I have always loved the sax solo on Spooky, the 1967 hit song by Classics IV. Tenor saxophonist Mike Sharpe has great tone, develops his solo nicely from simple melodic ideas, and adds just a bit of grit when he … Continue reading
Yearly Archives: 2012
In the first half of this “best jazz albums” article, I made the statement that we should strive to see value in different styles of music because it leads us to appreciate people who are different from ourselves. I really … Continue reading
What does smooth jazz radio have to do with an embarrassing picture of me from 1971? Not much, actually… except that I am willing to embarrass myself for the sake of a cause. “What’s the cause?” you might ask. Sharing … Continue reading
I am a firm believer that one should continue to broaden their musical horizons, no matter their preferred genre. The appreciation of music is really an appreciation of the people who create it. And, quite frankly, I think this world … Continue reading
After composing such classics as Giving You the Best That I’ve Got and Sweet Love, vocal smooth jazz artist Anita Baker is bringing back the sound of ’90s R&B with her remake of Tyrese Gibson’s Lately, the debut single off … Continue reading
There is something distinctive about smooth jazz. You have to experience it to know it and feel it. The vibration of a saxophone reed or the gentle picking of a guitar string can soothe a broken heart, awaken forgotten memories, … Continue reading
While Kirk Whalum’s latest project, Romance Language, is romantic sax music of the highest caliber, it is much, much more than that. It is a tribute to the late jazz giant, John Coltrane. Those who are familiar with the music of … Continue reading
I’ve let my biases toward early smooth jazz be known. So, how does the future bode for the genre? If some of the new smooth jazz I’m hearing on today’s radio is any indication, I think there’s still some life … Continue reading
It’s not difficult to debate that the best smooth jazz is early smooth jazz, before radio stations with the moniker became saturated with easy-listening “light rock” vocals and trite melodies over sampled urban beats. Feel free to disagree with me; … Continue reading