The 1950s and 60s cool jazz and hard bop the main

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Unformatted text preview: largest syndicated music programmers and owned approximately 1300 stations, the “Smooth Jazz” format and term became well known. 7 Many jazz- trained and popular musicians created music to meet the growing demand, and by 2005, “Smooth Jazz” had become one of the most commercially successful forms of jazz. Smooth Jazz musicians concentrate on producing polished, unobtrusive recordings that combine, in various degrees, technology with live performance. Individual parts are less important than an ensemble blend that can be described by smooth jazz buzzwords such as silky, seductive, and sultry. Some of the best smooth jazz musicians also perform live in concerts, especially in venues such as wine festivals. Closely related to “Smooth Jazz” is a genre called “Contemporary Jazz.“ In fact, there is much debate as to what distinguishes the two. Fans suggest the following criteria: when there is extensive use of electronics such as synthesizers and drum machines, along with a degree of ‘sameness,’ the music tends to be placed in the “smooth” category; when there is more variety and a significant amount of improvisation and interaction between live musicians, the music tends to be placed in the “contemporary” category. Boney James, Rick Braun, Kenny G, Keiko Matsui, Steve Cole, and Norma Brown are considered “smooth jazz” artists. Eric Marienthal, the 6 West, Shannon. “Smooth Jazz Radio.” http://www.smooth- jazz.de/Essays/shannon.htm (accessed 2- 9- 05) 7 Rodger, “A Small Piece of Smooth Jazz Historical Trivia” http://www.smooth- jazz.de/Essays/rodger.htm (accessed 2- 8- 05) 11 Rippingtons, Spyro Gyra, Acoustic Alchemy, and the Pat Metheny Group are considered “Contemporary Jazz” artists. In the late 1980s, a style broadly referred to as “Acid Jazz” emerged in European clubs, with musicians combining samples of jazz recordings with a variety of other music genres such as funk, soul, and hip- hop. The goal was to use jazz tracks as the basis to create dance music. Essential to the development of Acid Jazz was Chris Bangs, who both created and produced other artists. His first releases appeared under the name of “Quiet Boys, “ and included “Can’t Hold the Vibe,” (1992), “Bosh” (1995) and “Dazzle–Ultra Edition” (1998). In 1999, he released The Chris Bangs Project. Other musicians include Gilles Peterson, Charles K...
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This document was uploaded on 02/16/2014.

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