{"id":6673,"date":"2023-08-29T12:17:59","date_gmt":"2023-08-29T17:17:59","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=6673"},"modified":"2023-09-05T21:59:15","modified_gmt":"2023-09-06T02:59:15","slug":"review-diatom-ribbons-vanguard","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/","title":{"rendered":"Review: Kris Davis&#8221;Diatom Ribbons Live at the Village Vanguard&#8217;"},"content":{"rendered":"\n<p>On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist <a href=\"https:\/\/projects.iq.harvard.edu\/geri-allen-symposium\">Geri Allen<\/a>. It was a fantastic night of music worthy of Allen\u2019s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne Carrington, who had also curated the concert. The formidable connection on display would prove to be educational and ideological. When Carrington was organizing tributes to Allen, she <a href=\"https:\/\/daily.bandcamp.com\/features\/kris-davis-pyroclastic-records-interview?utm_source=footer\">invited<\/a> Davis to join the <a href=\"https:\/\/college.berklee.edu\/jazz-gender-justice\/our-team\">Berklee Institute of Jazz and Gender Justice<\/a>, where Davis now works as the associate program director of creative development.<\/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_zr-KjzV0s9M\"><div id=\"lyte_zr-KjzV0s9M\" data-src=\"\/\/i.ytimg.com\/vi\/zr-KjzV0s9M\/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\/zr-KjzV0s9M\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/zr-KjzV0s9M\/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>Soon after, Carrington and another member of the Berklee Institute, electronic musician, turntablist, and drummer Val Jeanty, would be the core of <em>Diatom Ribbons<\/em> (Pyroclastic Records, 2019), one of Davis&#8217; boldest works to date. Davis had always had a knack for exploration, to the point where well-known jazz standards can sound like new adventures, but <em>Diatom Ribbons<\/em> expanded her sound. <\/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_gcnyYciYtDk\"><div id=\"lyte_gcnyYciYtDk\" data-src=\"\/\/i.ytimg.com\/vi\/gcnyYciYtDk\/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\/gcnyYciYtDk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/gcnyYciYtDk\/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><\/p>\n\n\n\n<p>Jeanty&#8217;s samples and scratches gave the album elements of hip hop, and some portions of Davis&#8217; compositions worked in a melodically fluid fashion only to be followed by others that shifted like entrancing puzzles. When Carrington and bassist Trevor Dunn took the rhythm to aggressive territory, the album had a rock edge that was pushed even further by Nels Cline and Marc Ribot&#8217;s fierce guitar work.&nbsp;<\/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_-88DXiH44WY\"><div id=\"lyte_-88DXiH44WY\" data-src=\"\/\/i.ytimg.com\/vi\/-88DXiH44WY\/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\/-88DXiH44WY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/-88DXiH44WY\/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 expansive concept of <em>Diatom Ribbons<\/em> begged to be explored live. Thankfully, in 2022, Davis, Carrington, Jeanty, and Dunn went to the Village Vanguard along with guitarist Julian Lage to do exactly that. <em>Diatom Ribbons Live at the Village Vanguard<\/em> (Pyroclastic Records, 2023) does not have the same songs as the previous album &#8211; it presents new Davis compositions and other tunes under a similar experimental lens. Perhaps as a reference to when Davis and Carrington began performing together, Geri Allen&#8217;s &#8220;The Dancer&#8221; was released as the lead single. Davis takes the theme at a more steady pace and employs prepared piano with gaff tape that gives the notes a more percussive quality. The use of dissonance to punctuate phrases combined with the piano\u2019s altered tone gives the tune a subtle catchy groove. Lage provides fine accompaniment, elaborating on Davis&#8217; lines with soulful flourishes packed with graceful trills.&nbsp;<\/p>\n\n\n\n<p>Jeanty&#8217;s turntablism feels at home within the head-nod-inducing environment of &#8220;The Dancer,&#8221; and is incorporated well throughout the album. Scratches and vocal samples enhance the pulsating march of Ronald Shannon Jackson&#8217;s &#8220;Alice in the Congo&#8221; as Davis shimmers through the motif. Davis and Lage get the track off to a fine start with impressive bluesy playing. Things get more rambunctious as the piece moves into a more abrasive cloud of improvisation that gives way to a storm of drums and piano. Davis&#8217; dissonant and complex playing jumps around at a breakneck pace. Carrington matches that energy with a stunning performance that ends with a thunderous solo and a very brief venture into a hip-hop-esque beat.<\/p>\n\n\n\n<p><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=1935740545\/album=382801253\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>The following track, &#8220;Nine Hats,&#8221; would be a surprise if Davis had not already made <em>Diatom Ribbons<\/em>. Understated drum brushwork and languid guitar notes meet synths and the staggered rise and whirl of electronics. All this, plus the bowed cries of the bass and the prickly prepared piano, creates an eerie futuristic environment. &#8220;Endless Columns&#8221; is another tune that begins somewhat low-key, but ends up being much more than that. Piano and guitar unravel and twist in an interesting abstract conversation that is the centerpiece of a cavernous first half. Echoing turntables, gently tapped cymbals, and a slick bass line slowly progress the band into a completely different space. When Davis and Lage return, the spidery approach of the beginning is gone, replaced with solos with a beautiful melodic focus. The track is a fantastic example of the wide stylistic range of these musicians.<\/p>\n\n\n\n<p>Like the studio album that came before it, <em>Diatom Ribbons Live at the Village Vanguard<\/em> is a distinctly modern recording that has something for most jazz fans; that statement could apply to the &#8220;Bird Suite&#8221; alone. Playing out over three tracks, &#8220;Bird Suite&#8221; rocks and crashes (&#8220;Part 1: Kingfisher&#8221;), has gorgeous swinging playing (&#8220;Part 2: Bird Call Blues&#8221;) and closes with the more avant-garde and hypnotic side of Davis&#8217; style (&#8220;Part 3: Parasitic Hunter&#8221;). The pianist&#8217;s skill with interlocking patterns shines at the end of &#8220;Part 3: Parasitic Hunter&#8221; and in &#8220;VW,&#8221; a sparser, more jagged number that features a Sun Ra vocal sample. Sun Ra remarks that &#8220;this music is from another dimension,&#8221; and after spending a good amount of time with this album, it&#8217;s hard to disagree. Listeners will finish this live set jealous of the audience.&nbsp;<\/p>\n\n\n\n<p><strong><em>Diatom Ribbons Live at the Village Vanguard <\/em>is Now Available on Davis&#8217; label, Pyroclastic Records.<\/strong><a href=\"https:\/\/krisdavis.bandcamp.com\/album\/diatom-ribbons-live-at-the-village-vanguard\" title=\"\"><strong>&nbsp;It can be purchased on Bandcamp.<\/strong><\/a> <\/p>\n\n\n\n<p><strong>Stay tuned to this site for an interview with Davis on the album. <\/strong><\/p>\n\n\n\n<p>Tracklist: 1. Alice in the Congo; 2. Nine Hats; 3. The Dancer; 4. VW; 5. Dolores, Take 1; 6. Bird Suite, Part 1: Kingfisher; 7. Endless Columns; 8. Bird Suite, Part 2: Bird Call Blues; 9. Bird Suite, Pat 3: Parasitic Hunter; 10. Brainfeel; 11. Dolores, Take 2.<\/p>\n\n\n\n<p>Personnel: Kris Davis (piano, prepared piano, arturia microfreak synthesizer), Terri Lyne Carrington (drums), Val Jeanty (turntables and electronics), Julian Lage (electric guitar), Trevor Dunn (electric bass and double bass). <\/p>\n","protected":false},"excerpt":{"rendered":"<p>On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist Geri Allen. It was a fantastic night of music worthy of Allen\u2019s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne Carrington, who had also curated [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":6675,"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":109,"_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":[2],"tags":[],"class_list":["post-6673","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\/2023\/08\/IMG_6674.jpg?fit=1500%2C1000&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-1JD","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11918,"url":"https:\/\/postgenre.org\/staging\/4567\/review-solastalgia-davis-lutoslwaski\/","url_meta":{"origin":6673,"position":0},"title":"Review: Kris Davis and the Lutos\u0142awski Quartet\u2019s \u2018The Solastalgia Suite\u2019","author":"Jim Hynes","date":"January 4, 2026","format":false,"excerpt":"Coined by the philosopher Glenn Albrecht, the term \u2018solastalgia\u201d centers on the theme of homesickness while still at home with a focus towards surveying environmental damage. \u201cOur environment is transforming around us, and we grieve for the landscapes and ecologies we knew,\u201d says Albrecht. These feelings inspire The Solastalgia Suite\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\/2026\/01\/img_3584.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\/2026\/01\/img_3584.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2026\/01\/img_3584.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2029,"url":"https:\/\/postgenre.org\/staging\/4567\/kiwanuka-2019-list\/","url_meta":{"origin":6673,"position":1},"title":"Brian Kiwanuka\u2019s Favorite Jazz Albums of 2019","author":"Brian Kiwanuka","date":"November 27, 2020","format":false,"excerpt":"As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Brian Kiwanuka\u2019s 2019 list. This list originally appeared at Nextbop. 10. Brandee Younger \u2013 Soul Awakening (Self Release) The harp is a spellbinding instrument and throughout Soul Awakening Brandee Younger is a\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\/2020\/11\/BeFunky-collage4.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\/11\/BeFunky-collage4.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage4.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage4.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11798,"url":"https:\/\/postgenre.org\/staging\/4567\/introduction-cellar-door-sessions-fifty-five\/","url_meta":{"origin":6673,"position":2},"title":"The Cellar Door Sessions at Fifty-Five: An Introduction","author":"John Chacona","date":"December 17, 2025","format":false,"excerpt":"Fifty-five years ago this week, Miles Davis brought a new-ish band into Washington D.C.\u2019s Cellar Door club for a four-night engagement. Columbia Records, perhaps hoping to catch lightning in a bottle, sent a crew and two eight-track tape machines to record the ten sets. https:\/\/youtu.be\/d4dtGbrYKLs?si=uaLubwdtr11eKZ4P Edited versions of material from\u2026","rel":"","context":"In &quot;Special Series&quot;","block_context":{"text":"Special Series","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/Cellar-Door-Cover.png?fit=972%2C828&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6681,"url":"https:\/\/postgenre.org\/staging\/4567\/music-box-davis-vanguard\/","url_meta":{"origin":6673,"position":3},"title":"Five Music Boxes: A Conversation with Kris Davis on &#8216;Diatom Ribbons Live at the Village Vanguard&#8217;","author":"Rob Shepherd","date":"September 5, 2023","format":false,"excerpt":"In Brian Kiwanuka\u2019s excellent review of Kris Davis\u2019 latest Diatom Ribbons album, he outlines how the music presented fits within the context of the pianist\u2019s output to date. It\u2019s a compelling analysis, but an equally worthy one is where to place the work within the history of the venue where\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\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.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\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/09\/Kris-Davis-Quintet-%40Vanguard-%C2%A9Mardok-11231.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11138,"url":"https:\/\/postgenre.org\/staging\/4567\/review-glover-memories-dreams-reflections\/","url_meta":{"origin":6673,"position":4},"title":"Review: Nicole Glover\u2019s \u2018Memories, Dreams, Reflections\u2019","author":"Jim Hynes","date":"August 12, 2025","format":false,"excerpt":"Portland, Oregon native and current NYC resident, tenor saxophonist Nicole Glover may be best known as a member of the all-female jazz supergroup Artemis. Or possibly as a member of Christian McBride\u2019s Ursa Major. But she is also a bandleader, having recently released her third album as a leader -\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\/08\/img_0881.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\/08\/img_0881.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0881.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":613,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz\/","url_meta":{"origin":6673,"position":5},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Three:  &#8220;Jazz&#8221;","author":"Rob Shepherd","date":"March 26, 2020","format":false,"excerpt":"This is the penultimate chapter of our four-part series celebrating the legacy of the landmark Bitches Brew on its Fiftieth Anniversary. Our first piece focused on the album\u2019s compositions, the second on production techniques, and our forthcoming final feature will emphasize its influence on\u00a0 \u201cnon-jazz\u201d artists. Each adopts the list\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew \"Jazz\"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.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\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6673","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=6673"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6673\/revisions"}],"predecessor-version":[{"id":6699,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/6673\/revisions\/6699"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/6675"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=6673"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=6673"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=6673"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}