Contemporary/Smooth Jazz..just overprocessed?

I gave a website address, it has a link to his e-mail address.

I'll try again, thanks. Jim

Thanks, again, Onhwy61. I believe I was able to email both threads on this subject(at least recent ones) to Mr. Anderson. For his info and, hopefully, for his input.

The above question and thoughts were not ment to offend anyone. But sometimes "trends" can look silly in retrospect. Frank S., Tony B and other people were at times caught up in the times and recorded really stupid songs of the times.

My concern with better Jazz artists of our day..is not to get caught up in the Kenny G/Smooth Jazz syndrom of the day. ie: thank God a Soprano sax DOES NOT sound like what Kenny G has made a bundle on...all that electronic pick-up going through a computer to "process" the sound.. It seems that Mr. G's sax playing goes on for a half-second or more after each note is finished...

Why am I saying all of this. There are just too many good artists out there that either are/or may be tempted to do a "Kenny G" on their playing....what a shame....and about as smart as Frank Sinatra covering a Bread or Captian and Toenail song....which I believe he and way too many other people did.....kinda the musical version of bell-bottoms, lava lamps, disco...etc.

When I listen to Kenny G I can't hear sax at all -- it's computer or synthesizer playing. He's probably cheating.
He's no more than nice look and hairdress for show biz.

I'm generally wary of getting involved in such discussions, but James Daering asked me to contribute my opinion and I'm happy to do so. Anyone is entitled to their opinion about a particular sound or mix, there are no absolutes and there's nothing to defend. If you don't like it, that's fine. In the instance of Terence Blanchard's "Let's Get Lost", most of the recording was done in Clinton Recording Studio A. It is a large room, which Terence likes to play in. It's large enough to hold an orchestra of about 85. Most of the reverb on that cd is natural and there's very little processing; almost no equalization, no limiting and there's no overdubbing. All of the performances were live. The sound of the project is one that was agreed upon by Terence, Laraine Perri, the executive producer and myself. Terence prefers the sound of the band on a stage and if you notice, like a Miles album from the fifties, the band is panned in a staging perspective: from left to right piano, bass, horns, and drums. Frankly, it doesn't have any more reverb applied than any of the 6 eyed Columbias, if anything it has less. The project was recorded analogue and mixed to DSD. There is an SACD version, which is a very good representation of the master, that I'd suggest you listen to at some point and compare it to the 16bit pcm version. The project is up for a Grammy, this year and we had a great time recording it. Thanks for inviting me to be a part of the discussion.

Best, Jim Anderson