My examination of the development of smooth jazz

[CJ Shearn]

I just had to do it because in earlier times I labeled it all of garbage (even my beloved Pat before I was there yet) A long read, Part 1 is linked in the article.  This is not us much for us, as it is people curious about jazz history...  Enjoy  https://bit.ly/3b6zQdw

[Rabshakeh]

Thanks for this interesting article.

I actually enjoy a lot of this music. Those Grover Washington, David Sanford, Hank Crawford and George Benson records are great (presumably not a contraversial perspective around here). But even a lot of the records from the "bad" era of smooth jazz generally have a good single or two (albeit they are maybe better seen as Quiet Storm / R&B records designed for smooching or root canals, rather than jazz). A lot of modern gospel music also draws very heavily on this sort of smooth jazz.

I think that in ten years, when the taint of Mr Gorelick has finally worn off, some enterprising young Gilles Peterson type DJ is going to make his or her name by "discovering" this stuff for a hip young audience. "Smoothtone" will be the new "rare groove" or "yacht rock". All the kids will be namedropping Najee and Kirk Whalum. Light In The Attic will put out four volume ultra glossy compilations with gorgeous cover art. You heard it here first.

Two comments on areas that I think the articles don't pay attention to, which could also be included:

(1) The quiet storm / smooth jazz intersection - the article touches on Sade and Kirk Whalum, but I think that this 'section' of the smooth jazz genre: instrumental urban contemporary pop, is the most interesting. As noted above, I do reckon that this part of the genre is due a repackaged and heavily marketed comeback.

(2) What about the New Age music of the late 1970s? Surely artists like Shadowfax and George Winston (or just all of the Windham Hill label) are also part of the development and maturation of fusion into the smooth jazz genre?

Edited July 27, 2022 by Rabshakeh

[CJ Shearn]

3 minutes ago, Rabshakeh said:

Thanks for this interesting article.

I actually enjoy a lot of this music. Those Grover Washington, David Sanford, Hank Crawford and George Benson records are great (presumably not a contraversial perspective around here). But even a lot of the records from the "bad" era of smooth jazz generally have a good single or two (albeit they are maybe better seen as Quiet Storm / R&B records designed for smooching or root canals, rather than jazz).

Two comments on areas that I think the articles don't pay attention to, which could also be included:

(1) The quiet storm / smooth jazz intersection - the article touches on Sade and Kirk Whalum, but I think that this 'section' of the smooth jazz genre: instrumental urban contemporary pop, is the most interesting. A lot of modern gospel music also draws very heavily on this sort of smooth jazz. I think that in ten years when the taint of Mr Gorelick has finally worn off, some enterprising Gilles Peterson type DJ is going to make his or her name by "discovering" this stuff. It will be the new "rare groove" or "yacht rock".

(2) What about the New Age music of the late 1970s? Surely artists like Shadowfax and George Winston are also part of the development and maturation of the smooth jazz genre?

Interesting points. That can definitely be a followup article or even an edit when I have time. I agree with you that there is good music in the genre as I stated, I just think after 1984 a lot of it is devoid of substance. I mean Harlequin is a genre classic I just think after the first two tracks it settles into that signature GRP thing. The first two cuts are great MPB.  Kirk Whalum definitely took things to another level with his Gospel According To series and while that is not my preferred religion that is music full of meaning, passion and a neat injection of the Texas tenor thing with gospel music. 

[Teasing the Korean]

Thanks for posting.

A couple of thoughts:

• I completely agree with your opinion of CTI between 1970 and 1974, although I am not fond of Bob James.  But any of these albums from that period with either Deodato or Don Sebesky contributions are very worthwhile.  I associate the 1974 cutoff date with the arrival of disco in late 1974, not that I'm knocking disco, but that early-70s introspective, urban, minor-key, black-consciousness aesthetic was largely traded in for a forget-your-troubles-and-shake-your-booty ethos.
• The cultural shifts at around 1974/75 are fascinating.  Disco arrived in a big way.  Jaws created a new paradigm for the summer blockbuster film.  Ennio Morricone stopped working with Bruno Nicolai, marking the end of Morricone's great period.  
• When discussing Creed Taylor, don't forget his early work at ABC/Paramount, in particular with the great and underrated Kenyon Hopkins.  These albums were released under Creed Taylor's name for contractual reasons. They include The Sound of New York; Lonelyville; and the trilogy of Shock, Panic, and Nightmare.

[JSngry]

Two words are missing here - George Howard.

[JSngry]

George Howard was really popular and sold a lot of records. But then he died suddenly and that was the end of that.

 

[CJ Shearn]

3 hours ago, JSngry said:

Two words are missing here - George Howard.

True. I couldn't fit in everything! I was like damn I need to include George Howard. Another edit. Dancing In The Sun was a huge early seller in GRP history and I had ended up with two copies of this once. I didn't like the album at all but hey, he was a huge name in the field and if we talk authenticity he was all about that.

3 hours ago, Teasing the Korean said:

Thanks for posting.

A couple of thoughts:

• I completely agree with your opinion of CTI between 1970 and 1974, although I am not fond of Bob James.  But any of these albums from that period with either Deodato or Don Sebesky contributions are very worthwhile.  I associate the 1974 cutoff date with the arrival of disco in late 1974, not that I'm knocking disco, but that early-70s introspective, urban, minor-key, black-consciousness aesthetic was largely traded in for a forget-your-troubles-and-shake-your-booty ethos.
• The cultural shifts at around 1974/75 are fascinating.  Disco arrived in a big way.  Jaws created a new paradigm for the summer blockbuster film.  Ennio Morricone stopped working with Bruno Nicolai, marking the end of Morricone's great period.  
• When discussing Creed Taylor, don't forget his early work at ABC/Paramount, in particular with the great and underrated Kenyon Hopkins.  These albums were released under Creed Taylor's name for contractual reasons. They include The Sound of New York; 3Lonelyville; and the trilogy of Shock, Panic, and Nightmare.

Then obviously like an idiot I forgot the huge omission of the release of Deodato because that record really set in motion EVERYTHING that set them forward after in terms of big plans.  I need to check out those Kenyon Martin albums! I was unaware. Thank you.

[Teasing the Korean]

40 minutes ago, CJ Shearn said:

Then obviously like an idiot I forgot the huge omission of the release of Deodato because that record really set in motion EVERYTHING that set them forward after in terms of big plans.  I need to check out those Kenyon Martin albums! I was unaware. Thank you.

The Kenyon Hopkins albums on ABC/Paramount date from the late 1950s/early 1960s, so they are not at all of the CTI aesthetic, but rather a jazzy/space-age bachelor pad aesthetic reflecting the period.  Kenyon Hopkins is perhaps most remembered for his score to The Hustler, starring Paul Newman, Piper Laurie, and Jackie Gleason.

 

Edited July 27, 2022 by Teasing the Korean

[Rabshakeh]

I'm not sure whether this was posted here before, but there are companies that run music themed cruises. 

They are very specific. For example there is a cruise dedicated to the in-no-way-missed 90s rap metal genre. There is a specific jazz one, which, despite an incredible line up, looks pretty dire: the attendees are precisely the sort of pale, thin lipped, straw hat wearing retirees that give jazz a bad name.

Pretty much the only one that looks fun is the smooth jazz one! The audience looks great. Everyone is smiling and having a fantastic time. 

https://thesmoothjazzcruise.com/experience/photos/

[JSngry]

Whenever the subject arises, I like to point out that George Howard's cover album of There's A Riot Going On (on Blue Note) is actually a very good record.

And I can also vouch that George Howard was getting huge radio play while he was alive.

I really do think that any history of the "smooth jazz" and "Quiet storm" musics needs to feature him a bit prominently. He was that big in his time, and can quite reasonably be considered a transitional figure between Grover and what eventually devolved into Kenny G/etc.

[Teasing the Korean]

11 minutes ago, JSngry said:

Whenever the subject arises, I like to point out that George Howard's cover album of There's A Riot Going On (on Blue Note) is actually a very good record.

And I can also vouch that George Howard was getting huge radio play while he was alive.

I really do think that any history of the "smooth jazz" and "Quiet storm" musics needs to feature him a bit prominently. He was that big in his time, and can quite reasonably be considered a transitional figure between Grover and what eventually devolved into Kenny G/etc.

Thanks for sharing.  I never heard of this guy.  I need to check him out. 

[CJ Shearn]

1 hour ago, Teasing the Korean said:

Thanks for sharing.  I never heard of this guy.  I need to check him out. 

He has a killer solo on Stanley Clarke's title track "East River Drive" which is quite anthemic. The  album is a mix of R&B, film music and jazz funk. It was given to me after the fire by the brilliant professor Dr. Bill Banfield. I'll probably replace the copy he gave me which is in poor condition but plays perfectly in my Audiolab transport. 

6 hours ago, Teasing the Korean said:

Thanks for posting.

A couple of thoughts:

• I completely agree with your opinion of CTI between 1970 and 1974, although I am not fond of Bob James.  But any of these albums from that period with either Deodato or Don Sebesky contributions are very worthwhile.  I associate the 1974 cutoff date with the arrival of disco in late 1974, not that I'm knocking disco, but that early-70s introspective, urban, minor-key, black-consciousness aesthetic was largely traded in for a forget-your-troubles-and-shake-your-booty ethos.
• The cultural shifts at around 1974/75 are fascinating.  Disco arrived in a big way.  Jaws created a new paradigm for the summer blockbuster film.  Ennio Morricone stopped working with Bruno Nicolai, marking the end of Morricone's great period.  
• When discussing Creed Taylor, don't forget his early work at ABC/Paramount, in particular with the great and underrated Kenyon Hopkins.  These albums were released under Creed Taylor's name for contractual reasons. They include The Sound of New York; 3Lonelyville; and the trilogy of Shock, Panic, and Nightmare.

Then obviously like an idiot I forgot the huge omission of the release of Deodato because that record really set in motion EVERYTHING that set them forward after in terms of big plans.  I need to check out those Kenyon Martin albums! I was unaware. Thank you.

1 hour ago, Teasing the Korean said:

Thanks for sharing.  I never heard of this guy.  I need to check him out. 

Oh yeah he definitely was the next big post Grover guy and he could play.

[clifford_thornton]

16 hours ago, CJ Shearn said:

I just had to do it because in earlier times I labeled it all of garbage (even my beloved Pat before I was there yet) A long read, Part 1 is linked in the article.  This is not us much for us, as it is people curious about jazz history...  Enjoy  https://bit.ly/3b6zQdw

Cool -- will check this. Have you read Francis Gooding's piece on reevaluating smoov jazz in We Jazz Magazine? Available for purchase here: https://wejazzrecords.bandcamp.com/merch/we-jazz-magazine-spring-2022-tetragon

[JSngry]

5 hours ago, CJ Shearn said:

Oh yeah he definitely was the next big post Grover guy and he could play.

I mean, not "play" like George Coleman or anything, but this seemed like a totally natural language for him, as it did with Grover. 

Some of those guys, like Najee, Gerald Albright, Kirk Whalum, spoke to their community more or less organically. They were/are well-rounded musicians with multiple skill sets. They could play more horn than George Howard, but George Howard was pretty much dancing with the thing that bring him, if you know what I mean. 

[CJ Shearn]

5 hours ago, clifford_thornton said:

Cool -- will check this. Have you read Francis Gooding's piece on reevaluating smoov jazz in We Jazz Magazine? Available for purchase here: https://wejazzrecords.bandcamp.com/merch/we-jazz-magazine-spring-2022-tetragon

No because its behind a paywall so have not read it.

15 hours ago, Teasing the Korean said:

Thanks for posting.

A couple of thoughts:

• I completely agree with your opinion of CTI between 1970 and 1974, although I am not fond of Bob James.  But any of these albums from that period with either Deodato or Don Sebesky contributions are very worthwhile.  I associate the 1974 cutoff date with the arrival of disco in late 1974, not that I'm knocking disco, but that early-70s introspective, urban, minor-key, black-consciousness aesthetic was largely traded in for a forget-your-troubles-and-shake-your-booty ethos.
• The cultural shifts at around 1974/75 are fascinating.  Disco arrived in a big way.  Jaws created a new paradigm for the summer blockbuster film.  Ennio Morricone stopped working with Bruno Nicolai, marking the end of Morricone's great period.  
• When discussing Creed Taylor, don't forget his early work at ABC/Paramount, in particular with the great and underrated Kenyon Hopkins.  These albums were released under Creed Taylor's name for contractual reasons. They include The Sound of New York; 3Lonelyville; and the trilogy of Shock, Panic, and Nightmare.

Then obviously like an idiot I forgot the huge omission of the release of Deodato because that record really set in motion EVERYTHING that set them forward after in terms of big plans.  I need to check out those Kenyon Hopkins albums! I was unaware. Thank you.

Edited July 28, 2022 by CJ Shearn

[danasgoodstuff]

Not a subject that I'm well versed in, but I wonder about those who have played both sides of the fence dividing smooth form real jazz, are there any who did better work on the smooth side?

[JSngry]

Kirk Whalum. Najee. Less so, Gerald Albright.

Playing *real jazz", they sound like they're giving props to their parents/ etc., but on their own stuff, it sounds like them. 

[Rabshakeh]

On 7/27/2022 at 11:24 AM, CJ Shearn said:

Kirk Whalum definitely took things to another level with his Gospel According To series and while that is not my preferred religion that is music full of meaning, passion and a neat injection of the Texas tenor thing with gospel music. 

I had not clocked that record before. I listened to volume 1 last night and it is really exactly what you'd hope for. It is also nice to heard Whalum getting a chance to really wail, which you don't always on the more cuddly records designed for radio play. Are the other volumes as strong?

[CJ Shearn]

20 hours ago, Rabshakeh said:

I had not clocked that record before. I listened to volume 1 last night and it is really exactly what you'd hope for. It is also nice to heard Whalum getting a chance to really wail, which you don't always on the more cuddly records designed for radio play. Are the other volumes as strong?

I'm not sure... the overly religious connotation kind of steers me away, but that's who Whalum is and have to accept him for it, but the music can be enjoyed regardless . He also really stretches on the Mack Avenue Superband albums and "Impressions" on Joey Defrancesco's Live at the 5 Spot

[Rabshakeh]

On 7/27/2022 at 10:23 PM, clifford_thornton said:

Have you read Francis Gooding's piece on reevaluating smoov jazz in We Jazz Magazine? Available for purchase here: https://wejazzrecords.bandcamp.com/merch/we-jazz-magazine-spring-2022-tetragon

Just read it. A good article, although points lost for smug self satisfaction.

[Rabshakeh]

I should add that the quality of the Tetragon issue of We Jazz seems significantly higher than the first two. The Smooth Jazz article referred to above is one of a few substantial essays, whereas the previous issues sometimes just seemed made up of filler.

[mjazzg]

2 hours ago, Rabshakeh said:

I should add that the quality of the Tetragon issue of We Jazz seems significantly higher than the first two. The Smooth Jazz article referred to above is one of a few substantial essays, whereas the previous issues sometimes just seemed made up of filler.

£24! I'd hope it was all solid gold at that price.  Glad I didn't splurge 

[Rabshakeh]

1 hour ago, mjazzg said:

£24! I'd hope it was all solid gold at that price.  Glad I didn't splurge 

The price tag seems to be there to indicate worthiness and collectability. I bought the second one, Pursuance (I think), with JC on the cover, and was pretty disappointed at that price to discover that quality wise it was essentially a vanity publication filled with the usual inane hyperbolic content that infests the jazz discourse these days.

This one is a lot better. The Smooth Jazz article is a proper essay, of the quality I would have expected, save for some self-congratulatory opening remarks and a bit of meaningless scholastic padding.

Edited August 1, 2022 by Rabshakeh