{"id":6104,"date":"2023-06-19T22:54:06","date_gmt":"2023-06-20T03:54:06","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=6104"},"modified":"2023-06-19T23:24:44","modified_gmt":"2023-06-20T04:24:44","slug":"newport-jazz-performances-that-changed-music-history","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-performances-that-changed-music-history\/","title":{"rendered":"The Recorded Legacy: Five Newport Performances that Changed Music History"},"content":{"rendered":"\n<p>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 several more may be mislabeled entries. But even whittled down, one sees a massive volume of releases from the world\u2019s premiere jazz festival. And that\u2019s only official releases.<\/p>\n\n\n\n<p>Instead of trying to review all available output across Newport\u2019s history, this series will analyze how different topics emerge throughout recordings. Our first offering explores five Newport performances that meaningfully changed history. These performances were more than mere sets; they were events that changed the trajectory of modern music.<\/p>\n\n\n\n<p><strong><em>Miles Davis<\/em>, 1955<\/strong><\/p>\n\n\n\n<p><em>\u201cAs much as I liked the music I was now doing, I think my name in the clubs was still shit, and a lot of critics probably still thought I was a junkie. I wasn\u2019t real popular at this time, but that began to change after I played at the Newport Jazz Festival in 1955.\u201d &#8211; Miles Davis.&nbsp;<\/em><\/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_iWC5wBXyozM\"><div id=\"lyte_iWC5wBXyozM\" data-src=\"\/\/i.ytimg.com\/vi\/iWC5wBXyozM\/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\/iWC5wBXyozM\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/iWC5wBXyozM\/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>1955 was a rough year in the history of jazz. One of its greatest minds, Charlie Parker, died of a heroin overdose at age 34. Bird\u2019s bright young trumpeter, Miles Davis, had his career sidelined by his own fight with the same drug. Often labeled unreliable, Miles struggled to find work. Worse, he was disrespected by many. Even after recovery, these difficulties remained.&nbsp;<\/p>\n\n\n\n<p>Before the 1955 Festival, Miles &#8211; who did not even have an active band &#8211; approached Newport Jazz producer George Wein, insisting he perform at the that summer&#8217;s event. Wein hesitated but took a risk. Wedged between July 17th sets by Count Basie and Dave Brubeck was an impromptu set by Miles with Thelonious Monk, Zoot Sims, Gerry Mulligan, Percy Heath, and Connie Kay. After the up-tempo Monk composition \u201cHackensack\u201d the trumpeter placed the bell of his horn right up to a microphone. Out came a tone that balanced light and dark, one which was shimmering yet difficult to perceive. It fit the underlying composition \u201c\u2018Round Midnight\u201d perfectly. The audience loved it. As Miles later recounted in his autobiography, \u201c[w]hen I got off the bandstand, everybody was looking at me like I was a king or something.\u201d Perhaps most importantly, it led to Miles\u2019 signing with Columbia Records, a label for which he would release many groundbreaking albums over the next thirty years, including <em>Kind of Blue<\/em> (Columbia, 1959) and <em>Bitches Brew<\/em> (Columbia, 1970).<\/p>\n\n\n\n<p><strong><em>Duke Ellington, <\/em>1956<\/strong><\/p>\n\n\n\n<p><em>\u201cI was born at Newport in 1956.\u201d &#8211; Duke Ellington<\/em><\/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_wIX7fnYANak\"><div id=\"lyte_wIX7fnYANak\" data-src=\"\/\/i.ytimg.com\/vi\/wIX7fnYANak\/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\/wIX7fnYANak\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/wIX7fnYANak\/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>By the mid to late 1950s, Edward Kennedy Ellington had already established himself as one of America\u2019s great artists. But rock reigned supreme. Many people were no longer interested in big bands, with many disbanding entirely. Ellington\u2019s band persevered but was so desperate for gigs that they even performed at ice skating rinks. The Orchestra lacked an active recording contract. Many of its best musicians already left for other ventures anyway. Rumors spread that the leader could no longer afford to keep the band touring. But George Wein knew that though popular tastes ebbed and flowed over time, musical brilliance never wanes. He booked Ellington\u2019s Orchestra to perform at Freebody Park on Saturday July 7th.&nbsp;<\/p>\n\n\n\n<p>The Orchestra&#8217;s performance started with a lukewarm reception from the audience. But then the pianist decided to combine two 1937 tunes into one: \u201cDiminuendo and Crescendo in Blue.\u201d For years, Ellington tried to keep the pieces apart. But now they would be united with a 27 chorus solo provided by tenor sax player Paul Gonsalves, where no sax solo previously existed at all. As the song progressed, a platinum blonde woman wearing a dark evening dress jumped from her seat to dance, and the increasingly frenzied crowd followed her. By the end, as Wein recalled, \u201cthe applause and cheering was immense \u2013 stronger, louder, and more massive than anything ever heard at a jazz concert before.\u201d It is now widely held as one of the best performances of Ellington\u2019s career, spurring a revival for the Orchestra and getting them signed to Columbia for a record deal. The latter produced the classic <em>Ellington at Newport<\/em> (Columbia, 1956). In the words of Wein, the performance \u201cstood for everything that jazz had been and could be.&#8221;<\/p>\n\n\n\n<p><strong><em>Anita O&#8217;Day &#8211; Jazz on a Summer\u2019s Day<\/em>, 1958<\/strong><\/p>\n\n\n\n<p><em>\u201cThere is not a moment that, freeze framed, would not be an absolutely stunning still picture.\u201d &#8211; Judith Crist, film critic.<\/em><\/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_WWS1tt3ydV8\"><div id=\"lyte_WWS1tt3ydV8\" data-src=\"\/\/i.ytimg.com\/vi\/WWS1tt3ydV8\/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\/WWS1tt3ydV8\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/WWS1tt3ydV8\/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>It is fitting that the first modern jazz festival would birth the first modern concert film. But <em>Jazz on a Summer\u2019s Day<\/em> (Galaxy Attractions, 1959) is far from a perfect record of the music performed at the 1958 Newport Jazz Festival. Several incredible performances from the weekend &#8211; including those by Ray Charles and Miles Davis with his First Great Quintet &#8211; are nowhere to be found. Some of the film&#8217;s scenes are not even from Newport at all. Instead, evocative of the <em>Summer&#8217;s Day<\/em>\u2019s opening scenes, one finds a watery reflection of the ethos of the Festival of that era.&nbsp;<\/p>\n\n\n\n<p>That perspective &#8211; of capturing the aesthetic surrounding the music as much as the music itself- can be evidenced in the multiple shots of various audience members and of tourists strolling and partying through a beach town. The film, Bert Stern\u2019s only foray into directing, emphasizes color, light, and fashion. In his own words, Stern hoped to show \u201cthe form and beauty of jazz by the various devices, such as wave and water effects, children playing and reflections.\u201d He also emphasizes the significance of interaction between listeners and the artist. Of course, <em>Summer&#8217;s Day <\/em>captures several performances but, for better or worse, one stands out: Anita O&#8217;Day. Stern lingers on O&#8217;Day&#8217;s stylish performance in both attire and stage presence. But, with the passage of time has shown, O&#8217;Day&#8217;s set is less about her performance and more about the interplay between performer and audience. As such, Stern set the course for concert films even for those far removed from jazz &#8211; from <em>Woodstock<\/em> (Warner Bros., 1970) to <em>Stop Making Sense<\/em> (Arnold Stiefel, 1984).<\/p>\n\n\n\n<p><strong><em>The Kingston Trio<\/em>, 1959<\/strong><\/p>\n\n\n\n<p><em>\u201cNewport had been accused of commercialism almost from the start, but the allegations reached a fever pitch this year.\u201d &#8211; George Wein<\/em><\/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_54R3WLprH8M\"><div id=\"lyte_54R3WLprH8M\" data-src=\"\/\/i.ytimg.com\/vi\/54R3WLprH8M\/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\/54R3WLprH8M\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/54R3WLprH8M\/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>In full disclosure, this recording is of the Kingston Trio\u2019s 1959 Newport Folk Festival&nbsp;performance, not Jazz. However, the 1959 Newport Jazz Festival is inextricably woven into the story of this recording. While history records the final year of the Nifty Fifties as a golden period for jazz, audiences continued to flock to other music. The Kingston Trio\u2019s pop-folk vocal-led sound had a particularly large following. Arguably, the Kingston Trio was the biggest group in the country at the time. When George Wein booked the group for a Cape Cod performance earlier that summer, tickets sold in numbers far outpacing jazz artists.&nbsp;<\/p>\n\n\n\n<p>Wein saw an opportunity to drive attendance to the Jazz Festival and booked the group to perform as part of a folk focused Sunday afternoon. The press decried the selection, primarily due to the band\u2019s lack of connections to jazz music. The outrage ultimately inspired Wein to create a sister festival that summer. It aimed to host the Trio and others in the burgeoning folk revival movement. The Kingston Trio agreed to play the inaugural event, but only if they could also keep their Jazz set. Wein relented. In the process, the Newport Folk Festival was born, an event with its own rich, and continuing, legacy.<\/p>\n\n\n\n<p><strong><em>Dave Brubeck, <\/em>1971<\/strong><\/p>\n\n\n\n<p><em>\u201cWhat they had buried at Newport in 1971 was a jazz festival and an institution\u201d &#8211; George Wein<\/em><\/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_CYtJbmaZOmk\"><div id=\"lyte_CYtJbmaZOmk\" data-src=\"\/\/i.ytimg.com\/vi\/CYtJbmaZOmk\/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\/CYtJbmaZOmk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/CYtJbmaZOmk\/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>In the seventeen years since its founding in 1954, Newport Jazz continually grew and changed. It wasn\u2019t always a smooth transition. On July 2, 1960, the Governor of Rhode Island sent in the National Guard to quell a riot, prompting the cancellation of its 1961 edition. In 1969, the year Newport invested heavily in rock, nearly the same happened again. This time, stopped only by Led Zeppelin controlling the crowd. But then there was 1971.&nbsp;<\/p>\n\n\n\n<p>George Wein booked a young blues based band to play Sunday night. But between signing and performance, the previously unknown Allman Brothers Band became massively popular. After the chaos caused by events like Woodstock and Altamont, there were almost no major rock festivals in the summer of 1971; but Newport had Allman. During the weekend, nearly ten thousand young people traveled to Newport to sit on the hills overlooking the venue at Festival Field, not paying a dime for admission. Many were on drugs and demanded that all music be \u201cfree\u201d and the gates to the Field torn down.&nbsp;<\/p>\n\n\n\n<p>On the evening of Saturday, July 3, swarms of people began climbing different segments of the eight-foot high fence around the Field. The chaos hit a boiling point during the performance by Dave Brubeck\u2019s Quartet. \u201cBlues for Newport\u201d is a fitting tune to encapsulate the moment as its loud wailing is as if the artist was saying goodbye to an old friend. And a piece from Brubeck\u2019s The Gates of Justice cantata, \u201cOpen the Gates (Out of the Way of the People)\u201d takes on an increased poignancy as it calls for the destruction of barriers for the sake of justice. Not obliteration in furtherance of selfish whims, as was the case in the mess on the hills. The gates would not finally break until Dionne Warwick\u2019s \u201cWhat the World Needs Now,\u201d but Brubeck\u2019s performance is essentially jazz\u2019s farewell to one of its first major institutions.<\/p>\n\n\n\n<p>Following a decade-long exile in New York, the Festival returned to Newport, stronger than ever. The death of the initial incarnation of the Newport Jazz Festival was necessary to ensure its continued survival. And Brubeck, who played as the gates descendant around him, would ultimately perform at Newport more than anyone else in its history.<\/p>\n\n\n\n<p><strong><em>Stay Tuned for the Next Chapter of our Recorded Legacy Series: Five Modern Masters at Newport<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>Be a Part of History. The 2023 Newport Jazz Festival Will Take Place from August 4th to 6th at Fort Adams State Park in Newport, Rhode Island. <a href=\"https:\/\/newportjazz.org\/\">More Information is Available on Their Website.&nbsp;<\/a><\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>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 several more may be mislabeled [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6113,"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":330,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1159],"tags":[],"class_list":["post-6104","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-newport-jazz-history"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/06\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-1As","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":1159,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-prologue\/","url_meta":{"origin":6104,"position":0},"title":"A History of the Newport Jazz Festival &#8211; Prologue:  Born in Storyville, 1950-1954","author":"Rob Shepherd","date":"July 17, 2020","format":false,"excerpt":"In September of 1950, twenty-four-year-old George Wein used his college savings to open a nightclub, Storyville, at Boston\u2019s Copley Square Hotel. The venue boldly planned to present jazz in a new light. Taking its name from the legendary New Orleans district of debauchery, brothels, and flophouses from whence the music\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\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/2365_Wein352465.jpg?fit=750%2C614&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2709,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ix\/","url_meta":{"origin":6104,"position":1},"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 &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-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":1252,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-ii\/","url_meta":{"origin":6104,"position":2},"title":"A History of the Newport Jazz Festival \u2013 Chapter II: Diminuendo and Crescendo, 1956","author":"Rob Shepherd","date":"July 24, 2020","format":false,"excerpt":"The 1956 Newport Jazz Festival\u2019s schedule was adjusted slightly compared to the prior two outings. While still a three-day event with a focus on nighttime performances, it was moved up a day to begin on Thursday and end on Saturday while also having an earlier start time. Much 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\/2020\/07\/1956-19604.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\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/1956-19604.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4906,"url":"https:\/\/postgenre.org\/staging\/4567\/2022-newport-preview-sunday\/","url_meta":{"origin":6104,"position":3},"title":"What to See at the 2022 Newport Jazz Festival &#8211; Sunday","author":"Rob Shepherd","date":"July 27, 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\/P80600961.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\/P80600961.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80600961.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80600961.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1210,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-history-chapter-i\/","url_meta":{"origin":6104,"position":4},"title":"A History of the Newport Jazz Festival &#8211; Chapter I: A New Tradition, 1954-1955","author":"Rob Shepherd","date":"July 23, 2020","format":false,"excerpt":"By 9:18 PM on the evening of July 17, 1954, Eddie Condon\u2019s tribute to Dixieland finally began its delayed performance. Next was vocalist Lee Wiley, a jam session, and then a series of musicians who in hindsight left an indelible mark of music: the Modern Jazz Quartet with Horace Silver\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\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/07\/pasted-image-02-1.png?fit=711%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1323,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-iv\/","url_meta":{"origin":6104,"position":5},"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":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6104","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=6104"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6104\/revisions"}],"predecessor-version":[{"id":6114,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6104\/revisions\/6114"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/6113"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=6104"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=6104"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=6104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}