{"id":34771,"date":"2018-01-27T12:00:05","date_gmt":"2018-01-27T11:00:05","guid":{"rendered":"https:\/\/www.tomajazz.com\/web\/?p=34771"},"modified":"2022-09-24T18:55:52","modified_gmt":"2022-09-24T16:55:52","slug":"razones-para-el-jazz-un-club-de-jazz-the-open-door-377","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-un-club-de-jazz-the-open-door-377\/","title":{"rendered":"Razones para el jazz: un club de jazz. The Open Door [377]"},"content":{"rendered":"<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-34775\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo-600x486.jpg\" alt=\"\" width=\"600\" height=\"486\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo-600x486.jpg 600w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo-200x162.jpg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo-68x55.jpg 68w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo.jpg 703w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Un club de jazz: The Open Door. Greenwich Village. New York<\/p>\n<p>Seleccionado por\u00a0<strong>Luis Escalante Ozalla<\/strong><\/p>\n<p>Sobre el escenario (izq-der): Charles Mingus, Roy Haynes, Thelonious Monk, Charlie Parker. 1953.<br \/>\nFot\u00f3grafo: Bob Parent.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Un club de jazz: The Open Door. Greenwich Village. New York Seleccionado por\u00a0Luis Escalante Ozalla Sobre el escenario (izq-der): Charles Mingus, Roy Haynes, Thelonious Monk, Charlie Parker. 1953. Fot\u00f3grafo: Bob Parent.<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-un-club-de-jazz-the-open-door-377\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":34775,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"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,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17834,20689,15517,1038],"tags":[18623,1556,7079,12816,1791,2015],"class_list":["entry","author-pachi","post-34771","post","type-post","status-publish","format-standard","has-post-thumbnail","category-luis-escalante-ozalla","category-razones-para-el-jazz","category-textos","category-contenidos","tag-bob-parent","tag-charles-mingus","tag-charlie-parker","tag-luis-escalante-ozalla","tag-haynes-roy","tag-monk-thelonious"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2018\/01\/The-Open-Door_photo.jpg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":36018,"url":"https:\/\/tomajazz.com\/web\/razones-para-el-jazz-un-club-de-jazz-mintons-playhouse-409\/","url_meta":{"origin":34771,"position":0},"title":"Razones para el jazz: un club de jazz. Minton\u2019s Playhouse [409]","author":"Tomajazz","date":"13 abril, 2018","format":false,"excerpt":"Un club de jazz: Minton\u2019s Playhouse. Harlem. New York. Seleccionado por\u00a0Luis Escalante Ozalla Fotograf\u00eda de Thelonious Monk, Howard McGhee, Roy Eldridge y Teddy Hill en\u00a0Minton's Playhouse, New York, N.Y. ca. Sept. 1947. Fotogaf\u00eda por\u00a0\u00a9\u00a0William P. Gottlieb","rel":"","context":"En \u00ab*_Luis Escalante Ozalla\u00bb","block_context":{"text":"*_Luis Escalante Ozalla","link":"https:\/\/tomajazz.com\/web\/category\/luis-escalante-ozalla\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/04\/581px-Thelonious_Monk_Howard_McGhee_Roy_Eldridge_and_Teddy_Hill_Mintons_Playhouse_New_York_N.Y._ca._Sept._1947_William_P._Gottlieb_06281.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/04\/581px-Thelonious_Monk_Howard_McGhee_Roy_Eldridge_and_Teddy_Hill_Mintons_Playhouse_New_York_N.Y._ca._Sept._1947_William_P._Gottlieb_06281.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/04\/581px-Thelonious_Monk_Howard_McGhee_Roy_Eldridge_and_Teddy_Hill_Mintons_Playhouse_New_York_N.Y._ca._Sept._1947_William_P._Gottlieb_06281.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":32754,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-tema-round-midnight-thelonious-monk-cootie-williams-288\/","url_meta":{"origin":34771,"position":1},"title":"365 razones para amar el jazz: un tema. &#8216;Round Midnight (Thelonious Monk, Cootie Williams) [289]","author":"Tomajazz","date":"16 octubre, 2017","format":false,"excerpt":"Un tema.\u00a0\u00a0\"\u2018Round Midnight\". M\u00fasica: Thelonious Monk & Cootie Williams Seleccionado por\u00a0Luis Escalante Ozalla Thelonious Monk:\u00a0At The Blackhawk\u00a0(Riverside, 1960) Thelonious Monk, John Ore, Billie Higgins, Joe Gordon, Charlie Rouse, Harold Land","rel":"","context":"En \u00ab*_Luis Escalante Ozalla\u00bb","block_context":{"text":"*_Luis Escalante Ozalla","link":"https:\/\/tomajazz.com\/web\/category\/luis-escalante-ozalla\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/10\/Thelonious_Monk_at_the_Blackhawk.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":37329,"url":"https:\/\/tomajazz.com\/web\/el-jazz-moderno-iii-bebop-151-podcast\/","url_meta":{"origin":34771,"position":2},"title":"El jazz moderno (III): BeBop (151) [Podcast]","author":"Tomajazz","date":"18 junio, 2018","format":false,"excerpt":"La Odisea de la M\u00fasica Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor de los libros Nueva Orleans (1717-1917): Sexo, Raza y Jass y Y se hace m\u00fasica al andar con swing. 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La Odisea de la M\u00fasica Afroamericana (150) [Podcast]","author":"Tomajazz","date":"11 junio, 2018","format":false,"excerpt":"La Odisea de la M\u00fasica Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor de los libros Nueva Orleans (1717-1917): Sexo, Raza y Jass y Y se hace m\u00fasica al andar con swing. Ir a descargar Tras el repaso a los estilos predominantes en\u2026","rel":"","context":"En \u00ab*_Luis Escalante Ozalla\u00bb","block_context":{"text":"*_Luis Escalante Ozalla","link":"https:\/\/tomajazz.com\/web\/category\/luis-escalante-ozalla\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/05\/Thelonious-Monk-Stamp.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":38495,"url":"https:\/\/tomajazz.com\/web\/thelonious-monk-i-la-odisea-de-la-musica-afroamericana-158-podcast\/","url_meta":{"origin":34771,"position":4},"title":"Thelonious Monk (I). La Odisea de la M\u00fasica Afroamericana (158) [Podcast]","author":"Tomajazz","date":"3 septiembre, 2018","format":false,"excerpt":"Por Luis Escalante Ozalla La Odisea de la M\u00fasica Afroamericana es un programa de radio dirigido, presentado y producido por Luis Escalante Ozalla, autor de los libros Nueva Orleans (1717-1917): Sexo, Raza y Jass y Y se hace m\u00fasica al andar con swing. 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The Five Spot Caf\u00e9 [343]","author":"Tomajazz","date":"9 diciembre, 2017","format":false,"excerpt":"Un club de jazz: The Five Spot Caf\u00e9. Bowery. New York. Seleccionado por Luis Escalante Ozalla Sobre el escenario (izd-der): John Coltrane, Shadow Wilson, Thelonious Monk, Ahmed Abdul Malik. 1957. Fot\u00f3grafo: \u00a9 Don Schlitten","rel":"","context":"En \u00ab*_Luis Escalante Ozalla\u00bb","block_context":{"text":"*_Luis Escalante Ozalla","link":"https:\/\/tomajazz.com\/web\/category\/luis-escalante-ozalla\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/12\/image001-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/12\/image001-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/12\/image001-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/12\/image001-1.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/34771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=34771"}],"version-history":[{"count":3,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/34771\/revisions"}],"predecessor-version":[{"id":34781,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/34771\/revisions\/34781"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/34775"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=34771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=34771"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=34771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}