{"id":822,"date":"2020-05-24T22:36:34","date_gmt":"2020-05-25T03:36:34","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=822"},"modified":"2021-06-24T17:07:38","modified_gmt":"2021-06-24T22:07:38","slug":"review-norah-jones-pick-me-up-off-the-floor","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-norah-jones-pick-me-up-off-the-floor\/","title":{"rendered":"Review: Norah Jones&#8217; &#8216;Pick Me Up Off the Floor&#8217;"},"content":{"rendered":"\n<p>When many think of Texas, the first musicians that may come to mind are Bob Wills, Stevie Ray Vaughn, or Willie Nelson. However, these legendary figures are, in some ways, each mere reflective points. Historical emergence from the melding of countless Native, Latin, African, and European cultures has produced a rich yet underreported musical heritage. This has produced countless artists who have forged much of the sounds with us today &#8211;&nbsp; Ornette Coleman, Illinois Jacquet, Scott Joplin, Clifton Chenier, \u201cBig Mama\u201d Thornton, Clarence \u201cGatemouth\u201d Brown, Janice Joplin, Lydia Mendoza, Selena, Buddy Holly, and Johnny Winter among them. With Leadbelly Ledbetter, Blind Lemon Jefferson, and T-Bone Walker, Dallas\u2019 Deep Ellum district is rivaled only by Memphis\u2019 Beale Street. But the state\u2019s best byproduct comes from the melding of different cultural traditions to create new forms. For example, Tejano emerged from a meeting of Mexican and Spanish vocal traditions with historically Czechoslovakian and German accordion and rhythm. On <em>Pick Me Up Off the Floor<\/em> (Blue Note, 2020), Grapevine-raised Norah Jones continues this tradition of fusing different styles.<\/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_-vMXCtKE_6M\"><div id=\"lyte_-vMXCtKE_6M\" data-src=\"\/\/i.ytimg.com\/vi\/-vMXCtKE_6M\/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\/-vMXCtKE_6M\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/-vMXCtKE_6M\/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>For her most ardent fans, this should come as no surprise. After all, her debut <em>Come Away With Me<\/em> (2002, Blue Note) placed Hoagy Carmichael\u2019s \u201cNearness of You\u201d alongside Hank Williams\u2019 \u201cCold Cold Heart\u201d and featured Bill Frisell who is adept at both.&nbsp; Yet there were often lines divided so that a particular approach seemingly predominated on a specific album or song. For <em>Feels Like Home<\/em> (Blue Note, 2004) it was country, <em>Not too Late<\/em> (Blue Note, 2007) folksy singer-songwriter, <em>The Fall <\/em>(Blue Note, 2009) pop, and with the incredibly underrated <em>Little Broken Hearts<\/em> (Blue Note, 2012) indie and electronic. With <em>Day Breaks<\/em> (Blue Note, 2016), she teamed up with the iconic Wayne Shorter for an in-depth exploration of jazz, including a gorgeous rendition of Duke Ellington\u2019s \u201cFleurette Africaine (African Flower)\u201d. While none was precisely limited to one type or another, the contours were mostly clear on each.&nbsp;<\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_XV-SePcXxGk\"><div id=\"lyte_XV-SePcXxGk\" data-src=\"\/\/i.ytimg.com\/vi\/XV-SePcXxGk\/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\/XV-SePcXxGk\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/XV-SePcXxGk\/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><em>Pick Me Up Off the Floor<\/em> instead questions why any separation must exist at all. \u201cTo Live\u201d begins by borrowing from Stephen Foster and, over time, introduces New Orleans influenced horns. The burner \u201cFlame Twin\u201d also borrows from that city\u2019s combination of funk rhythms, blues sentimentality, and rock attitude to produce a tune evocative of a more subdued Dr. John but with a slight twang to its electric guitar parts. \u201cHow I Weep\u201d is a slow heavyhearted ballad that merges the emotional beauty of orchestral strings with the bandleader\u2019s pensive piano. On \u201cStumble on My Way\u201d an R&amp;B groove and the catchiness of pop meet the lyricism of a pedal steel guitar. Throughout,&nbsp; the pieces shift timbre and focus but never once feel divorced or discordant. The adjustments from one to another feels like natural progressions, something made even especially impressive by the fact that the compositions were not initially intended to be collected into a single album.&nbsp;<\/p>\n\n\n\n<p>One interesting facet of these pieces is their occasionally subtle cues towards Jones\u2019 lesser-examined musical interests. While few would identify her with hip hop, she has recorded with Q-Tip, Outkast, and Talib Kweli. It is doubtful she would have undertaken these projects without at least some appreciation of their art.&nbsp; Although no song on <em>Pick Me Up Off the Floor <\/em>overtly recalls the style, drum-master Brian Blade\u2019s beats on both \u201cHurts to Be Alone\u201d and \u201cSay No More\u201d at times sound almost looped and sampled though neither are true. Although her work with Danger Mouse and Wolff Parkinson White explored the use of electronic soundscapes, it generally has not been a thread deeply developed within the pianist\/vocalist\u2019s discography. Nor is it on this release. But she still suggests this approach, albeit through the use of acoustic instruments. For instance, through the repetitive cello phrasing on \u201cHow I Weep\u201d or the haunting arrangement of background vocals on \u201cHeartbroken, Day After\u201d.<\/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_HO8yy1Nj2lY\"><div id=\"lyte_HO8yy1Nj2lY\" data-src=\"\/\/i.ytimg.com\/vi\/HO8yy1Nj2lY\/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\/HO8yy1Nj2lY\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/HO8yy1Nj2lY\/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>Throughout, Jones\u2019s voice retains the passion and soulfulness which has endeared her to many. Her piano performance is precise and wonderfully interwoven with the tones of her impressive collaborators, including Jeff Tweedy, John Patitucci, and Nate Smith. Additionally, the lyrics themselves are particularly fascinating. Although she has not expressed her thoughts behind them, it appears she studied poetry when composing. It shows in its emphasis on intangible emotions over linear storytelling. In many ways, this leaves the songs open to significant interpretation. Thus, while statements&nbsp; \u201cDon\u2019t look so sad, It\u2019s not that bad, Or is it? It might be today\u201d (\u201cHeartbroken, Day After\u201d) or \u201cThis life as we know it is over\u201d (\u201cThis Life\u201d) seem focused on the end of a romantic relationship, they are left ambiguous enough to take on a new-found poignancy in light of the pandemic.&nbsp;<\/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_Hjv2mxOiej4\"><div id=\"lyte_Hjv2mxOiej4\" data-src=\"\/\/i.ytimg.com\/vi\/Hjv2mxOiej4\/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\/Hjv2mxOiej4\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/Hjv2mxOiej4\/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>Like the best of artists, the passage of time has allowed Norah Jones to further hone her artistic prowess and expression. At its core <em>Pick Me Up Off the Floor <\/em>builds upon her career thus far and synthesizes it into a more cohesive work in ways its predecessors did not. It is her most mature and collected work to date.&nbsp;&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/shop.norahjones.com\/\"><strong><em>Pick Me Up Off the Floor<\/em> will be available on Blue Note Records on June 12, 2020.<\/strong><\/a><br><br><strong><em><a href=\"https:\/\/amzn.to\/2BJZnqU\">Or, if you would like to both purchase the album and help our site offset its operating costs, you can buy it from our Amazon affiliate store.<\/a><\/em><\/strong><\/p>\n\n\n\n<p>Tracklist: 1. How I Weep; 2. Flame Twin; 3. Hurts To Be Alone; 4. Heartbroken, Day After; 5. Say No More; 6. This Life; 7. To Live; 8. I\u2019m Alive; 9. Were You Watching?;10. Stumble On My Way; 11. Heaven Above<\/p>\n\n\n\n<p>Personnel: Norah Jones (vocals (1-11), piano 1-11), electric piano (3), Hammond B-3 Organ (3), drums (6), celeste (11)), Brian Blade (drums (2-6,9)), Christopher Thomas (upright bass (3,4,9)), Ruby Amanfu (background vocals (3,4,9)), Sam Ashworth (background vocals (3,4,9)), Dan Iead (pedal steel guitar (4,10)), Jeff Tweedy (electric guitar (8,11), acoustic guitar (8,11), electric bass (8)), Dave Guy (trumpet (5,7)), Leon Michels (tenor saxophone ((5,7)), Pete Remm (electric guitar (2), mini Moog synthesizer (2), Hammond B-3 Organ (2,3)), Paul Wiancko (string arrangement (1), cello (1)), Ayane Kozasa (viola (1)), John Patitucci (electric bass (2)), Mauro Refosco (shaker (3)),  Nate Smith (drums (7)),  Spencer Tweedy (drums (8)), Mazz Swift (violin (9), background vocals (9)), Josh Lattanzi (electric bass (10)), Josh Adams (drums (10)), Dan Rieser (drums (10)).<br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When many think of Texas, the first musicians that may come to mind are Bob Wills, Stevie Ray Vaughn, or Willie Nelson. However, these legendary figures are, in some ways, each mere reflective points. Historical emergence from the melding of countless Native, Latin, African, and European cultures has produced a rich yet underreported musical heritage. [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":825,"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":92,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[540,527,32,526,279,530,533,548,528,536,534,541,547,546,537,542,545,543,524,539,538,525,531,532,544,169,535,529],"class_list":["post-822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-ayane-kozasa","tag-bill-frisell","tag-blue-note","tag-blue-note-records","tag-brian-blade","tag-christopher-thomas","tag-dan-iead","tag-dan-rieser","tag-danger-mouse","tag-dave-guy","tag-jeff-tweedy","tag-john-patitucci","tag-josh-adams","tag-josh-lattanzi","tag-leon-michels","tag-mauro-refosco","tag-mazz-swift","tag-nate-smith","tag-norah-jones","tag-paul-wiancko","tag-pete-remm","tag-pick-me-up-off-the-floor","tag-ruby-amanfu","tag-sam-ashworth","tag-spencer-tweedy","tag-wayne-shorter","tag-wilco","tag-wolff-parkinson-white"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/NorahJones_0239_byDianeRusso-scaled.jpg?fit=2560%2C1708&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-dg","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2151,"url":"https:\/\/postgenre.org\/staging\/4567\/anthony-dean-harris-2020\/","url_meta":{"origin":822,"position":0},"title":"Anthony Dean-Harris&#8217; Best &#8220;Jazz&#8221; Albums of 2020","author":"Anthony Dean-Harris","date":"December 20, 2020","format":false,"excerpt":"[Editor\u2019s Note: We are honored to have Anthony Dean-Harris join us as a special contributor for this year\u2019s lists. Several of our staff have worked with Anthony on other projects in the past and greatly respect his insight and skills as both a writer and broadcaster. More information on Anthony\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\/12\/BeFunky-collage9.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\/12\/BeFunky-collage9.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/BeFunky-collage9.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/12\/BeFunky-collage9.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":4897,"url":"https:\/\/postgenre.org\/staging\/4567\/2022-newport-preview-friday\/","url_meta":{"origin":822,"position":1},"title":"What to See at the 2022 Newport Jazz Festival &#8211; Friday","author":"Rob Shepherd","date":"July 25, 2022","format":false,"excerpt":"Especially after attending for nearly two decades, this author has a deep admiration and respect for the Newport Jazz Festival. Our site extensively covers the history of the legendary festival from before its formation to the present. Under normal circumstances, our site would feature coverage from Fort Adams of the\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2022\/07\/P80108471.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":8184,"url":"https:\/\/postgenre.org\/staging\/4567\/reflections-karriem-riggins\/","url_meta":{"origin":822,"position":2},"title":"Reflections : A Conversation with Karriem Riggins on Jahari Massamba Unit\u2019s \u2018YHWH is Love\u2019","author":"Rob Shepherd","date":"April 1, 2024","format":false,"excerpt":"The corporate-led division of music into genres ignored the reality of the music presented. This is perhaps no better seen than in the relationship between \u201cjazz\u201d and \u201chip hop.\u201d Over the last two decades, many have written about the meeting of these two stylistic influences. This analysis, however, is incredibly\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\/2024\/03\/IMG_7889.jpeg?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\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/03\/IMG_7889.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1758,"url":"https:\/\/postgenre.org\/staging\/4567\/blue-note-reimagined\/","url_meta":{"origin":822,"position":3},"title":"Review: &#8216;Blue Note Re:imagined&#8217;","author":"Colin Stanhope","date":"October 12, 2020","format":false,"excerpt":"Blue Note has a more important discography than almost any label in the history of jazz, encompassing decades of some of the most significant music ever recorded within the idiom. For more than 80 years, the label has produced legendary recordings. It has not rested on its laurels in the\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\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":202,"url":"https:\/\/postgenre.org\/staging\/4567\/five-genre-defying-selections-from-newport-jazz-festivals-first-wave-of-2020-performers\/","url_meta":{"origin":822,"position":4},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s First Wave of 2020  Performers","author":"Rob Shepherd","date":"February 11, 2020","format":false,"excerpt":"The historic Newport Jazz Festival has released a list of 36, out of approximately 60, groups which will appear across its four stages at Fort Adams this summer. As the first modern music festival, one may mistakenly assume that most of the acts reflect a more traditional view of jazz.\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"Newport 2020","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1736,"url":"https:\/\/postgenre.org\/staging\/4567\/josh-johnson-freedom-exercise\/","url_meta":{"origin":822,"position":5},"title":"Review: Josh Johnson&#8217;s &#8216;Freedom Exercise&#8217;","author":"Rob Shepherd","date":"October 4, 2020","format":false,"excerpt":"One effective way to find new artists and music is through their works with others. A great example of this is Josh Johnson. While generally lacking the name recognition of some of his peers, the saxophonist has been at the forefront of some of the finest recordings to emerge over\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\/2020\/10\/Josh-Johnson-Robbie-Jeffers1.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\/10\/Josh-Johnson-Robbie-Jeffers1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/Josh-Johnson-Robbie-Jeffers1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/10\/Josh-Johnson-Robbie-Jeffers1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/822","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=822"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/822\/revisions"}],"predecessor-version":[{"id":2861,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/822\/revisions\/2861"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/825"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=822"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=822"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=822"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}