With this thread at least I can say that I've actually heard of a musician that doesn't wretch with discust at even a passing mention of Kenny G !

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Bob
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[This message was edited by Bob Hoffnar on 19 October 2006 at 12:18 AM.]

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I would request that you two guys start another thread that has to do with what your really talking about and stop trying to abuse the forum to get things locked out when it doesn't reflect your vision of yourself.

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Yo, Jesse: Remember the tab debate? It started with my offering of a free .pdf book to help people learn to read notation. Rather than starting your own thread, you jumped all over mine, spewing a bunch of malicious crap like "retards"...do unto others, brother, and maybe you'll further your quest here on earth.

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http://www.johnmcgann.com
Info for musicians, transcribers, technique tips and fun stuff. Joaquin Murphey transcription book, Rhythm Tuneup DVD and more...

There is lots of smooth jazz where you swing the notes, of course if you don't really research it for possible material for gigs your not gonna search it out and know that. The major influence on the guitar players for instance is Wes Montgomery according to interviews. Wes was a pioneer in pop instrumental music in his later years, I don't care for all of it but it's cool.

John, against my better judgement I'm gonna address your question about coming over to your thread concerning the pdf. book and tab debate. You were agreeing with Mike Neer that tab shouldn't be taught to students because it made them lazy when it came to reading notation, right? That was in you post before I ever entered it and that's what I read and addressed.

Over in Forum feedback before we all got it closed, I suggested that "why don't we just stay out of each others way so our bitch with each other doesn't come up" and your reply was "Because neither you nor I own this forum and we are entitled to our opinions and facts"? You figure it out.

[This message was edited by Jesse Pearson on 19 October 2006 at 10:28 PM.]

Or at least the reviewers to have something
to call the music being created.

The swing people have a lock on the "JAZZ" name,
through New Orleans (trad), Bop and Big Band (swing)
and Texas swing (country jazz).
With a smattering of Bossa, Samba
and Dizzy's african excursions.

So smooth jazz gave a space for funk,
and post R n B rhythms to have a "home" of their own.
These ARE interesting timings to perform inteligent changes over.
And often escewed by the classic jazz players.

This at least directs those tired of
ONLY classic swing, to know where to look.

I happen to like most all types of groove, including swing,
as long as the harmonization is cool,
even One Note Samba can be fun still.
One note in the head, but ah those changes make it cool.

Since then the alternate rhythmic crowd has moved on,
some stayed smart in their musical designs,
others dumbed down for the masses.
Some said this about Chet Baker
and Stan Getz back in the day.

What gets air play in this genre is doubtfully
the best being created within it,
the smartest stuff will go unplayed,
because the programers want to sell advertising,
not raise the level of musical inteligence
of the listening audience.

The days of the lone, all night, jazz DJ, spinning his picks for the enlightenment
of insomniacs is long gone.
Don Fagin even was nostalgic about this period on The Nightfly

Nope today even 3 am is big business.
Lose one listener because you go over his head,
and that's part of an advertising profit point lost.

[This message was edited by David L. Donald on 19 October 2006 at 08:49 PM.]

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It got me wondering that there must be quite a few black yuppies from what I've seen at smooth jazz festivals?

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This is the silliest thing I've read here.

[This message was edited by Charlie McDonald on 20 October 2006 at 05:23 AM.]

Yea, I vote we shut this thread down. Now I know why steel guitar is so far in the back of things, it's not the instrument causing that to happen.

[This message was edited by Jesse Pearson on 20 October 2006 at 11:03 AM.]

Mike Shefrin, registered July 7, 2006, 1423 post's to date. Good God, that's gotta be a record, lol. If you ever get a life and make it out to San Diego, give me a hollar.

[This message was edited by Jesse Pearson on 20 October 2006 at 10:58 AM.]

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Jesse Pearson
Date Registered: 27 November 2002
Status: Member
Total Posts: 1338
Current Email: jwhillbilly@hotmail.com
Homepage: http://www.jessepearsonguitar.com
Occupation: Street artist / Pro Musician
Location: San Diego , CA

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I've never seen Mike post before which is odd since he has so many posts in such a short time span?

[This message was edited by Jesse Pearson on 20 October 2006 at 09:17 AM.]

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It got me wondering that there must be quite a few black yuppies from what I've seen at smooth jazz festivals?

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P.S.: We're playing in a festival this Saturday night, 21st,in Media, Pa, just South of Philly (click here)

[This message was edited by David Doggett on 20 October 2006 at 09:20 AM.]

Trust me, I know Jazz guitar...

I'm very glad he's sharing any valuable insights that he might have for us!

David, thankyou so much for sharing that with us. I was shocked with Groovers death as well. He had just got done being recorded for the tonight show and stepped off the stage and had that heart attack. His "wine Light" was the first smooth jazz song I ever transcribed. He did kinda write the book for others interested in the genre, not Kenny G IMO. "Wine light" came out way back in 1979.

[This message was edited by Jesse Pearson on 20 October 2006 at 09:43 AM.]

No question Sanborn is a fine sax player, and he has an outstanding band. I enjoyed it (had a lot to do with the fact that I didn't have to pay for the tickets), probably more so than my wife-and she barely tolerates "real" jazz in our car CD player, so I thought something a bit watered down like Sanborn would be more to her liking.

I respect Sanborn as a musician, but my hard earned discretionary dollars would never be spent on reserving tickets for one of his shows.

But to give him credit, I think the deal on some of this smooth jazz is that it often comes off better live than it does on the stereo-which is how I think of most bluegrass. Ricky Skaggs & Kentucky Thunder is much better live to me than on a CD.

Last weekend former NBA star turned smooth jazzer bassist Waymon Tisdale gave a free concert on our town green, which is becoming THE happening outdoor venue in Sonoma County. A couple of months ago, we had one of our esteemed locals, Charlie Musselwhite, put on a show.

Waymon, though he apparently gets a lot of airplay on the smooth jazz stations, delved more into funk, in my opinion, than smooth jazz. The people were really up and dancing, and having a good time (I'm sure all the wine I saw consumed had something to do with it).
And Jesse's comment earlier in the thread gave me a pretty good chuckle, about the African American men dressed like they are on a Carribean vacation, we had a number of those folks on the town green for Waymon. But I didn't stay all that long, I walked my German Shepherd, Sasha, over to the green for the show, and she became impatient before long (she enjoyed Musselwhite a lot more).

But once again, I wouldn't spend money or drive any distance to see him.

Compare that to, for example, one time I saw Wynton Marsalis in a small club. We are talking light years difference here.

Or more recently, Bill Frisell with Greg Leisz on pedal and lap steel at Yoshi's in Oakland.

Or the Jerry Douglas Band at Hardly Stictly Bluegrass in Golden Gate Park a couple of weeks ago, and his outstanding version of Weather Report's "A Remark You Made," and Gabe Witcher's incredible violin on that tune(it was not a "fiddle" in that situation).

Smooth jazz has its place, and occasionally I turn my dial to our local station for maybe 30 minutes, while I'm outside barbecuing on a summer evening-but I think that's it for me-about a 30 minute max-at best.

I enjoy Mike's posts - he usually has something to contribute; he sounds like a real enthusiast to me.

There has, however, been a certain amount of pretention on this thread and, more recently, some overt aggression. What a pity.

I'd just like to reiterate that there's a great deal of solid musicianship in what's come to be called 'smooth jazz' - the title doesn't bother me, and I get to hear some fine players.

Post 8904

Next the thread;
What Is Hip.

[This message was edited by David L. Donald on 20 October 2006 at 10:43 AM.]

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I've heard Mike play jazz guitar...

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But I will certify that Rick Schmidt knows his jazz. I'd love to hear something, Mike.

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