{"id":4342,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/braxton-brothers-interview-2004\/"},"modified":"2018-10-26T09:20:56","modified_gmt":"2018-10-26T16:20:56","slug":"braxton-brothers-interview-2004","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4342","title":{"rendered":"Braxton Brothers Interview 2004"},"content":{"rendered":"
\"TheFinding Out What’s Up With<\/strong><\/font>
The Braxton Brothers<\/strong><\/font>
by S.H. Watkins, Sr.<\/p>\n

<\/font><\/div>\n

If you take all the jazz CD’s released since the Braxtons last CD Both Sides<\/i> and rate the top ten <\/p>\n\n\n
Rollin’<\/strong>
\"Braxton
(Peak – 2004)
<\/font><\/td>\n<\/tr>\n<\/table>\n

tracks on each from one to ten, in my<\/i> opinion very few will score as high overall as Both Sides<\/i>. That’s a hard legacy to follow. Rollin’<\/i> comes close, if not going it one better, although it’s hard to compare them fairly because they’re different<\/i>. Waye’s sax is more mature and sure when he riffs on Blue Sands<\/i> or does the duet dance with Nelson’s guitar on the fantastic Find Your Way<\/i>. <\/p>\n\n\n
Listen to Rollin’<\/b> using RealAudio<\/a><\/i>.<\/font>
<\/td>\n<\/tr>\n<\/table>\n

<\/font><\/font><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"

Finding Out What’s Up With The Braxton Brothers by S.H.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4342","post","type-post","status-publish","format-standard","hentry","category-jazz_reviews"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4342"}],"version-history":[{"count":1,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4342\/revisions"}],"predecessor-version":[{"id":11217,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4342\/revisions\/11217"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4342"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4342"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}