{"id":3179,"date":"2021-08-23T22:32:39","date_gmt":"2021-08-24T03:32:39","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3179"},"modified":"2022-05-10T15:44:34","modified_gmt":"2022-05-10T20:44:34","slug":"blanchard-absence","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/blanchard-absence\/","title":{"rendered":"Review: Terence Blanchard&#8217;s &#8216;Absence&#8217; featuring the E-Collective and Turtle Island Quartet"},"content":{"rendered":"\n<p>Wayne Shorter is among the best composers of the second half of the Twentieth Century. Several of his compositions including, \u201cFootprints\u201d and \u201cInfant Eyes,\u201d have become standards. But in performing these songs, many musicians often miss what makes the saxophonist\u2019s work so extraordinary. Yes, the pieces are beautiful and well-written, but they are merely jumping spots for exploration. Instead, the crux of his music is risk-taking; taking a bold leap, and seeing where you land. While most tributes miss this central point, Terence Blanchard\u2019s <em>Absence <\/em>(Blue Note, 2021) featuring the Turtle Island Quartet and his band, the E-Collective, excels in capturing the meaning of the legendary artist\u2019s work in its truest form. <\/p>\n\n\n\n<p>In many ways, Blanchard is the perfect candidate for such a tribute to Shorter. Although two decades apart, both were Jazz Messengers, confirming their early career dedication to the form. From this experience, Shorter moved to Miles Davis\u2019 Second Great Quintet, where his writing focused on expanding harmonic structures. One such piece,<em> <\/em>\u201cFall,\u201d appears on <em>Absence. <\/em>While Blanchard\u2019s version retains the same balladry of the original, the incorporation of strings adds additional complexity and texture. The lush tones of Fabian Almazan\u2019s piano, the Turtle Island Quartet\u2019s ever subtle movements, and Blanchard\u2019s long tones suggest a crisp Autumn air, descending colored leaves, and the slight scent of firewood burning. It\u2019s respectful of Shorter\u2019s original but never aims for mere replication.\u00a0<\/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_B-lpWJyUnbY\"><div id=\"lyte_B-lpWJyUnbY\" data-src=\"\/\/i.ytimg.com\/vi\/B-lpWJyUnbY\/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\/B-lpWJyUnbY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/B-lpWJyUnbY\/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<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_BmWX1erp_u4\"><div id=\"lyte_BmWX1erp_u4\" data-src=\"\/\/i.ytimg.com\/vi\/BmWX1erp_u4\/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\/BmWX1erp_u4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/BmWX1erp_u4\/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>From 1970 until 1986, Shorter and Joe Zawinul experimented with merging influences from jazz, rock, funk, and R&amp;B, and various cultural musics. A central focus of Weather Report\u2019s albums is also their focus on using emerging technologies to create novel tones. The E-Collective stands in a unique position in addressing this amalgamation of sounds as it follows a similar path. Both <em>Breathless <\/em>(Blue Note, 2015) and <em>Live<\/em> (Blue Note, 2018) emerge from the space between rock and jazz while pulling from electric music developed in the decades since fusion\u2019s heyday, like hip hop,&nbsp; heavy metal, and electronic music. As a band, the E-Collective is very modernistic and eclectic and, with things like its leader\u2019s pedal-modified tone, also seeking new sounds. Unsurprisingly, the band makes the themes from Weather Report tunes their own. \u201cWhen it Was Now\u201d is turned from a jazz-funk exposition into a more nuanced interplay between trumpet and guitar. To better incorporate solos, <em>Absence <\/em>simultaneously grounds and stretches the concise alien melody of \u201cThe Elders.\u201d It also reappears as \u201cMore Elders,\u201d a wild version of which almost sounds like some chaotic remix.&nbsp;<\/p>\n\n\n\n<p>The album also puts its own twist on Shorter\u2019s recordings as a leader from the mid-1980s to the present. One example is \u201cDiana,\u201d born from the saxophonist\u2019s work with Milton Nascimento on <em>Native Dancer<\/em> (Columbia, 1974). When Shorter revisited it on <em>1+1<\/em> (Verve, 1997), the song\u2019s core melodic elements remained, but a change in presentation altered its meaning. While the original rendition is tender, smooth, and contemplative, the newer one is a bit more raw, sparse, and more loosely knit. This kaleidoscopic approach to music recurs through most of the last three decades of Shorter\u2019s work, and Blanchard capitalizes on it. In his version, slow strings gently breeze past one another, suggesting the theme before actually doing so. Midway through, Blanchard\u2019s core group adds to the aesthetic but with a slight edge. Minor modifications of Blanchard\u2019s tone coupled with Charles Altura\u2019s occasional guitar trills suggest that perhaps there is more behind the sheer beauty of the melody than is readily apparent.&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_lUlzOXChqhg\"><div id=\"lyte_lUlzOXChqhg\" data-src=\"\/\/i.ytimg.com\/vi\/lUlzOXChqhg\/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\/lUlzOXChqhg\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/lUlzOXChqhg\/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<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_9ANvLnpy6nQ\"><div id=\"lyte_9ANvLnpy6nQ\" data-src=\"\/\/i.ytimg.com\/vi\/9ANvLnpy6nQ\/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\/9ANvLnpy6nQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/9ANvLnpy6nQ\/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>This return to past ideas as a launching pad for new ones has served as a significant commonality across Shorter\u2019s work during the current millennium. While he continued to write songs, some of his more expansive moments &#8211; whether joined by his longstanding quartet or a symphony orchestra &#8211; have often started with sounds more familiar to him before branching off. Often, these sonic voyages have navigated a throughway between \u201cjazz\u201d and \u201cclassical.\u201d The confluence of these two styles has played a central role in the music from this era of Shorter\u2019s career. Indeed, even now as he is unable to perform publicly, the eighty-seven-year-old\u2019s attention is placed on the creation of his first opera, \u2018Iphigenia.\u201d Having produced several classical film scores and an opera, Blanchard is perfectly suited to present these matters. On <em>Absence<\/em>,<em> <\/em>these cues are most apparent on compositions penned not by Shorter but by Blanchard and his bandmates. Interestingly, the more the ensemble moves from his specific notes and motifs, the more their music represents the lessons that can be best learned from the master.&nbsp;<\/p>\n\n\n\n<p>Consider, for instance, violinist David Balakrishnan\u2019s \u201cThe Second Wave.\u201d Intended to showcase the Turtle Island Quartet, it sounds more reminiscent of Yo-Yo Ma\u2019s Goat Rodeo project than a Terence Blanchard album. Actually, there\u2019s no trumpet on the track at all. And that bravery in pushing beyond expectations is what makes it one of the album\u2019s finest songs. At certain points, there is an undeniable bluegrass or Appalachian string feel to it. In others, it seems to come from the Western European classical tradition. And, at times, it borrows thoughts from klezmer and Middle Eastern music. \u201cThe Second Wave\u201d is unlike any other song on <em>Absence<\/em>. But, in its creator\u2019s undeniable openness to following wherever the music leads him, it fits Shorter\u2019s musical ethos. <\/p>\n\n\n\n<p>Similarly, the bandleader\u2019s \u201cI Dare You\u201d derives its title from one of Shorter\u2019s well-cited statements that \u201c[t]he word \u2018jazz\u2019 means to me, \u2018I dare you. Let\u2019s jump into the unknown!\u2019\u201d The track places a wailing, at times almost siren-like, trumpet over a heavy groove. The song is urgent and impulsive. Its most compelling moments come, however, in the blur of orchestral and rock vocabulary. Overpowered bows at times seamlessly blur with synthesizer and at others weaves in and out with the overt aggressiveness of guitar and bass. Sonically one wouldn\u2019t think of Shorter, but again the forcing beyond boundaries makes his influence clear.&nbsp;<\/p>\n\n\n\n<p>Ultimately, <em>Absence<\/em> is the type of tribute an artist of Wayne Shorter\u2019s artistic fortitude deserves. One looking for mere rehash or emulation will not find it here. While in a broad sense tracking the overall trajectory of Shorter\u2019s career thus far, this is done in a seemingly organic way. The classical and fusion cues serve as mere lifelines for artists venturing out into previously undiscovered musical territory. And, in this sense, even when not examining Shorter\u2019s compositions, the combined ensemble ensures that the saxophonist\u2019s presence is well felt. The only apparent absence is trepidation in voyaging into the sonic unknown.&nbsp;<br><br><\/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_ffkPIqqqWIo\"><div id=\"lyte_ffkPIqqqWIo\" data-src=\"\/\/i.ytimg.com\/vi\/ffkPIqqqWIo\/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\/ffkPIqqqWIo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/ffkPIqqqWIo\/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><strong><em><a href=\"https:\/\/store.bluenote.com\/products\/terence-blanchard-absence\">Absence<\/a><\/em><\/strong><a href=\"https:\/\/store.bluenote.com\/products\/terence-blanchard-absence\"><strong><em> will be available on  Blue Note Records on<\/em><\/strong> <strong><em>August 27, 2<\/em><\/strong><em><strong>021<\/strong>. <\/em><\/a><\/p>\n\n\n\n<p>Tracklist: 1. Absence; 2. The Elders; 3. Fall; 4. I Dare You (Intro); 5. I Dare You; 6. Envisioned Reflections (Intro); 7. Envisioned Reflections; 8. The Second Wave; 9. When It Was Now; 10. Dark Horse; 11. Diana; 12. More Elders<\/p>\n\n\n\n<p>Personnel: Terence Blanchard (trumpet (1-3,5,7,9-12), synths (1-3,5,7, 9-12)), David Balakirshnan (violin (1-7,9-12)), Charles Altura (guitar (1-3,5,7, 9-12)), Benjamin von Gutzeit (viola (1-7,9-12)), Fabian Almazan (piano (1-3,5,7, 9-12), synths (1-3,5,7 9-12)), Gabe Terracciano (violin (1-7,9-12)), David Ginyard (bass (1-3,5,7,9-12), synths (1-3,5,7,9-12)), Malcom Parson (cello (1-7,9-12)), Oscar Seaton (drums (1-3,5,7,9-12)).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Wayne Shorter is among the best composers of the second half of the Twentieth Century. Several of his compositions including, \u201cFootprints\u201d and \u201cInfant Eyes,\u201d have become standards. But in performing these songs, many musicians often miss what makes the saxophonist\u2019s work so extraordinary. Yes, the pieces are beautiful and well-written, but they are merely jumping [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":3181,"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":65,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-3179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-Ph","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":10748,"url":"https:\/\/postgenre.org\/staging\/4567\/review-pollack-soul-and-circuitry\/","url_meta":{"origin":3179,"position":0},"title":"Review: Julian \u201cJ3PO\u201d Pollack&#8217;s &#8216;Soul &amp; Circuitry&#8217;","author":"Jim Hynes","date":"June 23, 2025","format":false,"excerpt":"With Soul & Circuitry (Ropeadope, 2025), Los Angeles-based pianist\/keyboardist\/electronics wizard\/producer Julian \u201cJ3PO\u201d Pollack issues his second album on one of our most trustworthy labels. The record is his tenth overall as a leader. If you\u2019re unfamiliar with Pollack\u2019s other output, he\u2019s been the keyboardist for Marcus Miller and Chris Botti\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\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.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\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4897,"url":"https:\/\/postgenre.org\/staging\/4567\/2022-newport-preview-friday\/","url_meta":{"origin":3179,"position":1},"title":"What to See at the 2022 Newport Jazz Festival &#8211; Friday","author":"Rob Shepherd","date":"July 25, 2022","format":false,"excerpt":"Especially after attending for nearly two decades, this author has a deep admiration and respect for the Newport Jazz Festival. Our site extensively covers the history of the legendary festival from before its formation to the present. Under normal circumstances, our site would feature coverage from Fort Adams of 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\/2022\/07\/P80108471.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\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2783,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-2021-lineup-selections\/","url_meta":{"origin":3179,"position":2},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s 2021 Lineup","author":"Rob Shepherd","date":"June 9, 2021","format":false,"excerpt":"After a year canceled by the COVID-19 pandemic, the historic Newport Jazz Festival has announced it will be presenting the 2021 Festival at its home for the past four decades, Fort Adams State Park. To ensure safety, however, it will be scaled back from its usual scope. Four stages will\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\/06\/newportjazzpresents750.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\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11485,"url":"https:\/\/postgenre.org\/staging\/4567\/review-domo-branch-hand-of-gifts\/","url_meta":{"origin":3179,"position":3},"title":"Review: Domo Branch\u2019s \u2018Hands of Gifts\u2019","author":"Jim Hynes","date":"October 31, 2025","format":false,"excerpt":"The gratitude of drummer-composer Domo Branch, an in-demand rising star of contemporary jazz, is evident in many ways as on Hand of Gifts (Albina Music Trust, 2025). Artists often honor tradition, as Branch does here, while going beyond simply honoring his mentors.\u00a0 Albina Music Trust, a new label to most,\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\/10\/img_2328-1.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\/2025\/10\/img_2328-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/10\/img_2328-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":3608,"url":"https:\/\/postgenre.org\/staging\/4567\/rob-shepherds-favorite-albums-of-2021\/","url_meta":{"origin":3179,"position":4},"title":"Rob Shepherd&#8217;s Favorite Albums of 2021","author":"Rob Shepherd","date":"December 22, 2021","format":false,"excerpt":"In some ways, 2021 can be seen as a return of music. In reality, through live-stream and various recordings, music continued to be created the year before. But 2021 felt like- to steal a subtitle of one of the albums on my top ten list- a freeing out of our\u2026","rel":"","context":"In &quot;Best of Lists&quot;","block_context":{"text":"Best of Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.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\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/12\/2021-list1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3179","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=3179"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3179\/revisions"}],"predecessor-version":[{"id":4457,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/3179\/revisions\/4457"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/3181"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=3179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=3179"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=3179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}