Quote:
Originally Posted by Janszoon
For the record, a lot of jazz historically has been pop music.
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And I counter that many forms of music have been "Pop" Music in that they have been "pop"ular. It's called "Pop" Music because it's Popular.
I'm perfectly willing to be swayed in my opinion and definition of "smooth jazz" when someone can show me where the polyrhythms, syncopated rhythms, improvisation, group interaction and indeed, creativity are in "smooth jazz".
You see, "smooth jazz" is a noun. "Jazz" is a verb. Jazz doesn't "BE" jazz "DOES". jazz is a feeling. jazz is movement. it's alive and active.
"smooth jazz" just kind of lays there. In addition, I suggest that all "smooth jazz" kind of sounds the same.
Let's take the Jazz tune, "Oleo" for an example. Sonny Rollins wrote it in 1954 (based on the chord progressions of George Gershwin's "I Got Rhythm") and it's become a standard in the jazz canon. One might think a warhorse like "Oleo" must have had little variation over the years. In fact, because of improvisation, "Oleo" has endured. Even in the case of Miles Davis' recordings of the tune (of which there are more than several), each saxophonist is able to make it his own. For argument's sake, let's look at three recordings by Davis' bands of the song in question. Sonny Rollins on the "Bag's Groove" album, John Coltrane on the Relaxin'" album and Hank Mobley on the "Live At The Nighthawk" album. All three recordings begin in basically the same way with the statement of the theme (section "A"). This is followed by the Improvisational section (Section "B"). In each case the saxophonist in question is required to build their solo on a known chord structure which they do, but in very different ways. Rollins, Coltrane and Mobley all approach the song differently and it's possible to tell one's playing from another's. Rollins takes a fairly laid back solo with as much attention paid to the silences between the notes as to the notes themselves. Mobley alternates between bursts of many notes and more drawn out breaths. Coltrane plays it perhaps more frenetically over the course of his solo. The same song, given life and fire in different ways and yet it remains the same song.
I just don't see "smooth jazz" having the same kind of vibrancy and "guts".
Where's the Swing Feeling? Where's the emotion? Where's the life?
In summation, it should be apparent that, at best, "smooth jazz" should be called "easy listening pop" or some such. it is certainly not Jazz.
I eagerly await your reply
rooster241