Smooth jazz...

[Lee Blaske]

The Onion does it again...

http://www.theonion.com/content/opin...to_be_a_smooth

Hilarious, while at the same time a bit close to home for some.

[runamuck]

That's one of the funniest things I've read in a while.

The guy has no excuses: he could make a good living as a writer.

[ricknroll]

That's one of the funniest things I've read in a while.

The guy has no excuses: he could make a good living as a writer.

I know one of the Onion writers, and they do make a living writing.

Rick

[musical charities]

10 years ago, or so, I would have perfectly agreed with this article. There was no way that you could get me to touch smooth jazz with a 10 foot cattle prod. It used to annoy the hell out of me for people to associate my playing saxophone with Kenny G, and the all-too-lovey-dovey sound of certain recordings by the likes of Gerald Albright on soprano sax would drive me nuts...

I don't want to sound like I am bashing musicians from this genre at all. I USED to hate this type of music, but I really think that certain artists ARE being creative enough to EVOLVE the genre, and blend it in ways with contemporary sounds that finally make it respectable to me. So while the Onion article does say that he can't imagine anyone ever waking up and dreaming about being a smooth jazz artist...well, while at one point in time I would have never considered the option, I think that for me , that is a very realistic ambition and goal for me. What I have heard from two particular artists, Dave Koz and Boney James and the enginiers who have produced their records in recent years have truly been inspirational in terms of a sound that I am looking for, both in terms of my own playing style, but also in terms of the mixing/mastering shaping involved.

I know I have already dumped my spiel on Dave Koz's the Dance, Boney James Shine, and even non-sax players like Marc Antoine from time to time. I think there's something there that is for me at least, definitive, cool, and worthy of imitation not just for money, but for the musicality.

And no , I still can't stand 80's-early 90's Kenny G types of recordings, for the record

[Dave Collins]

And no , I still can't stand 80's-early 90's Kenny G types of recordings, for the record

I thought Kenny G. actually has the "record" for the longest held note?

Oh:

"SAN JOSE, Costa Rica (Reuters) - Step aside Kenny G, here comes Geovanny
Escalante.

Escalante, 24, broke the American pop star's world record for blowing a
single musical note into a saxophone by lasting 1 hour, 30
minutes and 45 seconds, according to the young musician and media reports.

Escalante told Reuters he was able to hold the note after months of
practicing a technique that allows him to blow and breathe at the
same time."

Well, there's your joke right there...........

DC

[Troy Baldwin]

Escalante told Reuters he was able to hold the note after months of
practicing a technique that allows him to blow and breathe at the
same time."

Well, there's your joke right there...........

DC

OK, I'll say it...Bart Simpson was right...it IS possible to both suck and blow at the same time. Who knew?

[musical charities]

Circular Breathing...I never could get it more than 2 minutues. Can't imagine someone doing it for as long as that...

[landoblues]

Circular Breathing...I never could get it more than 2 minutues. Can't imagine someone doing it for as long as that...

The harmonica great, Jim Liban, here in Milwaukee mastered this technique long ago. Jim uses it skillfully as part of his show, when the moment demands it. Like most chops, it can be done or overdone, when done properly it can be cool, and when not it can be tired. Like a joke, it's all about timing and delivery.

[Martin Schiff]

As a didgeridoo player, I can tell you that when done right, circular breathing is no different than breathing. If my lip would hold out, I could do it indefinitely. When I stop, I feel invigorated, not out of breath.

-- Martin