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Posted: |
Jun 27, 2012 - 10:16 PM
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By: |
lexedo
(Member)
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And for JP's purposes, I believe we're looking at what is generally referred to as "smoothe jazz." Grusin, Bob James, Earl Klugh, Lee Ritenour, Dave Benoit all steady practitioners in that regard. My initial thoughts want me to attribute the growth of this in the late 70s, to early 70s Sondheim musicals, like Company and A Little Night Music, and Chick Corea's Light as a Feather from a keyboards perspective. But I'm still thinking about this one...
Funny thing is, as a 1990s Jazz "hipster", I was dead set against everything so-called Smooth Jazz was about. However, I was more forgiving towards '70s stuff--though I never truly embraced Fusion, as its Rock rhythm sections were a turn off--and in a film context, I was even more forgiving of a light jazz approach, given the subject matter of many of these late '70s movies.
I think the development of the Yuppie culture by mid decade helped bring about this change. After all, Bop and Free Jazz were long-since dead, as was the hippie culture. The serious and edgy movies of 1969-75 gave way to glossier fare. Just take a listen at FSM's "Coyle-Condor" release; different animals.
The Yuppies connection is huge. Nice. And I love Night Shift too.
Rock Rhythms: Don't forget buzz, until Brubeck came, it was thought to be impossible to swing in anything other than 4/4.
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On the Grusin front, its been awhile since i listened to it but i suspect there is stuff on electric horseman that also fits the feel.
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