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OriginsSmooth jazz as it is known today first emerged in the mid- to late-1970s, pioneered by such artists as Lee Ritenour, Larry Carlton, Steely Dan, Grover Washington, Jr., Spyro Gyra, George Benson, Wes Montgomery, Sergio Mendes, David Sanborn, Tom Scott, Dave and Don Grusin, Bob James and Joe Sample stemming from a number of extant styles including jazz fusion. Unlike that form, however, smooth jazz tends to emphasize melody and deemphasize improvisation.
From this success, Taylor founded CTI Records. Many established jazz performers recorded for CTI (including Freddie Hubbard, Chet Baker, George Benson and Stanley Turrentine). Though the records recorded under Taylor's guidance were typically aimed as much at pop audiences as at jazz fans, they were generally well-received by jazz purists: critic Scott Yanow writes that "Taylor had great success in balancing the artistic with the commercial[1]." DescriptionThe average smooth jazz track is on the "downtempo" (most widely played tracks are in the 90-105 BPM range) side, layering a lead, melody-playing instrument (saxophones--especially soprano and tenor--are the most popular, with guitars a close second) over a backdrop that tends to consist of programmed rhythms and various pads and/or samples. Though much of what is played under the banner of the "smooth jazz" radio format contains vocals, this is not usually the case for music recorded with the intent of categorization as smooth jazz. Rather, the stations in question pull their vocal tracks from the work of artists like Simply Red or Luther Vandross, who are normally considered "soul" or "R&B". RadioSmooth jazz as a radio format has its roots in the construction of what were once called "beautiful music" stations, which generally played fifteen-minute sets consisting of instrumentals bookending a vocal song or two.
After programmer Frank Cody gave birth to "The Wave" KTWV in Los Angeles and the simultaneous success of KIFM (San Diego) and the eclectic KKSF (San Francisco), another wave of "Smooth Jazz" stations banking on "The Wave's" softer sound grew quickly. Those included "Breezin' 100.7" in Milwaukee and KHIH in Denver programmed by consultant Gary Guthrie, WNUA (Chicago) consulted by Cody and the re-launch of WQCD (CD101), New York. It's Cody who made "Smooth Jazz" a household name, giving rise to its nationwide proliferation through the firm Broadcast Architecture, the widely syndicated “The Jazz Show with David Sanborn” and his association with saxophonist Dave Koz. "Smooth jazz" has gone on to be recognized as a successful radio format, first emerging in name in the mid- to late-1980s (often, they would be transitioned from existing "new age" stations) and subsequently spreading into most radio markets within the United States and many without. Currently prominent smooth jazz stations include Miami's WLVE-FM, Seattle's KWJZ, Denver's KJCD, Los Angeles' KTWV, Chicago's WNUA, Detroit's WVMV (which has often been ranked as the top-rated music station in the market and routinely outperforms its mainstream Adult Contemporary competitors), www.baysmoothjazz.com (Online Internet Radio), Smooth Jazz 106.5(Low power FM station), and New York's WQCD (which experimented with a Chill Music-based format for a time but soon returned to its focus on Smooth Jazz). The majority of major-market smooth-jazz radio stations are heavy on soft R&B vocals from artists like Luther Vandross, Sade, Anita Baker and Stevie Wonder, and crossover Adult Contemporary hits from pop artists like Celine Dion and Mariah Carey. Many stations, under the derivative format known as "Quiet Storm" -- including San Francisco's KBLX and Northampton's (Mass.) WEIB -- also feature classic soul music heavily, particularly softer Motown gold such as "My Girl" and "Just My Imagination" by the Temptations and "I Heard It Through The Grapevine," "Let's Get It On" and "Sexual Healing" by Marvin Gaye. For the most part, today's smooth-jazz stations give little airplay to the vocalists originally featured as part of the "new age" format, such as Enya and Basia, although there are exceptions, such as SmoothJazzWeb.com, XM Satellite Radio's smooth-jazz channel, called "Watercolors," WNJL.com Radio, and the smooth-jazz format delivered to radio stations via satellite by the Jones Radio Network. Among the stations carrying programming from the Jones Radio Network include the simulcast duo WJSJ-FM/WSJF-FM in Jacksonville, Florida; WASJ-FM in Panama City Beach, Florida; KMGK-FM in Glenwood, Minnesota; and WJZL-FM in Lansing, Michigan. Jones has also begun to integrate Chill material into its music mix, although not nearly as heavily as New York's WQCD did during its short-lived experimentation with Chill. The popularity of smooth jazz in major American radio markets has led to a proliferation of station-sponsored music festivals around the country where a number of the genre's performers play shows on the same stage throughout a day. They are usually held at high-profile locations such as resort hotels or wineries. Because of an aging demographic and a dearth of strong material (and some might say because of a lack of programming imagination) the format has been less commercially viable in the early 21st century than it was in the mid and late nineties. A majority of former smooth jazz radio stations in the US have changed format in recent years, leaving just a few survivors.[citation needed] Several smooth jazz artists, including Chris Botti, Dave Koz, Ramsey Lewis and Gerald Veasley, host nationally syndicated smooth jazz radio shows. More recently, comedienne Whoopi Goldberg launched a daily morning show, "Wake Up With Whoopi," on San Francisco's KKSF. And at least one non-commercial FM station, the community-based WGDR in Plainfield, Vt., broadcasts a weekly "Quiet Storm" program that's a mix of smooth jazz and soft R&B, presented in "Triple-A" (Album Adult Alternative) style, with a strong emphasis on "B" and "C" album tracks that most commercial smooth jazz stations often ignore. Hosted by Skeeter Sanders, "The Quiet Storm" is the only radio program of its kind in northern New England. Smooth jazz is gradually developing a worldwide audience, largely thanks to the growth of Internet radio. Independent web broadcaster Sky.fm launched a smooth jazz channel in mid 2004 and within a year it had grown to be one of its most popular services. The station now includes a streamed live videocast every Sunday (9am PST/Midday EST/5pm GMT) which attracts global audience participation.
smoothjazz.com, The Vox, WNJL.com Radio, Smooth & Soul, radiojazzplus.com, smoothjazzdenver.com, Smooth Jazz & Music Festival in Temecula, WQCD FM (CD 101.9), [1] Smooth Jazz 106.5, Bay Smooth Jazz, [2], ("The Quiet Storm" on WGDR), Sky.fm Smooth Jazz Popular artistsThe groups or recording artists that rise to the top of the smooth jazz charts tend to play their instruments in a distinctively melodic fashion such that they are recognizable within just a few measures; this category includes names like saxophonists David Sanborn, Warren Hill, guitarist George Benson, and pianists Joe Sample and Bradley Joseph. Some performers, such as Dave Koz, Bob James, and Nathan East attain fame via their numerous collaborations with many other of the genre's big names. Grammy Award-winning Fourplay is a smooth jazz recording group with sophisticated roots in jazz. While the world of smooth jazz has thus far been relatively male-dominated, the successful female performers -- Keiko Matsui, Joyce Cooling, Mindi Abair, Candy Dulfer, Sade, Brenda Russell, Regina Belle, and Anita Baker participate also. In Europe the main artist in this field is the European Jazz Trio. The European Jazz Trio consists of pianist Marc van Roon, bassist Frans van der Hoeven and drummer Roy Dackus. The trio has recorded over fifteen smooth jazz albums in the last ten years. DevelopmentA popular recent development is urban jazz, which incorporates 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., Bobby Perry, Urban Jazz Coalition, Streetwize, Tha' Hot Club and former NBA player-turned-bassist Wayman Tisdale.
Another nascent trend involves the fusion of smooth jazz and electronica, the results of which are similar to what has, among electronica enthusiasts, come to be called "chill." Radio stations such as New York's WQCD, SmoothJazzWeb.com Smooth Urban Jazz and DJs such as Rafe Gomez have pioneered the usage of playlists that blend tracks from both genres. Norman Brown is also popular. CriticismThe term "Smooth jazz" seems to inspire controversy. "Traditional jazz" purists contend that smooth jazz is, in actuality, not jazz of any kind, regarding it as a misleading marketing buzzword that represents an attempt to hijack the ostensible prestige of jazz in order to sell what is really a form of "elevator music". They consider the smooth jazz genre uninspired, lacking the depth of expression, harmonic and rhythmic sophistication, and complex improvisation that are hallmarks of traditional jazz; substituting, at times, trite and hackneyed musical phrasing. Recurring accusations charge smooth jazz with offering a watered-down sound whose aim is to appeal to a larger, mainstream, middle class white audience, though, notably, radio demographics have indicated that middle- and upper-middle class African Americans constitute what may be a significant percentage of smooth jazz listenership. Smooth jazz is still played (though decreasingly) on Muzak-style background music systems as well as telephone music on hold services, which many artists try to distance themselves from as they are seen as degrading to music. Jazz fusion enthusiasts also point to smooth jazz as having confused many listeners as to the meaning of fusion music, with fusion enthusiasts being some of the most vocal in appreciating a high level of virtuosity, improvisation, extended track lengths and soloing, all of which are rarely present in smooth jazz. Others contend that smooth jazz is indeed a viable jazz subgenre, asserting that attempts to maintain jazz music as a kind of museum exhibit are narrowminded, presenting over a century's continued cross-pollination between jazz and R&B as evidence. Furthermore, they point out that the music of such widely respected musicians as Pat Metheny, David Sanborn, Marcus Miller, Sting and others are often classified as smooth jazz, and that many of these artists are capable of performing well in multiple styles. The over-30 audience enjoys the melodic nature of the medium, the frequent revival of Pop standards and freedom from histrionic vocal lines of this contemporary instrumental music, lacking the intensity and dedication of much of jazz itself. KitschEspecially intense vitriol has been directed toward saxophonist Kenny G, whose hit singles dominated smooth jazz radio in the late 1980s and early 1990s. He is one of the most successful artists (in terms of sales) in the field; however, his detractors claim that his music is uninspired and boring and often extrapolate these opinions to others in the smooth jazz sphere. Enthusiasts of Kenny G's style argue that G's music is no longer representative. To many, Kenny G's music represents the extreme pop end of the smooth jazz genre. Further, it's reasonably posited that, if people derive pleasure from listening to his music, there should be little harm assumed in providing material for them to enjoy. Despite reasonable arugments in support of Kenny G's style, no less than jazz legend Pat Metheny has been long known as a forceful critic of Kenny G's music, offering both very musically technical analysis of G's abilities as well as a more reflective emotional consideration of G's relationship to the wider jazz community in part as a result of the juxtaposition of the his technically limited skill as a saxaphonist (despite the advances in the saxophone world) vs the level of his financial success. Kenny G's interpretation of smooth jazz really is quite far to the extreme of popish jazz, and non-inspiring among his saxophone-playing peers. Saxophone aside, another strong criticism is G's common use of programmed drum tracks rather than live drummers, further alienating other members of the musician fraternity - drummers who hear G's music can quickly note a lack of "feel" as would be provided by a live drummer interacting with the other musicians during a performance. This is a critical issue in terms of the integrity of jazz as a form of collaborative human expression, collaboration being as close to the heart of jazz as writing (since jazz commonly includes a component of improvisation during live performance). Further, the concept of "sounding good for good's sake" as opposed to having something to say through music is the basis for the "kitsch" pronouncement that makes the Kenny G sound seem trite and superficial. Jazz, which is an evolution that includes blues as an influence, is assumed to have a soulfull expressive component to it, rather than merely being a product of the banal attempt to reach the masses for the sake of selling records. Smooth jazz albums generally considered to be genre-definingMusic samples:
Major smooth jazz-producing record labels
See alsoTemplate:Wikiquote Template:Commons Notes
Acid jazz - Asian American jazz - Avant-garde jazz - Bebop - Dixieland - Calypso jazz - Chamber jazz - Cool jazz - Free jazz - Gypsy jazz - Hard bop - Jazz blues - Jazz-funk - Jazz fusion - Jazz rap - Latin jazz - Mini-jazz - Modal jazz - M-Base - Nu jazz - Smooth jazz - Soul jazz - Swing - Trad jazz - West coast jazz Other topics Musicians - Jazz standard - Jazz royalty - Jazz band - Big band - Origin of the word jazz Radio stations playing smooth jazzde:Smooth Jazzfa:جاز نرم fr:Smooth jazz id:Smooth jazz it:Smooth jazz ja:スムーズジャズ pl:Smooth jazz pt:Smooth jazz sv:Smooth jazz
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