couw Posted May 2, 2005 Report Share Posted May 2, 2005 with wings Quote Link to comment Share on other sites More sharing options...
Jim Dye Posted May 2, 2005 Report Share Posted May 2, 2005 Wrinkles! Quote Link to comment Share on other sites More sharing options...
CJ Shearn Posted May 2, 2005 Report Share Posted May 2, 2005 ok Alon, cool, gotcha On the topic of smooth, I'm getting down on some Richard Bona right now, is that a bad thing? its the eighth track on his first album, the groove is smoooooooooooooooooth Quote Link to comment Share on other sites More sharing options...
Soulstation1 Posted May 7, 2005 Report Share Posted May 7, 2005 (edited) i played a spyro gyra cd at work and didn't make it half way through the disc Edited May 7, 2005 by Soulstation1 Quote Link to comment Share on other sites More sharing options...
Jazz Kat Posted May 7, 2005 Author Report Share Posted May 7, 2005 Sorry. That album starts out with two good tracks. Check out the last track for some hot playing. Quote Link to comment Share on other sites More sharing options...
Kalo Posted May 7, 2005 Report Share Posted May 7, 2005 Spiro Gyro: Nixon's VP + meat on a rotating spindle= ??????????????????????????????????????? Quote Link to comment Share on other sites More sharing options...
Kalo Posted May 9, 2005 Report Share Posted May 9, 2005 Spyro Gyra-- The only concert my college presented when I was a student that I DON"T regret skipping. Quote Link to comment Share on other sites More sharing options...
king ubu Posted May 10, 2005 Report Share Posted May 10, 2005 (edited) When was the term 'smooth jazz' coined? Maybe Spyro Gyra was called something other than smooth jazz back in its time. Adult contemporary? smooth jazz Wikipedia Smooth jazz is a sometimes controversial term, denoting a form of music. Some jazz lovers do not consider "Smooth Jazz" a form of jazz, seeing it as a misleading marketing term that represents an attempt to hijack the prestige of the term "jazz" in order to sell what is really a form of muzak. Others contend that "Smooth Jazz" can indeed be a viable subgenre, arguing that it is narrowminded to try to turn jazz into a kind of museum exhibit, and point out the continuing cross-pollination that has occurred between jazz and R&B over the course of a century. Furthermore, they point out that the music of such widely respected musicians as Pat Metheny, David Sanborn, Marcus Miller and others are often classified as "smooth jazz," and that many musicians are capable of perfoming well in multiple styles. Smooth jazz developed in part from jazz fusion, and tends to deemphasize improvisation. Creed Taylor's CTI Records was especially important in the form's development in the mid-1970s. Earlier, Wes Montgomery made a number of instrumental recordings of familiar pop songs which were aimed as much at pop audiences as at jazz fans; these records are often cited as important early smooth jazz. A popular recent development is urban jazz, which incorporates the aspects of hip-hop. This style is aimed at audiences who would normally listen to urban contemporary radio stations that play a mix of hip-hop and R&B. Among the musicians who frequently perform urban jazz are Dave Koz, Boney James, Paul Jackson Jr., and former NBA player-turned-bassist Wayman Tisdale. The construction of Smooth jazz as a radio format has its roots in the Beautiful music format, generally played in 15-minute sets (instrumentals bookending one or two vocal songs per set). In essence, today's Smooth jazz stations are no different than the Beautiful music stations of the 1960s through the 1980s. List of smooth jazz performers: Saxophonists Boney James Candy Dulfer Dave Koz David Sanborn Eric Marienthal Euge Groove Everette Harp Gerald Albright Grover Washington Jr. Jeff Kashiwa Kenny G Kim Waters Kirk Whalum Marion Meadows Mike Phillips Mindi Abair Najee Nelson Rangell Pamela Williams Paul Taylor Peter Brötzmann Richard Elliot Steve Cole Walter Beasley Warren Hill Guitarists Blake Aaron Brian Hughes Chieli Minucci Chris Camozzi Doc Powell Earl Klugh George Benson Jeff Golub Joyce Cooling Ken Navarro Larry Carlton Lee Ritenour Norman Brown Paul Jackson Jr. Pat Metheny Patrick Yandall Peter White Russ Freeman Steve Oliver Bassists Brian Bromberg Gerald Veasley Marcus Miller Wayman Tisdale Trumpeters / Flugelhornists Chris Botti Chuck Mangione Greg Adams Rick Braun Keyboardists Bob James Brian Culbertson David Benoit Gregg Karukas Jeff Lorber Joe McBride Joe Sample Keiko Matsui Paul Hardcastle Ramsey Lewis Groups Acoustic Alchemy Avenue Blue BWB Die Like A Dog Down to the Bone Fourplay Fattburger Peter Brötzmann's Chicago Tentet Pieces of a Dream Sade Special EFX Spyro Gyra Streetwize The Braxton Brothers The Jazzmasters The Rippingtons Urban Knights Edited May 10, 2005 by king ubu Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted May 10, 2005 Report Share Posted May 10, 2005 You little stinker! Quote Link to comment Share on other sites More sharing options...
CJ Shearn Posted May 10, 2005 Report Share Posted May 10, 2005 LOL! Quote Link to comment Share on other sites More sharing options...
joeface Posted May 11, 2005 Report Share Posted May 11, 2005 (edited) Trouble is that we come at the subject from radically different angles. He always mentions Spyro Gyra, and often The Yellowjackets too, etc... Both are bands I have little interest in at all. They're nowhere near as evil as, say, Kenny G. - but neither band is anything I personally find very interesting. But they both float my cousin's boat quite nicely. As you can imagine, it's pretty hard to have a very lengthy jazz conversation with him. This is analogous to myself and myself. If I met my high school era 16/17-year-old self right now, and we discussed jazz, we'd probably end up in a fist fight or something. My high school self thought that the only good jazz was fusion jazz and that of the slick kind, if it didn't come out of GRP then it ain't worth checking out! Yikes. In my former self's defense, it was mainly the influence of the educational environment, being in a marching band's drumline with high technical standards (think: breeding ground for the drum and bugle corps world) and tyrannical musical preferences that one dare not deviate from, lol. Smooth jazz was cool too only if the groove was tight and chops were decent. I'm on a different planet now. Edited May 11, 2005 by joeface Quote Link to comment Share on other sites More sharing options...
Jazz Kat Posted May 14, 2005 Author Report Share Posted May 14, 2005 Who cares if some jazz is fusion. Don't just put off something because it's a certain kind of music. I like all kinds of jazz, except smooth jazz; and not just because of its bad rep. I tried to dig it lots of times. The drum programming just turned me away. I still tried to like it. But the last straw was finding out that some of the smooth jazz musicians' solos were exactly the same on the record as they were in concert. How pitiful! Quote Link to comment Share on other sites More sharing options...
Kalo Posted May 14, 2005 Report Share Posted May 14, 2005 My problem with the term "smooth jazz" is that is just seems like a misnomer. Though my funnybone favors the word "fuzak," a less pejorative and more accurate term might be "instrumental pop." After all, most of it sounds like mediocre R&B or contemporary pop with a sax or trumpet substituted for the hyperactively melismatic vocals. Elevator Blues? R&Zzzzzzzzzzzzz? (or Jazzzzzzzzzzzzzzzzzzzz?) The Snooze? Dentist's Office Funk? Bland Music? Quote Link to comment Share on other sites More sharing options...
Kalo Posted May 14, 2005 Report Share Posted May 14, 2005 Wait, I've got it: "Music for people who don't like music." Quote Link to comment Share on other sites More sharing options...
king ubu Posted May 14, 2005 Report Share Posted May 14, 2005 "instrumental poop" Quote Link to comment Share on other sites More sharing options...
Jazz Kat Posted May 14, 2005 Author Report Share Posted May 14, 2005 My problem with the term "smooth jazz" is that is just seems like a misnomer. Though my funnybone favors the word "fuzak," a less pejorative and more accurate term might be "instrumental pop." After all, most of it sounds like mediocre R&B or contemporary pop with a sax or trumpet substituted for the hyperactively melismatic vocals. Elevator Blues? R&Zzzzzzzzzzzzz? (or Jazzzzzzzzzzzzzzzzzzzz?) The Snooze? Dentist's Office Funk? Bland Music? Exactly. The public think just because there's no vocals, and the melody is being played by a sax or flute, or piano, that it's jazz. Some of the musicians seem allright, but they just belittle themselves playing that bull shit. Quote Link to comment Share on other sites More sharing options...
king ubu Posted June 17, 2005 Report Share Posted June 17, 2005 Quote Link to comment Share on other sites More sharing options...
Geoff Posted June 17, 2005 Report Share Posted June 17, 2005 ← nice one Quote Link to comment Share on other sites More sharing options...
Soulstation1 Posted November 30, 2005 Report Share Posted November 30, 2005 up for a laugh Quote Link to comment Share on other sites More sharing options...
Bright Moments Posted October 15, 2010 Report Share Posted October 15, 2010 this classic thread deserves a bump!! Quote Link to comment Share on other sites More sharing options...
Coda Posted July 9, 2020 Report Share Posted July 9, 2020 I enjoyed reading this thread Quote Link to comment Share on other sites More sharing options...
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