Why Doesn't Contemporary Jazz Get Any Respect?

Onhwy61, makes some outstanding points that are undeniably true. (much as I hate to admit it). Melody lines are indeed what most people listen for, and remember, AND are attracted to.It also is true that the Count Basie variety of Jazz, that includes more melodious standards, and the like, as well as swing is mostly missing, in my preferred bebop genre. Yet, the imagination with bebop is limitless. You can listen to it and discover new perspectives as time goes by. Tunes without improvisational foundation, are also quite valuable, to our musical jazz heritage, but somewhat less interesting at a introspective level. My opinion only...........Frank

Boy, people are putting some good thought into this....good subject..and, mostly, thoughtful responses.

Something I noticed, that my Jazz trumpet playing son and I
discussed, is the over-use of reverb in current Jazz and Smooth-Jazz recordings. For Christmas he gave me an excellent CD by Terrence Blanchard with several lady singers..Diana Krall, Cassandra Wilson..etc,. and after listening to it several times I was trying to understand why it is a good an not great CD. The answer...such a great trumpet player..with a world-class Monet trumpet..with state-of-the-current-art singers..and they have put so much reverb onto his trumpet playing as to mock it!

In listening to a local smooth Jazz station..it seems that almost all of the music is so over-processed and over-reverbed that it takes away from the skills/talent of the artists.

Any thoughts from the rest of you?

Once Chuck Berry asked Keith Richards when they were together in the studio for a joint project:
-- Men, you've got a hell of a skill -- why don't you play jazz?
-- There is no money in there he..he...

Marakanetz: Keith Richards is a great R&R rhythm player but he ain't Joe Pass and could not make it two measures into a typical jazz score (whole notes aside). All due respect to Chuck Berry. I think Chuck was trying to rub up a little. I once heard Richards say that he made more money off Muddy Waters than any man on earth and I tend to agree. More power to him.

Sincerely, I remain

This issue definately opened some dialogue. Reading the responses has been a real eye opener on how some people feel strongly about being the winners of their point of view verse compromisers with the other's position on what makes good music (jazz). A wise person stated that it is far better and smarter to first understand the other person's POV before trying to be understood when faced with new or unknown situations.

My current musical interest evolved out of listening and getting hooked on artists like Santana, Blood Sweat & Tears, Chicago, Charlie Byrd, Miles Davis, Freddie Hubbard, Donald Bryd, George Benson, Herbie Hancock and Herbert Laws during a summer vacation with my Uncle in 1970. This musical experience was a watershed event for me because it opened my mind to all types of music (especially jazz - contemporary, smooth, traditional, straight ahead, fusion, be-bop, post-bop, world, etc.) My dominant interset is in jazz and is still evolving and growing even though it appears that radio programers are moving away from most forms of jazz. (Smooth or contemporary jazz at least got people interested in exploring all sub-genres of jazz.) For those of you who are familiar with JazzTimes and JAZZIZ, it's nice that these magazines support different styles of jazz to satisfy ppeople's various taste in music.

Those of you that appear to be hardliners for or against either style of the music discussed here should recommend an Artist's work which will act as a bridge to the other's genre. Who knows maybe there will be winners on both sides.

Let me try this out; for you Smooth Jazzers listen to Joe Pass (whitesone) or Lew Soloff (hanalei bay), and for SA Jazzers try listening to Joe Fuentes (good cup of joe) or Jeff Lorger (kickin' it).

Regardless of your preferences, please support the Artist you enjoy by attending concerts and buying their music because in the long run we all will reap the rewards of new music.

"The difference between a mountain and a molehill is your perspective"