Why Doesn't Contemporary Jazz Get Any Respect?

Clueless: Pat to me sounds smooth(that's how I feel listening to him) I can continue my list with Chick Corea, John Scoffield, Mike Stern etc... That's the jazz musicians that certainly have a jazz level of sophistication but on the other hand I do not need to concentrate my attention as deep as I did before when I first started to listen to them.
Believe it or not I can listen to Ornette Coleman to relax myself knowing all his colours and thoughts comming through his sax.
I can also listen to CD101.9 "SMOOTH JAZZ" NY radio station but there will be no trace in my memory of any piece played -- just simply not interesting.

I've been reading this thread for several days now and i still have no idea what "smooth jazz" is or is supposed to be. If it's Kenny G, I don't like him. If it includes ECM artists, Pat Metheny, Bill Frisell, Mike Scofield, I do like them all very much and thought they were contemporary jazz. In fact, I have been proud of myself that I've expanded my love of jazz from just the classic jazz of the 50's and 60's that I began with and now am familiar with and excited by the music of some contemporary artists. Now I fear that they may be labelled "smooth jazz," which has a negative connotation. Like liking disco. Please, someone, summarize the posts recorded here and give me a conclusion: what is smooth jazz, and who is playing it?
Thank you.
ps I went to a local jazz club not too long ago and heard/saw Patricia Barber and her band, and they certainly seemed to me to be playing jazz. her voice wasn't a typical jazz singer's, like Ella or Sarah, but her delivery, syncopation, dynamic range, and emotion were certainly in line w/her very talented musicians. Wasn't this contemporary jazz? i could never call it pop.

Sc53, I fear that you are only one Lp short of neurosis. No one is going to come to a conclusion anytime soon. Personally, I think if you are on a journey down the ECM road that is very good indeed. Remember that the journey is where it is at and the conclusion is .... well... the end of the road.

Sincerely, I remain

Historically significant albums to contrast classical (bebop) jazz with contemporary (smooth) jazz. Bebop: Time Out by Dave Brubeck, Blue Trane by John Coltrane, Kind of Blue by Miles Davis, Sunday at the Vanguard by Bill Evans, and Straight, No Chaser by Thelonius Monk. Smooth jazz: Breezin by George Benson, Duotones by Kenny G, The In Crowd by Ramsey Lewis, A Day in the Life by Wes Montgomery, and Mister Magic by Grover Washington, Jr.

Frogman, very well said indeed.

Krelldog, you seem to have a strong dislike for classic Jazz. The point I take with you is that because of your tastes, howerever educated they may be? you seem to judge smooth music to be superior to Jazz. You use it's popularity to make you case, if you continue with this logic than you will find country music to be the supreme art form.. ( I'll take country over smooth anyday )

I have been very impressed with the insightful posts in this thread and find it very refreshing to be talknig about music and not gear.

Smooth jazz is like those sappy romance novels, and Jazz is literature.