{"id":7350,"date":"2023-12-27T09:03:34","date_gmt":"2023-12-27T15:03:34","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=7350"},"modified":"2023-12-31T22:06:09","modified_gmt":"2024-01-01T04:06:09","slug":"best-2023","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/best-2023\/","title":{"rendered":"PostGenre&#8217;s Best of 2023"},"content":{"rendered":"\n<p class=\"\">Below are the albums we collectively felt were the best of 2023 (technically from Thanksgiving 2022 to Thanksgiving 2023). Ties are ordered alphabetically by the leader\u2019s last name.  Following the list are honorable mentions; recordings multiple members of our small group thought worthy of merit but did not make the top ten. One trend that frequently recurs throughout the list is a focus on the interplay between tradition and modernity, whether turning old gospel tunes into avant-garde open experiments or seeing what spectralism and artificial intelligence can mean in the context of the longstanding large ensemble format. We are excited to have friend and esteemed journalist Jim Hynes join us in presenting this list as well as having Anthony Dean-Harris return for it. \u2014 <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p class=\"\"><strong>10. Lakecia Benjamin &#8211; <em>Phoenix<\/em> (Whirlwind)<\/strong><\/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_akGfO9Emayw\"><div id=\"lyte_akGfO9Emayw\" data-src=\"\/\/i.ytimg.com\/vi\/akGfO9Emayw\/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\/akGfO9Emayw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/akGfO9Emayw\/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 class=\"\">\u201cAs difficult a challenge it is for rising saxophonist\/bandleader Lakecia Benjamin to match the brilliance of her tribute to John and Alice Coltrane, <em>Pursuance: The Coltranes,<\/em> Benjamin succeeds in a similar way, relying on highly recognizable guests&#8230; <em>Phoenix, <\/em>Benjamin\u2019s fourth release,<em> <\/em>is arguably as massive in scope with a theme of female empowerment, delivered through her spiritual saxophone playing, smartly placed spoken word segments and key vocal tracks..<em>. <\/em>Benjamin (alto saxophone, synths, vocals, sound design) fronts a completely new core band comprised of trumpeter Josh Evans, Victor Gould on keys, Orange Rodriguez on synths, drummer Enoch (EJ) Strickland, percussionist N\u00eagah Santos, and bassist Ivan Taylor. Trumpeter Wallace Roney Jr., Rhodes organist Anastassiya Petrova, and bassist Jahmal Nichols all join for one track each. Yet, the focus, in addition to Muldrow, rests on guests Dianne Reeves, Patrice Rushen, Sonia Sanchez, Angela Davis, and Wayne Shorter. Benjamin cites these individuals as having a profound influence on her and she developed the compositions they deliver with their specific skillset in mind\u2026 With her Coltrane tribute, we were impressed by Benjamin\u2019s ability to channel that music beautifully and more than hold her own amidst the gathered jazz royalty. Here, she is even more clearly the star, and aside from a few minor sound effects missteps, the album stands just as tall because this is definitively Benjamin\u2019s saxophone voice and her own personal statement.\u201d \u2014 Jim Hynes, <a href=\"https:\/\/glidemagazine.com\/287841\/with-phoenix-lakecia-benjamin-delivers-poignant-spiritual-saxophone-on-salute-to-women-album-review\/\">excerpted from Glide Magazine<\/a><\/p>\n\n\n\n<p class=\"\"><strong>7 (tie). Susan Alcorn &#8211; <\/strong><strong><em>Canto<\/em><\/strong><strong> (Relative Pitch)<\/strong><\/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_hSa_Jo5eh4o\"><div id=\"lyte_hSa_Jo5eh4o\" data-src=\"\/\/i.ytimg.com\/vi\/hSa_Jo5eh4o\/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\/hSa_Jo5eh4o\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/hSa_Jo5eh4o\/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 class=\"\"><em>Canto<\/em> finds pedal steel maestro Susan Alcorn leading several Chilean musicians &#8211; Luis \u201cToTo\u201d Alvarez, Claudio \u201cPajaro\u201d Araya, Francisco \u201cPancho\u201d Araya, Rodrigo Bobadilla, Amanda Irarrazabal, and Danka Villanueva &#8211; across a series of original compositions and a Victor Jara cover. All was recorded in a remote studio in Chile.<\/p>\n\n\n\n<p class=\"\">Alcorn herself believes this work is not jazz. That perspective seems to make sense as at its core lies Chilean nueva canci\u00f3n, a folk form that played a profound role in the pro-democracy social upheavals in that country during the military dictatorship of Augusto Pinochet. As such, the sound of Canto comes more from singer-songwriter music from Latin America than the Black American lineage that guides jazz.&nbsp;<\/p>\n\n\n\n<p class=\"\">But what is jazz if not a continued artistic search for freedom? In this sense, <em>Canto<\/em>\u2019s nueva canci\u00f3n roots grow from a similar ground as jazz. Both provide a voice to the oppressed seeking a better life. Both forms highlight the artistic excellence that can emerge from dire circumstances. And both prevail through hardship. Perhaps most importantly, <em>Canto <\/em>actually sounds like a melding of jazz and Chilean folk music. There are also occasional flourishes of contemporary classical with emerging hues of Messiaen and Morricone, among others. Further, on a purely technical level, the album\u2019s approach to nueva canci\u00f3n adopts Alcorn\u2019s harmonic language, one rich in microtonality and dissonance, two aspects shared with both avant-garde jazz and New Music.<\/p>\n\n\n\n<p class=\"\"><em>Canto<\/em> is a gorgeous recording that is continually emotionally stirring. Its remorseful tunes hit your heart hard before leaving you with the hope of everyone someday having a \u201cright to live in peace.\u201d\u2014 Rob Shepherd<\/p>\n\n\n\n<p class=\"\"><strong>7 (tie). Art Ensemble of Chicago &#8211; <\/strong><strong><em>From Paris to Paris: The Sixth Decade<\/em><\/strong><strong> (Rogue Art)<\/strong><\/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_aXiSPTz3Vds\"><div id=\"lyte_aXiSPTz3Vds\" data-src=\"\/\/i.ytimg.com\/vi\/aXiSPTz3Vds\/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\/aXiSPTz3Vds\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/aXiSPTz3Vds\/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 class=\"\">\u201cOnce branded musical insurrectionists when they burst on the scene in the late sixties, the two surviving members of the Art Ensemble of Chicago (AEC) original quintet, deliver an all-encompassing resurrectionist statement by expanding to a chamber orchestra on this live 2-CD recording, <em>The Sixth Decade, From Paris to Paris.<\/em> The album was recorded in France in 2020 at the Son d\u2019hiver festival, coming full circle to where the group was first formed in 1968. The two founding members, saxophonist\/composer Roscoe Mitchell (sopranino and alto) and drummer\/percussionist Famoudou Don Moye not only expanded the band but have reshaped its sound, primarily through the addition of arguably today\u2019s most dramatic spoken word artist, Moor Mother. In addition, in-demand avant-garde cellist Tomeka Reid and violinist Jean Cook join together with semi-regulars \u2013 trumpeter Hugh Ragin, flutist Nicole Mitchell, and bassist Jaribu Shahid.\u00a0 Those players are essentially the core unit but in keeping with the philosophy of the AACM (Association for the Advancement of Creative Musicians), Mitchell and Moye invite a diverse group to expand the unit to seventeen members\u2026 [The Art Ensemble has] always boasted temerity for uncharted waters.\u00a0 Set in Paris, we have the confluence of American and European musical forms from string quartets to art songs, to chorales, spoken word declarations, and even touches of opera. Mixed in, you\u2019ll still hear the Mitchells (no relation) squawks and birdcalls, and from the group at large boundaryless free jazz, African percussion, and full-fledged exploration. Reid says no two shows are ever the same, owing to the leader, 82-year Roscoe Mitchell\u2019s improvisational nature\u2026 Rarely, if ever will you find a performance with so many colors, tones, textures, and rhythms that range from easily accessible to anything but.\u201d \u2014 Jim Hynes, <a href=\"https:\/\/glidemagazine.com\/283580\/art-ensemble-of-chicago-expands-to-chamber-orchestra-on-expansive-the-sixth-decade-from-paris-to-paris-album-review\/\">excerpted from Glide Magazine<\/a><\/p>\n\n\n\n<p class=\"\"><strong>7 (tie). Brandee Younger &#8211; <em>Brand New Life <\/em>(Impulse!)<\/strong><\/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_t0n0isQn_XM\"><div id=\"lyte_t0n0isQn_XM\" data-src=\"\/\/i.ytimg.com\/vi\/t0n0isQn_XM\/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\/t0n0isQn_XM\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/t0n0isQn_XM\/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 class=\"\">It&#8217;s not hard to say that harpist Brandee Younger has cornered the market on jazz harpists in our current era, mastering her instrument with soul and a distinct personality borne as much of the moment as in the history of the instrument and the genre. Thus, her giving credence to Dorothy Ashby&#8217;s work of the 1970s is entirely befitting, recontextualizing Ashby&#8217;s compositions, proving them to be as timeless as Younger&#8217;s own work in the same continuum. \u2014 Anthony Dean-Harris<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>6. Daniel Villarreal, Jeff Parker, Anna Butterss &#8211; <\/strong><strong><em>Lados B<\/em><\/strong><strong> (International Anthem)<\/strong><\/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_lEjH3D6A1fs\"><div id=\"lyte_lEjH3D6A1fs\" data-src=\"\/\/i.ytimg.com\/vi\/lEjH3D6A1fs\/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\/lEjH3D6A1fs\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/lEjH3D6A1fs\/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 class=\"\"><em>Lados B<\/em> is a simple trio album&#8211; drums, guitar, bass. It&#8217;s a collection of sketches as much as it is a collection of complete songs. It&#8217;s an album that celebrates the groove as much as it celebrates the ideas that created it. They&#8217;re expressions of the moment, the very definition of jazz, and the clearest statement that didn&#8217;t mean to be a statement I&#8217;ve heard all year.\u2014 Anthony Dean-Harris<\/p>\n\n\n\n<p class=\"\"><strong>5. Darius Jones &#8211; <\/strong><strong><em>fLuXkit Vancouver (i\u200b\u0336\u200bt\u200b\u0336\u200bs\u0336 suite but sacred) <\/em><\/strong><strong>(Northern Spy\/WeJazz)<\/strong><\/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_xfkFgWgu928\"><div id=\"lyte_xfkFgWgu928\" data-src=\"\/\/i.ytimg.com\/vi\/xfkFgWgu928\/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\/xfkFgWgu928\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/xfkFgWgu928\/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 class=\"\">An innovation of the 1960s-era Fluxus art movement, the fluxkit was a small container that held an assortment of objects in various media, serving as a small, portable museum. Apparently, the physical edition of <em>fLuXkit Vancouver (i\u0336t\u0336s\u0336 suite but sacred)<\/em> by saxophonist Darius Jones extended the trope by being presented as a sort of fluxkit itself. But those listeners who encounter the release in digital form, as this writer did, would experience an assortment of musical \u201cobjects\u201d that delight, provoke (something the original Fluxians might have applauded), and ultimately amaze.\u00a0<\/p>\n\n\n\n<p class=\"\">While the original fluxkits were more or less random assemblages, Jones\u2019 four-movement, 52-minute work is a rigorously plotted composition that strikes the ear with the explosive vigor of a free-jazz freakout. Credit Jones\u2019 blues-soaked, room-filling alto saxophone played with the fervency of a storefront preacher. He is joined by a string quartet of violinists Jesse and Josh Zubot, bassist James Meger, and cellist Peggy Lee, the latter\u2019s presence a signal that this is not a classical vs. jazz mismatch. One of the great, if rather unheralded (at least south of the 49th parallel) improvisors, Lee calls on a remarkable range of musical strategies in both solo and ensemble settings. But so too do her ensemble colleagues from Vancouver, where this was recorded at the historic Western Front, a space for interdisciplinary art and music with strong ties to the Fluxus movement. The secret sauce here is Gerald Cleaver, who orchestrates the music from the drum kit, adding color and propulsion when called for and supplying a lively and thought-provoking through line.&nbsp;<\/p>\n\n\n\n<p class=\"\">There is no shortage of recordings of improvising soloists in the Black American tradition with string quartets, but <em>fLuXkit Vancouver<\/em> brings the two traditions together in a way that feels new and vital, like a Fluxus movement in music. \u2014 John Chacona<strong><br><\/strong><\/p>\n\n\n\n<p class=\"\">You can read Rob Shepherd&#8217;s interview with Darius Jones on this project <a href=\"https:\/\/postgenre.org\/staging\/4567\/darius-jones-fluxkit-vancouver\/\">here.<\/a> <\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>4. Kris Davis &#8211; <em>Diatom Ribbons Live at the Village Vanguard <\/em>(Pyroclastic)<\/strong><\/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_1hgaoM4FJ7M\"><div id=\"lyte_1hgaoM4FJ7M\" data-src=\"\/\/i.ytimg.com\/vi\/1hgaoM4FJ7M\/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\/1hgaoM4FJ7M\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/1hgaoM4FJ7M\/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 class=\"\">Imagine a hypothetical AI tool that could create music the way ChatGPT generates words. Now imagine feeding it this prompt:<\/p>\n\n\n\n<p class=\"\"><em>Create an album of music that incorporates elements of the jazz vocabulary most prominently but also references other current trends and vectors. The music should be brainy but viscerally compelling and include one or two covers by prominent jazz composers (Wayne Shorter is a good reference point), should use acoustic and electronic sources, have strong melodies but also adventurous, boundary-pushing excursions, a powerful rhythmic foundation, and compelling soloing and be performed in an effortlessly virtuosic manner by an ensemble with an eye to gender equity. The result should be a distillation of the state of creative music in 2023 at its highest level.<\/em><\/p>\n\n\n\n<p class=\"\">Such a tool doesn\u2019t yet exist \u2014let\u2019s hope\u2014but if it did, it might return something like <em>Diatom Ribbons Live At The Village Vanguard<\/em>.<\/p>\n\n\n\n<p class=\"\">But this is no mere punch list of cleverly designed gambits; Kris Davis, whose Pyroclastic Records label released the two-part set, is far too curious and questing an artist to have a formula in mind. Instead, we get an almost two-hour-long survey of compositional and improvisatory strategies. Past masters are honored with covers of music by Shorter, yes (two versions of \u201cDolores\u201d), but also Ronald Shannon Jackson (the rolling \u201cAlice In the Congo), and the increasingly essential Geri Allen (\u201cThe Dancer\u201d at a tempo that somehow maintains an exquisite yet provisional balance). By incorporating the voices of Sun Ra and fellow Canadian pianist Paul Bley, both reflecting on the brilliance of Charlie Parker, Davis places them\u2014and herself\u2014at the center of a dynamic, evolving tradition. And yet, despite the star power of the band, drummer Terri Lyne Carrington, bassist Trevor Dunn, Val Jeanty on turntables with newcomer Julian Lage, and the volume of material, there\u2019s nothing show-offy about the album (how very Canadian!).&nbsp;<\/p>\n\n\n\n<p class=\"\">With <em>Diatom Ribbons Live At The Village Vanguard, <\/em>we get an integrated, comprehensive, and coherent statement from five of our most valuable musicians that takes stock of where we are today and points to where we might be headed. It\u2019s a musical future we should all look forward to.\u2014 John Chacona<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">You can read Brian Kiwanuka&#8217;s review of this album <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-diatom-ribbons-vanguard\/\" title=\"\">here<\/a> and Rob Shepherd&#8217;s interview with Kris Davis on it <a href=\"https:\/\/postgenre.org\/staging\/4567\/music-box-davis-vanguard\/?_thumbnail_id=6695\" title=\"\">here.<\/a> <\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong>3. Steve Lehman and Orcheste National De Jazz &#8211; <em>Ex Machina<\/em> (Pi)<\/strong><\/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_GMcos7eQh3o\"><div id=\"lyte_GMcos7eQh3o\" data-src=\"\/\/i.ytimg.com\/vi\/GMcos7eQh3o\/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\/GMcos7eQh3o\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/GMcos7eQh3o\/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 class=\"\">A misguided music journalist friend recently stated that he did not appreciate avant-garde music because it \u201conly deconstructs existing standards; it never creates something.\u201d On its face, this claim is laughably inaccurate. But it\u2019s hard to find an album that better disproves his commentary than <em>Ex Machina<\/em>.<\/p>\n\n\n\n<p class=\"\">Building upon George Lewis\u2019 Computer Music and various electro-acoustic projects, Lehman uses IRCAM-crafted artificial intelligence to reach new realms. Where many see AI as a conceptual boogeyman, Lehman sees the tool\u2019s potential. He then adds in his long-established interest in spectral harmony. Along the way, he finds a kindred spirit in Fr\u00e9d\u00e9ric Maurin and the Orchestre National de Jazz. Together, they turn the longstanding big band format on its head and give it renewed vigor. By reaching out &#8211; to newer technologies, more novel methods of composition, and freer solos- the group builds something wholly new. Lehman has yet to produce an album that is not essential listening. But even among that lofty crop, <em>Ex Machina<\/em> seems to rise to the top.\u00a0\u2014 Rob Shepherd<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Check out Rob Shepherd&#8217;s interview with Steve Lehman on this project <a href=\"https:\/\/postgenre.org\/staging\/4567\/lehman-ex-machina\/\" title=\"\">here<\/a>. <\/p>\n\n\n\n<p class=\"\"><strong>1 (tie). James Brandon Lewis and Red Lily Quintet &#8211; <\/strong><strong><em>For Mahalia, With Love<\/em><\/strong><strong> (TAO Forms)<\/strong><\/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_N_g8BfeAsKA\"><div id=\"lyte_N_g8BfeAsKA\" data-src=\"\/\/i.ytimg.com\/vi\/N_g8BfeAsKA\/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\/N_g8BfeAsKA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/N_g8BfeAsKA\/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 class=\"\">The follow-up to <em>Jesup Wagon<\/em> (Tao Forms, 2021) moves from the legacy of George Washington Carver to shine a light on one of the greatest vocalists to ever live. Many would refer to <em>For Mahalia, With Love<\/em> as a tribute album, but the recording is far more than a work honoring its stated subject.\u00a0<\/p>\n\n\n\n<p class=\"\">Structured as a three-way conversation between Lewis, his grandmother, and the gospel legend herself, the work does not merely cover the songs that endeared Jackson to so many. Instead, Lewis examines how her music fits into his creative DNA. As a result, his original composition \u201cSparrow\u201d slips effortlessly into the old \u201cHis Eye is On the Sparrow\u201d as if the two were destined for unity. \u201cSwing Low\u201d is turned into a reflection of both the significance the singer had on the Civil Rights Movement and the fortitude Lewis\u2019 grandmother, and countless others, had to live through the era. It\u2019s a beautiful recording from an artist who continually pushes the music forward yet does so with reverence for his forebears. The top-notch personnel of Chad Taylor, Kirk Knuffke, Chris Hoffman, and living legend William Parker also certainly helps.\u00a0\u2014 Rob Shepherd<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Read Rob Shepherd&#8217;s interview with James Brandon Lewis on this project <a href=\"https:\/\/postgenre.org\/staging\/4567\/lehman-ex-machina\/\" title=\"\">h<\/a><a href=\"https:\/\/postgenre.org\/staging\/4567\/something-bigger-jbl\/\" title=\"\">e<\/a><a href=\"https:\/\/postgenre.org\/staging\/4567\/lehman-ex-machina\/\" title=\"\">re<\/a>. <\/p>\n\n\n\n<p class=\"\"><strong>1 (tie). Todd Sickafoose &#8211; <\/strong><strong><em>Bear Proof<\/em><\/strong><strong> (Secret Hatch)<\/strong><\/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_I5DdSTRFOPA\"><div id=\"lyte_I5DdSTRFOPA\" data-src=\"\/\/i.ytimg.com\/vi\/I5DdSTRFOPA\/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\/I5DdSTRFOPA\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/I5DdSTRFOPA\/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 class=\"\">Concept albums have an uneven history in jazz. Not all subjects map gracefully onto a jazz template, and a desire to explain or illustrate can rob the music of its vitality. All too often, inspiration runs out before the double bar, and large amounts of filler are needed to fill the gaps between good ideas. Any one of those traps might have snared Todd Sickafoose, but <em>Bear Proof<\/em>, released on his own Secret Hatch Records label, is everything a concept album should be: thought-provoking, generous, and deeply felt.\u00a0<\/p>\n\n\n\n<p class=\"\">Sickafoose\u2019s concept couldn\u2019t be more urgent: a meditation on the whipsaw cycles of boom and bust that increasingly seem emblematic of the winner-take-all nature of financialized late capitalism. As a native San Franciscan, Sickafoose knows this territory well, but it\u2019s not the sort of thing that makes you want to burst into song. Yet somehow, the bassist conveys the human and natural drama at the heart of his thesis, and he does it in music with the grand sweep of Dos Passos\u2019 <em>U.S.A. Trilogy<\/em> and much of its sorrow, too.&nbsp;<\/p>\n\n\n\n<p class=\"\">You hear it in the choked, anguished high-register cries of Kirk Knuffke\u2019s cornet and the lonely twang of Adam Levy\u2019s Telecaster, wandering through reverb-drenched abandoned spaces and despoiled vistas. On violin and clarinet, respectively, Jenny Scheinman and Ben Goldberg can be acidulous at one moment and consoling the next. Pianist Erik Deutsch and Rob Reich on accordion lay down a bed of spare but cinematic harmony, much of it in the big-country vein of Aaron Copland\u2019s Americana music, as Allison Miller lays down grooves with the confidence and pinpoint accuracy of a session drummer\u2014a high compliment indeed.&nbsp;<\/p>\n\n\n\n<p class=\"\">Sickafoose has substantial experience as a producer and sideman with rock and pop acts, and <em>Bear Proof<\/em> has the polish and attention to detail of a big-budget pop record. And yet, incredibly, it was recorded in a single 62-minute take live in the studio. Even more remarkable is the consistent aquifer of gorgeous, memorable melody that flows unbroken from beginning to end and glows with commitment.&nbsp;<\/p>\n\n\n\n<p class=\"\">Sickafoose\u2019s <em>Tiny Resistors<\/em> (2008), a session that shares much of <em>Bear Proof<\/em>\u2019s personnel, was among the last releases of violinist Jeff Gautier\u2019s L.A.-based Cryptogramophone Records, a label distinguished by the meticulous care given to every detail of every release, from production to recording quality to graphics. <em>Bear Proof <\/em>is a distinguished successor in that lineage. It&#8217;s not just a great jazz concept album but a great jazz album on any terms.\u2014 John Chacona<\/p>\n\n\n\n<p class=\"\"><strong>Honorable Mentions- The following are albums on the lists (10 choices) or extended lists (more than 10) of two or more writers, sorted alphabetically by the artist\u2019s last name. It seemed these recordings were worth honoring as well:<\/strong><\/p>\n\n\n\n<p class=\"\">Darcy James Argue&#8217;s Secret Society &#8211; Dynamic Maximum Tension (Nonesuch)<\/p>\n\n\n\n<p class=\"\">Tomas Fujiwara- Pith (Out of Your Head)&nbsp;<\/p>\n\n\n\n<p class=\"\">Miho Hazama M Unit &#8211; Beyond Orbits (Edition)<\/p>\n\n\n\n<p class=\"\">Ingrid Laubrock &#8211; Last Quiet Place (Pyroclastic) &#8211; You can check out Rob Shepherd&#8217;s interview with Laubrock on this album <a href=\"https:\/\/postgenre.org\/staging\/4567\/quiet-place-ingrid-laubrock\/\" title=\"\">here<\/a>. <\/p>\n\n\n\n<p class=\"\">Cecile McLorin Salvant &#8211; Melusine (Nonesuch)<\/p>\n\n\n\n<p class=\"\">Henry Threadgill &#8211; The Other One (Pi)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Below are the albums we collectively felt were the best of 2023 (technically from Thanksgiving 2022 to Thanksgiving 2023). Ties are ordered alphabetically by the leader\u2019s last name. Following the list are honorable mentions; recordings multiple members of our small group thought worthy of merit but did not make the top ten. One trend that [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":7355,"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":465,"_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":[1201,17],"tags":[],"class_list":["post-7350","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists-2","category-lists"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/12\/original-4AA5FD17-5CE0-4D46-9496-99CA70683F50.jpeg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-1Uy","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":9879,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2024\/","url_meta":{"origin":7350,"position":0},"title":"PostGenre\u2019s Best of 2024","author":"PostGenre Writing Staff","date":"December 9, 2024","format":false,"excerpt":"The albums we collectively felt were the best of 2024 (technically from Thanksgiving 2023 to Thanksgiving 2024) show a beautiful range of diverse voices. I don\u2019t think any of us consciously chose our albums based on identifiers like race, gender, or nationality. The fact it is replete with musicians from\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\/2024\/12\/img_0340-1.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\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/12\/img_0340-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5345,"url":"https:\/\/postgenre.org\/staging\/4567\/postgenres-best-of-2022\/","url_meta":{"origin":7350,"position":1},"title":"PostGenre\u2019s Best of 2022","author":"PostGenre Writing Staff","date":"December 14, 2022","format":false,"excerpt":"From the mixes of a beat scientist to a double work with a string quartet, our team's selections for the best albums of 2022 reflect the vibrancy of the contemporary improvised music scene. Some works pull your heartstrings, others are incredibly cerebral, yet others are super funky and make you\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\/2022\/12\/BeFunky-collage20.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\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/12\/BeFunky-collage20.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2360,"url":"https:\/\/postgenre.org\/staging\/4567\/chacona-best-of-2020\/","url_meta":{"origin":7350,"position":2},"title":"John Chacona\u2019s Best Albums of 2020","author":"John Chacona","date":"January 17, 2021","format":false,"excerpt":"Here it is, a \"Best Of\" list for the worst of years. Alright, that's a bit jokey; the fact is that 2020 produced an extraordinary efflorescence of great music. Lilacs out of the dead land of pandemic-ravaged, polarized America. This list was culled from a larger list of superb recordings,\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\/01\/chacona-list-2020.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\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/chacona-list-2020.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11651,"url":"https:\/\/postgenre.org\/staging\/4567\/best-2025\/","url_meta":{"origin":7350,"position":3},"title":"PostGenre&#8217;s Best of 2025","author":"PostGenre Writing Staff","date":"December 9, 2025","format":false,"excerpt":"Deeming any album the \"best\" of a given year is inherently fraught with problems. First, there are the logistical issues. Generally, thousands of recordings are released annually. Given that a year has only 8,760 hours, it is logistically impossible to listen to everything. Often, classifications can help limit the scope.\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\/2025\/12\/img_2649.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\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2649.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1998,"url":"https:\/\/postgenre.org\/staging\/4567\/shepherd-2019-list\/","url_meta":{"origin":7350,"position":4},"title":"Rob Shepherd\u2019s Favorite Jazz Albums of 2019","author":"Rob Shepherd","date":"November 25, 2020","format":false,"excerpt":"As the PostGenre Team is working on their list(s) of Favorites from 2020, here is a flashback to Rob Shepherd's 2019 list. This list originally appeared at Nextbop. -------------------------------------------------------------------------------------------------------------Perhaps the most interesting takeaway from 2019 is the number of artists adapting music from the past into something new. Many of\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-collage-4.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-collage-4.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/11\/BeFunky-collage-4.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-collage-4.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":7350,"position":5},"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":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7350","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\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=7350"}],"version-history":[{"count":5,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7350\/revisions"}],"predecessor-version":[{"id":7363,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/7350\/revisions\/7363"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/7355"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=7350"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=7350"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=7350"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}