer\u2019s calls for an end of romance but also encapsulating the audience\u2019s fascination with the band\u2019s era-hopping traits. While it seems like a lost opportunity to have not pulled John Scofield into the performance – he was on the Fort grounds having just finished with The Jam Jawn<\/a> – Sharkey produced a blistering solo before Jaleel Shaw jumped on stage to add a Maceo Parker-style funky one. Laying further into the funk influences, Glasper referenced James Brown by asking the audience to \u201cGive the Drummer Some.\u201d <\/a>In all, \u201cI\u2019m Leaving You\u201d was a great overview of the day; reverent of the past but without being bound to it.
<\/p>\n\n\n\n

Observations on Day One of the 2021 Newport Jazz Festival can be found here.<\/a><\/strong> Day Two can be found here.<\/a><\/strong><\/p>\n\n\n\n

Except as otherwise noted, all photos are by T. Jordan Hill of PostGenre Media.<\/p>\n\n\n\n

* In the nature of full disclosure, this author also contributes to The Jazz Gallery\u2019s Official Blog, Jazz Speaks.<\/a> <\/p>\n\n\n\n

** The third co-founder, Dale Fitzgerald, died in 2015 after a lengthy battle with cancer. <\/p>\n","protected":false},"excerpt":{"rendered":"

Jimmy Heath. Tony Allen. Chick Corea. Wallace Roney. McCoy Tyner. The names and pictures of iconic artists who passed since the last Newport Jazz Festival regularly flashed on both stage\u2019s large screens between sets. While the Festival had made such touching presentations in years past, they were particularly noticeable at the 2021 Festival as thoughts […]<\/p>\n","protected":false},"author":2,"featured_media":3135,"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":22,"_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":[16,1159],"tags":[],"class_list":["post-3134","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-live","category-newport-jazz-history"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/sMp6uHCA.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-Oy","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2709,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ix\/","url_meta":{"origin":3134,"position":0},"title":"A History of the Newport Jazz Festival \u2013 Chapter IX: Homecoming, 1981-1983","author":"Rob Shepherd","date":"April 4, 2021","format":false,"excerpt":"\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.\u2026","rel":"","context":"In "Newport Jazz Festival History"","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-1981-1983.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-1981-1983.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/04\/newport-1981-1983.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-1981-1983.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6104,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-performances-that-changed-music-history\/","url_meta":{"origin":3134,"position":1},"title":"The Recorded Legacy: Five Newport Performances that Changed Music History","author":"Rob Shepherd","date":"June 19, 2023","format":false,"excerpt":"One cannot adequately assess the history of the Newport Jazz Festival without examining the recordings captured at the event through the years. In many ways approaching the recorded history of Newport is a gargantuan task. Discogs currently reflects 3,292 Newport Jazz releases. Many of these are reissues of albums, and\u2026","rel":"","context":"In "Newport Jazz Festival History"","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\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.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":3134,"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 "Newport Jazz Festival History"","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":3134,"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 "Newport Jazz Festival History"","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":1467,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-viii\/","url_meta":{"origin":3134,"position":4},"title":"A History of the Newport Jazz Festival \u2013 Chapter VIII: Fortress in the Wings, 1972-1980","author":"Rob Shepherd","date":"August 9, 2020","format":false,"excerpt":"After the destructive summer of 1971, George Wein wanted to keep the legacy of the Newport Jazz Festival alive but realized any continuation needed to take place elsewhere. He ultimately decided upon relocating the event 180 miles South West to New York City. By the early 1970s, the once-great home\u2026","rel":"","context":"In "Newport Jazz Festival History"","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\/08\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/08\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6313,"url":"https:\/\/postgenre.org\/staging\/4567\/friends-old-new-mcbride-newport-2023\/","url_meta":{"origin":3134,"position":5},"title":"Friends Old and New: Artistic Director Christian McBride Previews the 2023 Newport Jazz Festival","author":"Rob Shepherd","date":"August 2, 2023","format":false,"excerpt":"We conclude our series of 2023 Newport Jazz Festival pre-event interviews with a conversation with Christian McBride. Fittingly, our third interview with McBride covers his three roles at the Newport Jazz Festival: bass heavyweight, skilled educator, and curator.\u00a0 McBride's bona fides as an artist are beyond reproach. He's worked with\u2026","rel":"","context":"In "Interviews"","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/LightRoom-73042902-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/LightRoom-73042902-scaled.jpg?fit=1200%2C800&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/LightRoom-73042902-scaled.jpg?fit=1200%2C800&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/LightRoom-73042902-scaled.jpg?fit=1200%2C800&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/LightRoom-73042902-scaled.jpg?fit=1200%2C800&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3134","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=3134"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3134\/revisions"}],"predecessor-version":[{"id":3448,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3134\/revisions\/3448"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/3135"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=3134"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=3134"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=3134"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}