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Why Doesn't Contemporary Jazz Get Any Respect?

I am a huge fan of Peter White,Kirk Whalum,Dave Koz,Warren Hill,etc.I have never understood why this flavor of music gets no respect.Not only is it musically appealing,but in most cases its very well recorded.Any comparisons to old jazz(Miles Davis etc.) are ludicrous.Its like comparing apples and oranges.Can anyone shed some light on this?Any contemporary(smooth)Jazz out there?I would love to hear from you. Thanks John
krelldog
jeff1225
172 posts
 
I think there is also an issue with tone and recording techniques. I find today's jazz to "clean." Take John McLaughin, one of my favorites. His tone on his new record has no balls and no sole. It's very "new age" which is terrible.

Gone is the Gibson hollow body and tubed Fender Classic Reverbe.
chazro's avatar
chazro
635 posts
 
While I'd NEVER put John McLaughlin And Smooth Jazz in the same sentence (although I just did!;), I'd agree about the sound of his guitar in his last few recordings being entirely too processed and sterile. John's most smokin' recording was done with the instantly recognizable sound of a Gibson Les Paul, 'Inner Mounting Flame'! I'd love to hear him (and all the others who've abandoned it) get back to their roots!!
jeff1225
172 posts
 
I have EVERY pre-80's McLaughlin album and love his tone! Les Paul's, ES-335's, ETC...always awesome.His new sound is weak.

At least Santana's tone is still good, although I can't stand the music.
mrmitch
359 posts
 
Santana always manages to keep that great tone, whether its his early recordings done with a Gibson SG Standard, or the more contemporary stuff using a Paul Reed Smith. ANd of course the choice of amps and pedals affects tone as well.--Mrmitch
phaelon
1,052 posts
 
"The short answer is, we are protective of the word jazz- it's that simple.”

And that makes perfect sense. When a “word" defining a specific level of excellence broadens to encompass other levels, less excellent, those who do credit to the original standard are diminished.
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