You like jazz You like smooth jazz

Smooth jazz

  • I've heard of Spyro Gyra too ... well

    I can't do anything with it myself. Just not my world. But it seemed to me to come halfway close to your listening habits in this direction.
    Greetings from Maurice

    Music means telling someone your story and is very personal. That is why it is so difficult to reproduce. In the end, nobody can be closer to it than the person who composed it. All who come after the composer can only perform them in a falsified form, because in the end they again tell their own story of the story. (is from me)
  • With the Rippingtons I have stayed on the ball for years and always order another CD (for a few cents / euros).

    Now I was able to get hold of the first CD of the Rippingtons by Russ Freeman - Moonlighting - and then enjoy it. Not quite as mature and instrumentally colorful as the next Rippingtons CD Kilimanscharo (from article 16), but there are quite good pieces ... at least 3 pieces (out of 8), which I rated with

    GRP, 1986, DDD


    Take a look at the moon prices at which Kilimanjaro is currently being traded ... ... I had dusted this some time ago for a few cents (less than 1 euro):

    [Blocked graphic: http://ecx.images-amazon.com/images/I/51BPZ-LmiTL.jpg] ->
    GRP, 1989, DDD


    : vv: In any case, the ripping tones in smooth jazz offer a rhythmic jazz form that you can enjoy while listening and "let your mind wander" ...
    I have had DAB + and Internet radio for some time. You can receive tens of thousands of stations from all over the world. That's when I found and selected the smooth jazz category and listened to various stations - very good!

    In jazz there is a lot that is absolute horror for me, especially when there is still singing, I get a "toothache" and freak out in horror (I better not call any "artist names" for such lovers of this exact sound horror) to upset).
    ______________

    Greetings from Bonn

    wolfgang
  • In jazz there is a lot that is absolute horror for me, especially when there is still singing, I get a "toothache" and freak out in horror (I better not call any "artist names" for such lovers of precisely this sound horror) to upset).
    There are more than enough of these in every genre of music. But if you can't do anything with such greats as Duke Ellington and Louis Armstrong, it is almost alarming, because these two great musicians and personalities have given so much to jazz that it would probably not exist in its present form without these two artists. Of course they weren't alone, but that should just be a comment on my part.

    I don't know which singers you heard, but probably exactly the artists who made jazz singing popular .....

    I would rather ask myself whether "smooth jazz" is still jazz at all, or not just more or less insignificant fiddling around.
    Greetings from Maurice

    Music means telling someone your story and is very personal. That is why it is so difficult to reproduce. In the end, nobody can be closer to it than the person who composed it. All who come after the composer can only perform them in a falsified form, because in the end they tell their own story of the story. (is from me)
  • Much of the music that was grouped under the unfortunate name of »smooth jazz« (sounds like molasses) from the late 80s onwards has little to do with jazz; I'm sure many will agree on that (for example, I never understood why the typical soul pop crooners like Will Downing or Luther Vandross were suddenly listed under this name - today it's different again).

    I come out as someone who can understand the doodle accusation of the noble jazz musicians and shares it insofar as a lot of this music goes in one ear and out the other, some of it really annoys me. However, there are some things I like a lot and I'm a real fan of some artists, e.g. of Anita Baker. My beloved Patti Austin makes smooth jazz, also pure jazz, also pop, also R&B, also everything else without worrying about labels, e.g. with the mentioned ones Rippingtons but also many others like that Jazz Crusaders With Joe Sample, who in turn was great in many projects (from big band jazz to soul pop), also in his collaboration with Randy Crawford. Maysa Leak, at times singer with the acid jazz bands Incognito, has a fascinating voice and technique (even if the doodle accusation cannot be dismissed out of hand with the material of a number of her current albums). Self Dianne Reeves made smooth jazz. Regina Belle, also a great vocalist in the field of tension between Pop, R&B and Great American Songbook; I am a fan of many of their albums.

    So there is already something to get for me, and I especially like the diversity of influences and the often missing blinkers in this area - which is my love for the great vocalists of classical jazz (which at times was simply the popular music of its time) does no harm.
  • Hello Maurice,

    very briefly on this topic, which affects me little: It is now well known that I have nothing to do with singing. With jazz I find it even worse, as much as you emphasize the well-known names ... for me it is absolutely nothing and therefore also not questionable just because you appreciate these directions.

    It is also known that I don’t bother with music that is just "irrelevant pounding". : beatnik: I have to have power and rhythm.
    And that is exactly what the ripping tones offer with listening pleasure. Of course, there is a lot in smooth jazz that sounds quite unimportant and where people are pounding away ... but where does that not exist? Too much in the classic too!

    I have them in my circle of friends Rippingtons already be able to spread it quite well and successfully. They are all totally enthusiastic about the groovy rhythmic pieces and always want "more of it" ....
    I don't care whether it's called jazz or smooth jazz. In any case, I like it better than some of the inedible hustle and bustle that you sometimes hear with pure jazz.
    The preliminary contribution by Musenginst shows how diverse the whole direction of jazz and the crossing of boundaries between jazz and smooth jazz can be!


    How did I get into the Rippingtons?
    In the 90s I regularly listened to the NewAge program on WDR SCHWINGUINGEN with Winfried Trenkler. There was also a musical exchange among colleagues, so at the time I received the from a colleague who was interested in music Rippingtons -CD: Curves Ahed, which he saw as being very close to my favorites and interests from the electronics scene (TD, DancingFantasy, Software, Klaus Schulze, Megabyte ...), although that is the smooth jazz division.
    Although little or nothing is done with electronics here, I liked the music very much and was often heard. It wasn't until about 10 years later that I took off again on the Rippingtons and ordered Rippingtons CD's over and over again. Sometimes with more or less successful pieces; but at least each of these Rippingtons CD was so successful with me that I would not sell it again.
    In contrast to another attempt in the direction - Chuck Loebwho really delivered what you write in later CD albums: "irrelevant messing around" - the CD was canceled as soon as possible.

    With this thread I tried to get to know other worthwhile smooth jazz artists through your valued Capriccio recommendations ... unfortunately with little response or with little success. For example, the suggestions made by musiclover or motiaans did not go in my direction.


    In the jazz newcomer thread, I have something of Dixieland-Read newcomers from you.
    Well, that's not my direction at all. Rhythmic, of course, but somehow it seems unimportant and too uniform; this eternally artificial happiness (with the uniform rocker) gets on your mind at some point. During the summer vacation on Borkum in the music shell on the main beach promenade, we were often sprinkled with it when we wanted to enjoy the sunset. But that was still better than the cheese from Max Raabewhich was also on the program in a year ... bad bad, uaaahhhh ...
    ______________

    Greetings from Bonn

    wolfgang
  • In the jazz newcomer thread, I have something of Dixieland-Read newcomers from you.
    Well, that's not my direction at all. Rhythmic, of course, but somehow it seems unimportant and too uniform; this eternally artificial happiness (with the uniform rocker) gets on your mind at some point. During the summer vacation on Borkum in the music shell on the main beach promenade, we were often sprinkled with it when we wanted to enjoy the sunset. But that was still better than the cheese from Max Raabewhich was also on the program in a year ... bad bad, uaaahhhh ...
    STOP !!!! STOP !!!!

    The worst thing you can do is if you mention every beer tent Dixie band and what e.g. the "Dukes of Dixieland" play in one breath !! I wouldn't expect what you mentioned, and I don't like to play it either (but I had to - unfortunately !! And it is indeed cruel !!).

    The "Dukes" are a highly professional ensemble, which always gives their pieces, some of which are very clever and sophisticated, their own touch. Plus, they can really play what can also be heard in their solos. So you were just completely wrong. That has to do with the shell and main promenade zero.

    Max Raabe doesn't play jazz at all, but he and the band maintain the style of the 20s / 30s, which was called pop music at the time. This is also done at a very high level, and sometimes not at beach level at all. Do not be angry with me, but your statements are - with all due respect to you - a cheek!

    What is known today as "Dixieland" was "Chicago Jazz" around 1920, and was above all white music. This was played on a technically very high level at the time, far more "cleaned" of technical errors than was previously the case with the old New Orleans bands (please do not include Louis Armstrong and his bands, they were the exception to the rule ). It wasn't until much later that the whole thing drifted off into the beer tent and foot rocker generation.
    Greetings from Maurice

    Music means telling someone your story and is very personal. That is why it is so difficult to reproduce. In the end, nobody can be closer to it than the person who composed it. All who come after the composer can only perform them in a falsified form, because in the end they again tell their own story of the story. (is from me)
  • Hello Maurice,
    I don't see the displeasure of the mentioned music styles so closely - the tastes are just different and here outside of the classical music our common intersection simply does not exist. That doesn't matter and you should just accept that.

    I have your explanation for DixielandMusic well understood. If you take a closer look at it, you will definitely find qualities here that you will notice at mere public or random concerts (as it was with me). What you hear then has nothing to do with the beer tent Dixie bands, or apparently what was presented on the beach promenade in Borkum - OK! I hadn't even said a word that it was cheese, just -> That's not my direction.
    Unlike Max Raabe, who of course has nothing to do with jazz, but was named by me as an example because he was also on the program at Borkum (believe in 2009). You may find quality here with level - I just totally don't like his 30s glimpse. You can't imagine how it annoyed us when you heard the evening on the main promenade every day. In the past few years he was often in TV shows. I just switch to "something" on TV because I find this type of music to be Schmalz hoch3.


    The other way around you also wrote a blanket:
    I would rather ask myself whether "smooth jazz" is still jazz at all, or not just more or less insignificant fiddling around.


    When you get closer to the Rippingtons and some similar formations (also from the NewAge area, which come close to it) intensely busy, you will also find here that there are great pieces that are absolutely by no means trivial.
    ; +) Otherwise I wouldn't want to hear it and open a thread for it.
    Smooth jazz and everything that crosses the border to jazz can be incredibly worth listening to - there is an incredible amount ... that can be pleasing or just annoying ...
    ______________

    Greetings from Bonn

    wolfgang
  • What I would tell apart: fields of personal preference (I also see myself as a musical »island hopper«) and supposed musical ones Proximity these genre islands. Just because I like them both doesn't have to be very close musically.

    This perhaps contradicts my love for artists known above, who skilfully cross musical boundaries, but - and this is perhaps my aha experience from this thread - these separate territories still exist (parallels to real life?). Perhaps you have to think like actors who can bring tragedy, melodrama and comedy equally skilfully over the ramp, but still know which means they have to use in each case. And as if to prove it: some can do one thing, but not the other.

    Or in another way: Even if there are border crossers between New Age and Jazz (don't mention the name of the well-known ECM artist who gave me two hours of what has been musically unbearable purgatory of my life so far - at the well-meaning invitation of my, even present, even friends with whom I could make music well) - for me New Age and jazz are not the same thing. If it is adjacent, there are wall, barbed wire and self-firing systems in between.

    Well, and the above formulation already says how little absolute my statement is. Some jump over there like a sparrow (only I can't).
  • I just totally don't like his 30s glimpse. You can't imagine how it annoyed us when you heard the evening on the main promenade every day.
    Not liking something is completely understandable and normal too. I now differentiate between "music that is good to my ears" and "I still don't like it". With Max Raabe it would be more of a complaint for me at the highest level, because I didn't want to do it to myself for a whole evening. Incidentally, it would be the same for me with André Rieu, whom I cannot bear for five minutes without being on the verge of a killing spree.

    I have your explanation for DixielandMusic well understood. If you take a closer look at it, you will definitely find qualities here that you will sometimes notice at mere public or random concerts (as it was with me). What you hear has nothing to do with the Bierzelt-Dixie-Band's, or obviously what was presented on the beach promenade in Borkum - OK! I hadn't even said a word that it was cheese, just -> That's not my direction.
    Let me put it this way: It sounded very derogatory to me because you mentioned in the same breath my CDs that I posted with the Gedudele, which was sold to you up there as "Dixieland". In many cases, unfortunately, beer tent jazz is really the cheapest level, "enriched" with highly dubious "gags" by the various "musicians". It is a pity that there are often quite capable musicians who do something like that because it is reasonably well paid. I know it all too well myself and have accordingly drawn the consequences of simply not playing with such bands or people anymore.

    Obviously we just wrote past each other very casually, and basically didn't want to make the other person stupid.
    Greetings from Maurice

    Music means telling someone your story and is very personal.That is why it is so difficult to reproduce. In the end, nobody can be closer to it than the person who composed it. All who come after the composer can only perform them in a falsified form, because in the end they again tell their own story of the story. (is from me)
  • As the first CD - in 2019 I bought another LIVE CD from the RIPPINGTONS.
    Hot melodic rhythms set the tone --- smooth jazz and no "jumble jazz".

    Here, too, the Rippingstons - LIVE are in their element again - because almost all of the pieces are rated 2 and better.
    For such extra-classical music I always give notes so that when I put the CD back on, I know what is good. The weak pieces can then be left out ...

    In terms of sound, one of the best Rippingtons discs - that goes clearly in the direction of AUDIOPHIL.


    PEAK, 2002, DDD

    I think tracks 1, 2, 5, 8, 11, 14 are the best.
    ______________

    Greetings from Bonn

    wolfgang