HutchFan

Then smooth jazz or pop-jazz or whatever you'd like to call it should be included in the book/course, IMO.

A book that aims to examine 20th Century American Literature is likely to focus on "literary" authors like Hemingway, Faulkner, Roth, and Morrison. And -- unless the aim is to examine "popular fiction" -- it's unlikely that the book will focus on Michael Crichton and John Grisham, even though these authors probably sold more books. So, I can see how there would be a similar distinction in the jazz world -- between music that's more commercial as opposed to music that's more artistic. Of course, this is all a relative thing and subject to change over time. (For many years, many people in the musical critical establishment didn't consider ANY jazz to be artistic!) So the definition of "artistic" is always a moving target. Furthermore, sometimes the commercial and the artistic are an overlapping Venn diagram. (See Ellington, Edward K.) Ultimately, I think what should be included in our theoretical book really depends on the author's intentions. What is the scope of their examination? Is it all jazz -- including the "pop" forms? Or is it limited to the stuff that's (relatively) more "artistic"? My 2 cents.

I recently picked up this Michel Petrucciani archival release, and I'm really enjoying it.

This again: A stunning album. Is that Jansch BBC set all solo material? Or is some of it with Pentangle?

As my father would say, "You caught a plum!"

I love that one too.

Disc 2 Excellent!

I have Xocia's Dance on vinyl, but I've never even seen it on CD in the wild.

Two more LPs produced by Don Schlitten. Now: Earlier:

R.I.P. Don Schlitten Outstanding!

Will Vinson: Brent Jensen:

R.I.P. Don Schlitten

R.I.P.

One of my favorite Sinatra albums.

LP 1 - originally released as Screamin' the Blues

R.I.P. to one of the great jazz producers.

Will Vinson. Brent Jensen.

Two doozies!