{"id":1227868,"date":"2025-03-06T05:26:05","date_gmt":"2025-03-06T05:26:05","guid":{"rendered":"https:\/\/celebrity.land\/pt\/?p=1227868"},"modified":"2025-03-06T05:26:05","modified_gmt":"2025-03-06T05:26:05","slug":"5-minutes-that-will-make-you-love-chicago-jazz","status":"publish","type":"post","link":"https:\/\/celebrity.land\/pt\/5-minutes-that-will-make-you-love-chicago-jazz\/","title":{"rendered":"5 Minutes That Will Make You Love Chicago Jazz"},"content":{"rendered":"\n<figure><\/figure>\n<\/p>\n<div data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Jazz has experienced a meaningful <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.axios.com\/2024\/01\/10\/gen-z-jazz-comeback-trend\" title=\"\">resurgence<\/a> in popularity over the past 15 years or so, especially among younger listeners. What\u2019s driving that? You could make the case that there is a particular hunger, now that so much of life is lived in the digital cloud, for the messy and untamed energy of jazz, and for its way of putting a live process on display. And if that\u2019s the case, then it makes a lot of sense that Chicago jazz has been <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2016\/06\/28\/arts\/music\/chicago-jazz-marquis-hill-jeff-parker.html\" title=\"\">at the forefront<\/a> of this recent surge. Chicago has always represented a particularly rootsy, physical and \u2014 yes \u2014 <em class=\"css-2fg4z9 e1gzwzxm0\">windy <\/em>ideal in jazz. So perhaps it\u2019s an especially heady antidote to that sense of digital disappearance.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The Chicago jazz sound amounts to a sum of the city\u2019s Black histories: In it you can usually hear something of the snowy, clamoring traffic in Richard Wright\u2019s \u201cNative Son,\u201d from 1940; the yowl of Howlin\u2019 Wolf\u2019s electric guitar in a 1950s blues bar; the drummers and dancers pounding out rhythms at one of <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2017\/07\/04\/arts\/music\/kelan-philip-cohran-a-musician-who-invigorated-chicago-with-education-and-activism-dies-at-90.html\" title=\"\">Kelan Philip Cohran\u2019s gatherings<\/a> at the 63rd Street Beach in the late 1960s; even the antiracist <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/1997\/03\/27\/us\/chicago-neighborhood-reveals-an-ugly-side.html\" title=\"\">street protests<\/a> of the 1990s.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The Windy City was an important musical outpost from the start of the <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2025\/02\/24\/arts\/music\/100th-anniversary-microphone-recording.html\" title=\"\">recorded era<\/a>, when many blues and jazz musicians moved there from the South and became stars. It\u2019s also known as a cradle of the avant-garde, thanks to institutions like <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2020\/10\/27\/arts\/music\/sun-ra-arkestra-swirling.html\" title=\"\">Sun Ra\u2019s Arkestra<\/a>, established there in the early 1950s, and the <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.aacmchicago.org\/\" title=\"\">Association for the Advancement of Creative Musicians<\/a>, a seed-sowing collective that celebrates its 60th anniversary this spring. Today, the city remains at the forefront of contemporary jazz thanks to artists like <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2018\/01\/10\/arts\/music\/nicole-mitchell-black-earth-ensemble-mandorla-awakening.html\" title=\"\">Nicole Mitchell<\/a>, <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2024\/03\/05\/arts\/music\/kahil-elzabar-ethnic-heritage-ensemble-open-me.html\" title=\"\">Kahil El\u2019Zabar<\/a>, <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2018\/11\/30\/arts\/music\/makaya-mccraven-universal-beings.html\" title=\"\">Makaya McCraven<\/a>, Tomeka Reid, <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2016\/06\/28\/arts\/music\/chicago-jazz-marquis-hill-jeff-parker.html\" title=\"\">Jeff Parker<\/a> and <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2024\/09\/08\/arts\/music\/isaiah-collier-the-world-is-on-fire.html\" title=\"\">Isaiah Collier<\/a>, each a latter-day A.A.C.M. affiliate who has springboarded into a leading role on the international jazz circuit. And the label International Anthem, founded 12 years ago in Chicago, has become one of the biggest success stories in the indie-jazz business.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">We asked writers, musicians and other linchpins of the Chicago scene to tell us what tracks they would play to make a newcomer fall in love with the distinctive but multifaceted sound of Chicago jazz. Read on, listen to their picks in our playlists, and if you have favorites of your own, drop them in the comments.<\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-31dd5391\">Ernest Khabeer Dawkins\u2019 New Horizons Ensemble, \u2018Mean Ameen\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-7e1014bb\"><span>Dee Alexander, vocalist<\/span><\/h3>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">This recording, featuring some of the stalwarts of Chicago\u2019s improvised music scene, should tantalize the palate of any listener new to creative music. The music is exploratory, while at the same time being funky and accessible. This Ernest Dawkins composition is a homage to Chicago\u2019s own Ameen Muhammad, who died in 2003 at 48. Muhammad, a dear friend of Dawkins, was not only a renowned trumpeter and composer but also a highly admired and respected educator; \u201cMean Ameen\u201d gained international notoriety over the course of his brief career. Ernest Khabeer Dawkins is one of those rare individuals who manages to balance a passion for community, mentorship and art. For me, this piece represents the saxophonist and bandleader at his best, through a beautiful dedication to a dear friend.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/59FLrnMKKcyc7mAwUaJuCg?si=e8cf5acb5379451d\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/mean-ameen\/152765547?i=152765560\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=8qfFiVayEBM\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-2\">\n<p><h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-6739fd41\">Von Freeman, \u2018Anthropology\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-7aafcb3e\"><span>Howard Reich, critic and author<\/span><\/h3>\n<\/p>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-3\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">In jazz, Chicago always has been a nurturer of fabulous eccentrics \u2014 musicians well-aware of what their coastal colleagues are playing but fearlessly going their own way. Few soloists epitomize this fiercely idiosyncratic approach more persuasively than the tenor saxophonist Von Freeman. Listen to the great \u201cVonski\u201d (a classic Chicago sobriquet) tear through Charlie Parker and Dizzy Gillespie\u2019s \u201cAnthropology,\u201d and you\u2019ll hear a singular, steeped-in-Chicago account of a bebop-era classic. Yes, Freeman takes the bat-out-of-hell tempo you\u2019d expect. But the brawn, heft and swagger of his playing embody what Chicago tenordom is all about. Then there\u2019s that keening Freeman tone \u2014 acidic, penetrating, utterly unsentimental \u2014 distinguishing this recording, and Freeman\u2019s playing, from anyone else\u2019s. Add to that Freeman\u2019s high-register cries, searing blues riffs, abrupt silences and sporadic melodic digressions, and you have a deeply personal \u201cAnthropology.\u201d Freeman\u2019s explosive rhythmic drive and propulsive sense of swing represent a take-no-prisoners Chicago aesthetic. It\u2019s reinforced by Freeman\u2019s Chicago partners: Jodie Christian generating relentless energy on piano, and the drummer Wilbur Campbell and bassist Eddie de Haas constantly pushing the beat, egging Freeman on. That\u2019s my kind of jazz.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/165WRgPRfaOvMAgZjpr3Ge?si=915fc3786d214c65\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/anthropology\/160769905?i=160769945\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=pvXMFveEyOM\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-2fdefe7a\">Lester Bowie\u2019s Brass Fantasy, \u2018The Great Pretender\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-2c84970d\"><span>Roscoe Mitchell, saxophonist and A.A.C.M. co-founder<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">With <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/1999\/11\/11\/arts\/lester-bowie-is-dead-at-58-innovative-jazz-trumpeter.html\" title=\"\">Lester Bowie<\/a>, there were no holds barred on the music that you wanted to play. If you want to restrict yourself to a certain kind of music, you can do that, but you can also be flexible. Lester was flexible \u2014 and he was an amazing thinker. I met him at one of the A.A.C.M.\u2019s rehearsals at the Abraham Lincoln Center, on Oakwood Boulevard in Chicago, where they opened up the doors to us, gave us places to have our rehearsals and let us have access to their concert hall. Lester came down with his trumpet to one of the <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/pressblog.uchicago.edu\/2022\/08\/04\/read-an-excerpt-from-sound-experiments-the-music-of-the-aacm-by-paul-steinbeck.html\" title=\"\">Experimental Band rehearsals<\/a>, around the time I was getting ready to record \u201c<a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=QfOndikZ8d0\" title=\"\">Sound<\/a>.\u201d I took to him immediately. He was inspired, like I was. He always had great ideas. That\u2019s the first thing.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">When the members of the A.A.C.M. decided we wanted to go to Paris, it was Lester\u2019s idea to take an ad out in The Chicago Defender saying: \u201cMusician sells out!\u201d What he was saying was, he was selling all his belongings, to take the band to Europe. When we went to Paris, eventually we started to get some concerts and got our own place. And the rest is history.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Lester\u2019s a man about music, man. No holds barred.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/2Vne7ThU9wKJ1oXjGeOi7O?si=60767cd384254450\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/the-great-pretender-live\/1144976741?i=1144977519\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=70gtH_JI8K8\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-4\">\n<p><h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-285d1f6e\">Art Ensemble of Chicago, \u2018A Jackson in Your House&#8217;<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-32ddc82a\"><span>Ken Vandermark, saxophonist<\/span><\/h3>\n<\/p>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-5\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Any history of music from Chicago should include the far-reaching contributions of the Association for the Advancement of Creative Musicians, which was founded in 1965 on the South Side. I do not know of any other organization that brought together such an extraordinary group of innovative musicians at the same time; for example, just the reed players included in the A.A.C.M.\u2019s initial wave of artists are all game changers: Fred Anderson, Anthony Braxton, Joseph Jarman, Roscoe Mitchell and Henry Threadgill.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The Art Ensemble of Chicago grew out of the A.A.C.M.\u2019s early meetings, and went on to become arguably the organization\u2019s flagship ensemble. The Art Ensemble\u2019s performance of \u201cA Jackson in Your House,\u201d from a concert at the Jazz Showcase in Chicago, exhibits so many aspects of what made their music very different from the paradigms that had been set in New York. I\u2019m talking about the ensemble\u2019s use of \u201clittle instruments\u201d; its exploration of low dynamics and texture; the impact of theater, satire, free rhythm and a New Orleans second-line groove; representation of African ancestry; beautiful melodicism \u2014 all in the same piece. To my knowledge, this mix of materials wasn\u2019t happening anywhere else. Those radical aesthetics have now become part of the broader lexicon of contemporary creative music.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-6\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/a-jackson-in-your-house\/464740909?i=464740931\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=tcjQ_IJpLqg\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-400fbd05\">8 Bold Souls, \u2018Third One Smiles\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-29ea39d\"><span>Tomeka Reid, cellist<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">Listening to 8 Bold Souls always puts a smile on my face and some pep in my step! The multi-reedist Ed Wilkerson has written a great collection of arrangements for this venerable ensemble. I was lucky enough to hear them perform many times at Marguerite Horberg\u2019s HotHouse and at Fred Anderson\u2019s Velvet Lounge when I first moved to Chicago in 2000. The band\u2019s sound will always be a part of my first memories of living in the great city of Chicago. Ed writes in a way that showcases the band\u2019s collective sound, while giving ample space to everyone to really shine solo. I particularly love Dushun Mosley\u2019s drumming, Naomi Millender on the cello and of course the late, great <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.jazzinchicago.org\/jazzgram\/harrison-bankhead\" title=\"\">Harrison \u201cBoo Boo\u201d Bankhead<\/a> on the bass. \u201cThird One Smiles,\u201d from their album \u201cLast Option,\u201d is a smart arrangement by Wilkerson that delivers a funky, quirky, danceable vibe that is an integral part of this band\u2019s spirit. Listen to it, and you will be smiling too!<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/5Sg2eHxBNcWLLlwriXMGaY?si=5ff37aa037cb4efe\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/third-one-smiles\/5508861?i=5508849\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=pr5BVTVI00Q\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-7\">\n<div class=\"css-53u6y8\">\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-491ccbf8\">Chicago Underground Quartet, \u2018Four in the Evening\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-4dbd05a4\"><span>Mike Reed, drummer and venue owner<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">Rob Mazurek has convened many formations under the Chicago Underground moniker. Almost always with the drummer Chad Taylor since 1997, the ensembles have included the duo with Taylor, trios, quartets and small orchestra. Although there have been many collaborators over the years, it is the membership of Mazurek, Taylor, the guitarist Jeff Parker and the bassist Noel Kupersmith that I consider the quintessential lineup and has left the most extended impression on me. The members convened on three records from 1998 to 2001: \u201cPossible Cube,\u201d \u201cFlamethrower\u201d and the self-titled \u201cChicago Underground Quartet.\u201d On Jeff Parker\u2019s composition \u201cFour in the Evening,\u201d we get the lyrical and pastoral side of the band. Parker delivers his best harmonic slipperiness, while at points catching heavily lyrical movement of Mazurek\u2019s muted cornet. The rhythm section is swirling in the background to a floating form without a musical meter.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Although this is a Parker composition, he and Mazurek seem kindred in their own harmonic and lyrical style. \u201cFour in the Evening\u201d is a piece of music that makes other musicians envious and left in quiet awe.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/52eoUS7P6ATolU8Xu7pxfK?si=e9fa009dbca342d9\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/four-in-the-evening\/5509764?i=5509748\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=r1kvxf-wBog\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-36b3debe\">Eddie Harris, \u2018Ten Minutes to Four\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-f961735\"><span>Giovanni Russonello, music critic<\/span><\/h3>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-8\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Eddie Harris came from Chicago\u2019s tradition of hard-blowing, blues-inflected tenor saxophone players, but he brought it down to a simmer on a series of soul-jazz recordings that, in the 1960s, made him one of the most commercially successful improvisers of his era. Harris had a way of lacing coolly impassioned saxophone lines into dangerously persuasive grooves.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Harris\u2019s \u201cTen Minutes to Four,\u201d from the 1972 album \u201cEddie Harris Sings the Blues,\u201d is basically a smoking groove played ad infinitum. It calls back to Chicago\u2019s place as the home of the electric blues, and to the blues\u2019s own origins in chant. Here we have an entire track devoted to a chanting rhythm in 10\/4 time \u2014 very clearly <em class=\"css-2fg4z9 e1gzwzxm0\">not <\/em>two sets of five, but a full 10-beat cycle that you have to let your body enter into, perhaps get lost inside, and then reconnect with again when the bass-drum pounds come around again on Beats 1 and 2, announcing the start of each new measure. That the piano chair is filled here by the A.A.C.M. co-founder Muhal Richard Abrams is just a casual reminder of how fluidly the different realms of Chicago\u2019s jazz world mixed together. Abrams may be remembered as a composer of runic <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=GIi7PNUy-jM\" title=\"\">experimental music<\/a>, but even his most sophisticated works are constructed from the same core elements as heard on \u201cTen Minutes to Four\u201d: blues feeling, energetic flow and a sense of Black music\u2019s history meeting its future.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/5v3glwVVxZR3NBsQWqdeXk?si=8cdd6cbaf8a44d5c\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/ten-minutes-to-four-lp-version\/76056595?i=76055429\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=Vbf50Chv3iQ\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-9\">\n<div class=\"css-53u6y8\">\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-17f36b36\">Ahmad Jamal, \u2018But Not for Me\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-44064a39\"><span>Brent Hayes Edwards, scholar and writer<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">Although <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2023\/04\/16\/obituaries\/ahmad-jamal-jazz-dead.html\" title=\"\">Ahmad Jamal<\/a> was born in Pittsburgh and is often counted in that city\u2019s formidable lineage of pianists (which includes Mary Lou Williams, Erroll Garner and Billy Strayhorn), he moved to Chicago after high school in 1948 and came to prominence in the thriving club scene on the South Side. A decade later, during an extended residency at the lounge of the Pershing Hotel, Jamal\u2019s trio with the bassist Israel Crosby and drummer Vernel Fournier recorded one of the great live LPs, \u201cAt the Pershing: But Not for Me,\u201d which spent more than two years on the Billboard album chart. The title track is a grooving version of the Gershwin classic that radically strips it down to sinew and bone and then thoroughly recasts it, with startling shifts and silences. This isn\u2019t the husky, brawling sound of the great Chicago tenors like Gene Ammons and Johnny Griffin. But it is just as much the sound of the city \u2014 suggesting the open expanses of the Midwest, the wind whipping in off the lake. I hear it in the abstractions of Chicago innovators such as Roscoe Mitchell and Henry Threadgill, as well as in the coiled poise of Miles Davis, who raved about Jamal\u2019s \u201cconcept of space.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/5iWKFIAbqS8btb6jquMusM?si=719c72c5a20a47fb\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/but-not-for-me-live-at-the-pershing-chicago-1958\/1445769114?i=1445769337\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=d7Sktqhz6GI\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-594ec524\">Ramsey Lewis, \u2018Maiden Voyage\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-73716136\"><span>Mark Ruffin, broadcaster and author<\/span><\/h3>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-10\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Chicago has a long history of genre-bending jazz musicians who use the music as a base to gain wider audiences with great success. Today, think <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=oa5Wu1f-p2k\" title=\"\">Kurt Elling<\/a> and <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/youtu.be\/Y_BE_gi4YkA?si=Zz8wDMFhVMGm2D_h&amp;t=40\" title=\"\">Makaya McCraven<\/a>. On the pianist Ramsey Lewis\u2019s version of \u201cMaiden Voyage,\u201d an uplifting swirl of woodwinds, strings and voices backs a swinging piano trio. This recording finds four historical musical figures jelling while at separate creative junctions in their careers. By 1968, Lewis was already that rare jazz musician with a history of gold records. In less than a year, Lewis\u2019s drummer would leave to start a band that had mysticism as part of its mission: That was Maurice White, who formed Earth, Wind &amp; Fire in 1969. Their chemistry is undeniable here. The entrancing wordless vocals on \u201cMaiden Voyage\u201d were provided by Minnie Riperton, then a member of the experimental group the Rotary Connection. At about 3:45, Riperton displays her legendary five-octave range. The alchemist who stirs this stew into such entertaining ear candy is the producer and arranger Charles Stepney. While not a member of Earth, Wind &amp; Fire, as a producer he was known as the architect of the group\u2019s trailblazing mid-70s sound, early traces of which can be heard on this version of the jazz standard \u201cMaiden Voyage,\u201d written by another genre-bending Chicago native: Herbie Hancock.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/7pmnC44GrfnEKMt9lPcfDT?si=00a2f8cea50e4aaa\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/maiden-voyage\/1438921875?i=1438922079\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=wVkzV6MT1Zs\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-632def47\">Myra Melford, \u2018The Strawberry\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-7abb755\"><span>Lauren Deutsch, photographer and festival programmer<\/span><\/h3>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-11\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The pianist Myra Melford often translates visual experience into music, beginning with one of her compositions from the 1980s: a tribute to the architecture of the Frank Lloyd Wright home in which she grew up. From there, she continued to invent a musical architecture that is uniquely her own \u2014 one to which she often invites others to contribute toward creating. Hearing \u201cThe Strawberry,\u201d a contemporary Melford composition, arranged by Jazz at Lincoln Center\u2019s Ted Nash and performed with the orchestra there was like hearing a painting: one that reflects her childhood piano lessons with the bluesman Erwin Helfer, and that sketches out a series of magnificent precipices, which she climbs in order to show us all the magnificent view. A powerfully percussive pianist, she also physically embodies her music as she plays, viscerally revealing the connection between music and body and soul.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/2ih1hqmnF8EjUR4CBlvj12?si=4b1d6e7e5bed45cf\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/the-strawberry-feat-myra-melford\/1272235765?i=1272236446\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=IerJ50b4_CU\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<div data-testid=\"companionColumn-12\">\n<div class=\"css-53u6y8\">\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-3f95b296\">Air, \u2018The Ragtime Dance\u2019<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-23a2e809\"><span>Peter Margasak, music journalist<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">Composing original music was a crucial pillar of Chicago\u2019s A.A.C.M., and few figures can match the invention and breadth of the reedist Henry Threadgill\u2019s writing, but among his most wildly creative acts were the adaptations of Scott Joplin rags he made with Air. That trio, with the bassist Fred Hopkins and drummer Steve McCall, initially developed its language while creating music for a Chicago theater production called \u201cThe Hotel\u201d in 1971. The director asked Threadgill to use Joplin\u2019s music, and the challenge of arranging piano-driven music for a saxophone trio required a radical sense of invention that has marked all of his subsequent work. Later, at a time when the jazz industry increasingly encouraged nostalgia-focused repertory projects, Air tweaked the formula by revisiting its own roots. The 1979 album \u201cAir Lore\u201d consisted of bold arrangements of Joplin rags from the trio\u2019s inception along with classics by Jelly Roll Morton. Air\u2019s breathless creativity in transforming Joplin\u2019s six-strain \u201cThe Ragtime Dance\u201d into a fiery, wildly careening two-beat marvel without sacrificing its essence remains nonpareil, turning a slice of history into a viscerally original artistic statement as fun as it is fearless.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/open.spotify.com\/track\/34N8CrBigCFHZSd8eQ0ooT?si=aeb42773c3de43fe\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Spotify<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\">, <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/the-ragtime-dance\/878050237?i=878050247\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.youtube.com\/watch?v=yvF-x2f9pvw\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<h2 class=\"css-1u37br4 eoo0vm40\" id=\"link-7772b890\">Matthew Lux\u2019s Communication Arts Quartet, \u201cCamisa Sete\u201d<\/h2>\n<h3 class=\"css-15h6bi9 e1gnsphs0\" id=\"link-7fa1508a\"><span>Scott McNiece, International Anthem co-founder<\/span><\/h3>\n<p class=\"css-at9mc1 evys1bk0\">In 2011, when I started programming my first live jazz series in Chicago, Matthew Lux was just one of those cats that started coming around, hanging and listening. That\u2019s the thing with the Chicago jazz scene: It\u2019s a community of musicians who are playing all different kinds of music and bringing their own thing into whatever they think jazz or improvised music is. That\u2019s the culture. And as a musician Lux also embodies something that <a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2022\/08\/28\/arts\/music\/jaimie-branch-dead.html\" title=\"\">Jaimie Branch<\/a> used to talk about a lot: It\u2019s about <em class=\"css-2fg4z9 e1gzwzxm0\">sound<\/em> first. I think most of the musicians on the Chicago jazz scene really fundamentally understand the importance of sound over technique.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">\u201cCamisa Sete\u201d comes from Lux\u2019s debut as a leader, \u201c<a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/communicationartsquartet.bandcamp.com\/album\/contra-fact\" title=\"\">Contra\/Fact<\/a>,\u201d from 2017, which he recorded at Steve Albini\u2019s Electrical Audio studio. It\u2019s a movement-oriented, ripping groove, with Mikel Patrick Avery on drums, Ben LaMar Gay on cornet and melodica, and Jayve Montgomery on woodwinds and percussion. Chicago through-and-through. All the dimensions of the song, between the idea, the composition and the way the musicians play, really exemplify a Chicago-style approach to making a record that is sound-first. And it has a ripping groove, which is another thing I consider very Chicago.<\/p>\n<p class=\"css-at9mc1 evys1bk0\"><em class=\"css-2fg4z9 e1gzwzxm0\"><img decoding=\"async\" src=\"https:\/\/s.w.org\/images\/core\/emoji\/15.0.3\/72x72\/25b6.png\" alt=\"\u25b6\" class=\"wp-smiley\" \/> <\/em><strong class=\"css-8qgvsz ebyp5n10\"><em class=\"css-2fg4z9 e1gzwzxm0\">Listen on <\/em><\/strong><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/music.apple.com\/us\/album\/camisa-sete\/1412802117?i=1412802124\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">Apple Music<\/em><\/a><em class=\"css-2fg4z9 e1gzwzxm0\"> or <\/em><a target=\"_blank\" rel=\"nofollow\" target=\"_blank\" class=\"css-yywogo\" href=\"https:\/\/youtu.be\/VN9-q2L6mO0?si=t3w4R08Gh9ku0DJr\" title=\"\"><em class=\"css-2fg4z9 e1gzwzxm0\">YouTube<\/em><\/a><\/p>\n<h3 class=\"css-1vs5pxi e1gnsphs0\" id=\"link-NaN\"><span>\u25c6 \u25c6 \u25c6<\/span><\/h3>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" \/><\/div>\n<p><em> \u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n<p><em> \u2018 Some details of this article were extracted from the following source www.nytimes.com \u2019 <\/em><\/p>\n<p><em> \u2018 O artigo anterior foi obtido e traduzido do site internacional da celebrity.land   \u2019 Source Link <\/em><\/p>\n\n","protected":false},"excerpt":{"rendered":"<p>Jazz has experienced a meaningful resurgence in popularity over the past 15 years or so, especially among younger listeners. What\u2019s driving that? You could make the case that there is a particular hunger, now that so much of life is lived in the digital cloud, for the messy and untamed energy of jazz, and for [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1227869,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_override_counter":[],"footnotes":""},"categories":[42],"tags":[],"class_list":["post-1227868","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica"],"_links":{"self":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1227868","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/comments?post=1227868"}],"version-history":[{"count":0,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1227868\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media\/1227869"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media?parent=1227868"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/categories?post=1227868"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/tags?post=1227868"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}