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As I always say...If I KNEW playing smooth jazz would make me money, I'd get my spray tan and linen pants tomorrow morning.
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01-05-2014 11:11 PM
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Originally Posted by cosmic gumbo
There's just something seriously wrong (ugly) with Keith Richards even wearing a Super 4 . . let along slinging it low like a Les Paul. Sorry . . . but, it's just sacrilegious.
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The nature of jazz since swing. Even Bird did a Jewish wedding. That's why it's called pop.
If you want to sell something, you got to have something that somebody wants. That's no mystery.Last edited by zigzag; 01-06-2014 at 04:22 PM.
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All of the Wes Montgomery Creed Taylor produced LPs are great, just listen to them and enjoy.
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Originally Posted by GuyBoden
Last edited by smokinguit; 01-06-2014 at 05:00 PM.
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[QUOTE=2bornot2bop;388203] . . . Personally, I was 10 when the following recording was produced. This recording brought jazz to a 10 year old's ear and made him hungry to learn more. I'm forever grateful to Taylor and Sebesky for taking the chance to record Wes in a different light.
This was the 60's man...West Coast. Haight Ashbury was all the buzz, less than 50 minutes from my doorstep, and here I was being hipped to music radically different from that of my peers. Sellout? Nahhhh man...a music education is what those recordings were to this 10 year old. They influenced my musical life.
I'm in the same camp as 2bop, in the 60s I was very much into rock - the British invasion as it was called at the time (Beatles, Stones, Kinks,etc). My father, a jazz musician in the 30s and 40s, naturally, shared my love of music and coaxed me into gaining a better appreciation for jazz with Wes Montgomery's A Day in the Life and George Benson's The Other Side of Abbey Road (1970) - I marveled at the arrangements and the interpretations of popular rock tunes on jazz guitar, it was an epiphany. To me it wasn't selling out it was expanding horizons.
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Originally Posted by smokinguit
I also prefer the Riversides, but dig some of the Verve stuff, and don't judge Wes in the slightest for whatever reason he made those records. As far as I'm concerned, Wes's only major mistake in life (that I know of) was all the tobacco he consumed. Not judging him for that either (it's an addiction) but I'd be surprised if it didn't contribute to his early demise, which is any case the real tragedy. Anyway, off-topic, sorry. Back to the regularly scheduled thread...
Interesting to read the comments of the guys who heard the stuff when they were kids and had their ears opened up. Nothing wrong with that...
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Wes spent about 5% of his live gigs playing "pop" tunes that were radio-friendly after he made those Sebesky records, and every time he did, they became jazz tunes. I saw him 6 nights running at the Jazz Workshop in Boston, and I always requested his originals like Jingles and 4 on 6, which made him curious, and we became friends, but I never questioned his choices, after all, jazz musicians always played the popular tunes of the day, so the sellout label is just the usual purist nonsense generally put forth by those who couldn't make a living playing. It never mattered, he always played brilliantly, and every note was a treasure for the ages.
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Originally Posted by ronjazz
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Whose problem is that, though? Those recordings sold very well, and the fact is, he never abandoned his artistry, he merely focused on a part of it that was needed to finally get materially rewarded for his sacrifices through the years. And in many cases, those well-produced later recordings really showcased his sound, attack and conception, and certainly were a better indication of his "live" sound than the earlier small-budget bop sides.
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Hey, whether you are an artist or a musician it's good to have money
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Originally Posted by GAN
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Some would say that Kenny G exploited smooth Jazz only for profit. The pioneers of fusion didn't know it was going to be successful. They created the music they wanted to create, not for financial gain, and that goes against the morality of a lot of jazz musicians. Pat metheny reacted the way he did because of Kenny G's rendition of "What a wonderful world" in which he overdubbed Louis Armstrong. This insulted Metheny because he felt that Kenny G had made little contribution to the jazz community yet considered himself worthy of Armstrong. I agree with Metheny, Kenny G just exploited the music for financial gain, which seems like a slap in the face to a lot of musicians that aren't as successful yet have made large contributions to jazz.
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Like they say money is the root of all evil.
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Originally Posted by smokinguit
The actual quote is "the love of money" is the root of all evil (just for a little clarification for those who might want to quote you, smoke )
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Originally Posted by AlsoRan
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I was gonna say, not having money is the root of a whole bunch of evil......
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