On a Dave Brubeck jag today after buying Indian Summer on severe sale this morning (which, if Dave Brubeck never records again, is a wonderful solo capstone to his career) and it occurs too me that it's a shame smooth as in jazz has come to mean pap from, say, Kenny G, best consumed, if consumed at all, on an elevator.
Brubeck's Quartet through Brubeck & Rushing (a super outing with the blues shouting Mr. Five by Five), Jazz at the College of Pacific and Jazz at Oberlin defines "smooth" jazz in the good sense, rendered with nary a jagged edge but still adventurous, creative and full of surprises. They still take risks, they're just good enough to walk the tightrope without falling, and they can swing like mad, kind of like a smaller version of Duke Ellington's orchestra. (And outside of Johnny Hodges and Charlie Parker, I don't know an altoist with a more distinctive sound than Paul Desmond. I'd throw Benny Carter in there, too, although I think his sound got a little less distinctive over the years from all the people who appropriated it.)
Proof that "smooth" jazz doesn't have to be boring.
Will end the session with the classic Time Out, of course.
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