What is Smooth Jazz

What's in a name? The music presented in this column has been referred to in many ways, depending on who is doing the labeling. Thinking along the lines of a relaxing lifestyle, radio programmers and marketing departments prefer the term "smooth jazz," even though some of the more aggressive artists and tunes are more funky and rockin' than smooth, and many straight ahead purists would consider calling it "jazz" nothing short of blasphemy.

Its detractors, who tend to generalize ignorantly (thinking that Yanni is the Greek word for John Tesh) instead of finding some creative value in it, may call it "yuppie jazz," "diet jazz" or "jazz lite". Even better is the term, "jacuzzi jazz," because it sums up some of the genre's best qualities - appeal to an upscale baby boomer audience who might live in a condo complex with a hot tub; the potential to aid relaxation; a definite seductive, steamy quality; and the potential to fire up, get hot and get your toes tapping. Then again, the more generic "contemporary instrumental music" - more often than not inspired by or descended from true jazz and often featuring the spirit of or potential for improvisation - works just fine. Overall though, what to call it is far less important than the reality that it has become, since 1987, a legitimate genre of music.

One could explain the ongoing success of the genre due to clever marketing or just the residual impact from the zillion selling Kenny G albums, but what about the music itself? If a time traveler turned on Los Angeles' KTWV The WAVE for an hour when it debuted in 1987, and then did the same thing in 1998, would there be a difference?
Not in the basic sense - strong melodies still make the difference between heavy rotation and missing the mark - but more in the production, which in a gentler way almost mirrors Top 40's evolution into a thickly groove-oriented hip-hop driven genre.

Capitalizing on the new age music craze of the time, much of the early smooth jazz had a softer, more acoustic flavor. Not to say that a brilliant melodist like piano sensation Jim Brickman can't recapture that feeling, but in general, the sort of softness found in Acoustic Alchemy's best ballads isn't the norm anymore. These days, no doubt reflecting the same movement in Top 40 music towards urban and hip-hop dominance, it's generally more soulful, funkier and hard hitting. Critics who called it "aural wallpaper" then should take a listen to funky electric guitarists like Chris Standring, Evan Marks and the Higher Octave debut by Grant Geissman; it's mostly about the groove now.

Even the smooth jazz that isn't going that "in your face" funky route is still reminiscent of the clean pop production sound typified in the music of Babyface. Smooth jazz has its own Babyface, producer Paul Brown, who has helped make a superstar out of saxman Boney James and taken guitarist Peter White and Richard Elliot to new levels with a cool, simmering soul that has proven irresistible.

Ironically, the obstacle that makes it more and more difficult for new young artists to break through onto the charts is the one thing that has sustained the genre through all of its financial and creative cycles - the endurance and ongoing popularity of the veteran artists. Examining a recent list of Billboard's Top Contemporary Jazz albums might actually prompt even the most cocksure college kid looking to become the next Boney to think twice; a total of 18 out of 25 titles are by artists whose recording careers began either in 1987 or before, while Boney, Candy Dulfer and singer Phil Perry began in the early 90s.

The only less recognizable names on the chart these days are soul-oriented saxophonists Kim Waters and Pamela Williams. One almost gets the idea that the new kids-like this year's brightest rookie lights Jimmy Reid (sax) and Tony Darren (guitar) are in for a great battle against the old guard. And yet year after year, inspired by the runaway success stories of the likes of Boney James, Peter White, Jeff Golub and Rick Braun, more batters step to the plate, hoping to cut through the competition, gain a foothold and sustain a successful career. Braun's amazing popularity - including his breakthrough Beat Street in 1995 - might explain why it's always worth a shot to try something new. Before him, this genre was horn-driven all right, but it was all about sax. Braun's smoky muted trumpet and flugelhorn, laid over grooves sharp enough to shred cheddar with, brought some of that Miles grace and cool to listeners tired of the same old thing. No doubt Chris Botti thanks his lucky stars that Braun paved the way.

Previous high profile careers have also proven effective boosts to a unique sub genre spearheaded by Higher Octave Music. If smooth jazz is where adults tired of rock and roll head to cool their ears, it's also been a haven for a handful of rockers who have grown out of rock - Craig Chaquico from Starship, Jonathan Cain and Neal Schon of Journey and Jon Anderson of Yes have all done well in the adult music arena.

And so, for better or worse, for background driving music or active live listening experiences, contemporary jazz endures. And except for Kenny G hitting number One like the sun rising in the east, nothing is ever certain, though we can always count on the veterans to please us as time goes by. With all the triumphs, there are the tragedies as well. When straight ahead jazz legends pass on, it's usually after long lifespans and promises more than fulfilled. But these past two years have proven the old adage that nothing in this life is guaranteed. Art Porter and guitarist Zachary Breaux, both drowning victims, left us much too soon; cancer claimed both soprano saxman George Howard and Acoustic Alchemy's founding member Nick Webb earlier this year. Each of these four in their own way helped define the many moods of smooth jazz, and leave behind musical legacies which seem too small but are still rich with energy and innovation. Their passings leave empty spaces, but many new and exciting young artists have and will come along to fill those voids - reminders that we should worry less how to define the genre and more on the enjoyment its ever evolving legacy has given to millions over the years.

Other musicians were also influencing the young lions. Around the same time (mid 60’s) Cannonball Adderly had a number one hit with Mercy Mercy Mercy written by his pianist Joe Zawinal (who would later become a pivotal member of Weather Report) and before you could say ‘Kenny G’ the foundations of SJ were laid. From Sonny Rollins to Sonny Stitt – they all brought out ‘commercial albums’ that were, for the most part, terrible. The jump from be-bop to something more commercial was a jump to far for most of the post-war boppers, and, as the sixties slid into the seventies on a cloud of marihuana smoke and free love, a new generation of musicians took centre stage. People like John McLaughlin came to the fore.

McLaughlin (an Englishman) was originally a blues player – working with the cream of the mid-sixties British blues scene such as Alexis Korner, Graham Bond and Ginger Baker. His first solo album was ‘Extrapolation’ and, in 1969, he moved to New York, joining Tony Williams' Lifetime and appearing on two classic Miles Davis albums: In a Silent Way and Bitches Brew. In 1971 he continued his affinity with loud blues/rock music and jazz improvisation when he formed the hugely popular Mahavishnu Orchestra. In 1975 he again changed direction, switching to acoustic guitar and playing Indian music with his new group Shakti and helping to popularise the new ‘world music’ scene. McLaughlins music was loud and ‘in-yer-face – it was a great mix of old fashioned rock, blues and jazz but the joins were brilliantly hidden.

Around the same time ‘Weather Report’ were proving hugely popular. Jazz’s first real supergroup relied more on a mixture of soul/funk groves and jazz rather than rock music. The main man behind Weather Report was pianist Joe Zawinul, and, along with saxophonist Wayne Shorter, drummer Alphonse Mouzon, bassist Mirislav Vitous and percussionist Airto Moreira they set the scene for much of what was to follow. When, in 1976, influential bassist Jaco Pastorius replaced Alphonso Johnson the band really took off and the Zawinul penned tune ‘Birdland’ (from the album Heavy Weather) became not only a chart hit but also a jazz/pop standard. The band continued, with diminishing success into the early 90’s.

Arguably one of the first albums around that would be recognisable as SJ today was the 1976 Lee Ritenour album ‘First Course’. Along with studio luminaries Harvy Mason, Dave Grusin and Ernie Watts Lee set the standard (and still does) for the best in this genre. His ‘direct to disc’ series of recordings for ‘Sheffield Labs’ (recorded live in the studio – one side at a time to a master disc) with his band ‘Friendship’ (this time with Steve Gadd on drums) are real pathfinders.

Around the same time (mid 70’s) the unofficial music-director for Steely Dan was session guitarist Larry Carlton. He played, and in some cases arranged, most of Steely Dan’s best work (including the solo album ‘The Nightfly’ with Donald Fagin) and he also produced a large body of work under his own name. Writing the famous theme from the TV series Hill Street Blues opened some doors for him but his unique playing style, sound and feel was what got him the work and the attention.

There is a line of great musicians from the early sixties taking in Wes Montgomery, Jnr Walker, Grant Green, Stanley Turrentine, Jimmy Smith and Kenny Burrell….the list is endless. All of these great players were making commercial jazz recordings from the sixties onwards and now Bob James, Sergio Mendes, David Sanborn, Spyra Gyra, Dave Grusin, Tom Scott and others have taken up their mantle. The latter was Joni Mitchell’s music director for a long time before going on to a successful career in jazz and composition – the Starsky & Hutch theme was one of his.

Dave Grusin, composer (On Golden Pond/The Firm/Tootsie/Six Days Of The Condor etc.) and pianist has, along with partner/producer Larry Rosen, taken the more commercial aspects of jazz to new heights with the advent of digital technology. The catalogue of artists on their record label (GRP Records) is probably the classiest around including the fabulous (and long-running) ‘Yellowjackets’

So don’t knock ‘smooth/commercial/pop/funk jazz’ – you don’t have to like it, but don’t knock it. Most of the aforementioned musicians have been criticised for not playing jazz – but I never heard any of them say they were playing jazz. They are all hugely talented musicians playing great music – and they’ve decided that three meals a day and good schools for their kids are a really good idea.

The music we call jazz, in all its forms, has been changing since the turn of the century and will, hopefully, continue to do so. There has never been agreement on what it is or how to define it. Louis Armstrong hated be-bop for most of his life, Miles Davis was criticised for recording Jimmy Hendrix tunes and, on its release, many musicians and critics thought that John Coltrane’s ‘A Love Supreme’ (and the whole avant-garde movement) was a load of pretentious nonsense.

Jazz changes with the tide and is constantly buffeted by new ideas, new musical cultures and, as it always has been, public opinion. Is smooth jazz really jazz? Does it matter – does anyone really care? Its true that much of it is bland, badly played nonsense - probably because, like country music, it’s deceptively easy to play, but bad music isn’t restricted to the SJ genre. One could also make the argument that SJ is an ‘entry level’ for those of the younger generation who are looking for something more than that available in the pop charts. If SJ encourages them to dig deeper into improvised music, discover Coltrane and Miles and Bird then that must surely be a good thing. And even if they don’t make that journey they will probably be listening to a far higher calibre of music and musicians than that available on mainstream radio and TV. At the time of writing vocalists Diana Krall, Jamie Cullum, Norah Jones and Clare Teal all have excellent records in the mainstream charts.

Count Basie once said ‘there are only two kinds of music – good music and bad music’.

I rest my case.

Mel Dean

October 2004

Smooth Jazz

Love it or hate it, smooth jazz is here for the foreseeable future, but what exactly is it?

I find it very sad that so many people (including, it seems, 90% of the jazz critics) dismiss SJ as inconsequential background muzac. Not only can it be much more but, at its best, it’s as good as any improvised music around.

The origins of what we call SJ are not far back down the line. It stemmed from a bunch of young, jazz leaning players who grew up listening to John Coltrane, The Byrds, Miles Davis, The Rolling Stones, Duke Ellington and The Beatles.