Smooth jazz

For the Jones Radio Networks satellite service, see Smooth Jazz (radio network).

Smooth jazz
Stylistic origins	Jazz R&B Funk Pop music Jazz fusion
Cultural origins	1960s/1970s in the United States
Typical instruments	Guitar • Saxophone • Bass guitar • Piano • Trumpet • Flute • Drums • Synthesizers
Other topics
List of smooth jazz musicians

Smooth jazz (also known as contemporary jazz) is a sub-genre of jazz which is heavily influenced by R&B, funk, rock, and pop music styles (separately, or, in any combination).

Beginning in the early-1970s, jazz fusion (a.k.a., "fusion") was a movement by some jazz musicians to merge the instrumental virtuosity and improvisation of traditional jazz, with a modern, electronic sensibility. The instrument that has become the most widely-associated with this genre is the soprano saxophone, inspired by players like: Grover Washington, Jr.; Ronnie Laws; Wayne Shorter; and Nathan Davis; plus, a gentle, legato electric guitar (influenced by players like Wes Montgomery and Grant Green). Jazz fusion ensembles such as Spyro Gyra, Weather Report, Hiroshima, and Bob James' Fourplay were vital to the development of the genre.

Modern derivatives of the genre include the more-recent New Adult Contemporary format of broadcast radio. "Smooth jazz" has been successful as a radio format; however, in 2007, the popularity of the format began to slide. Consequently, it was abandoned by several high-profile radio stations across the U.S.A., perhaps most notably by WRXP in New York. Many industry insiders have speculated that the smooth jazz format may die out, particularly with many of industry giant Clear Channel Communications' stations dropping the genre. However, smooth jazz concerts and record sales continue to show strong fan support for the genre.

Description

In general, a smooth jazz track is downtempo (the most widely played tracks are in the 90–105 BPM range), layering a lead, melody-playing instrument (saxophones – especially soprano and tenor – are the most popular, with guitars a close second) over a backdrop that typically consists of programmed rhythms and various pads and/or samples. Though much of what is played under the banner of the "smooth jazz" radio format contains vocals, music recorded with the intent of categorization as smooth jazz would typically not contain such a vocal track. Rather, the stations in question pull their vocal tracks from the work of artists like Simply Red or Luther Vandross, who are normally considered "soul" or "R&B".

Although many listeners and record companies group smooth and contemporary jazz together, the genres are different. Smooth jazz is generally considered background music, whereas "straight-ahead" contemporary jazz is seen as demanding the listener's undivided attention.

Origins

Smooth jazz can be traced to at least the late 1960s. Producer Creed Taylor worked with guitarist Wes Montgomery on three popular records (1967's A Day in the Life and Down Here on the Ground and 1968's Road Song) consisting of instrumental versions of familiar pop songs such as "Eleanor Rigby", "I Say a Little Prayer" and "Scarborough Fair". From this, Taylor founded CTI Records. Many established jazz performers recorded for CTI (including Freddie Hubbard, Chet Baker, George Benson and Stanley Turrentine). The records recorded under Taylor's guidance were typically aimed as much at pop audiences as at jazz fans, with ornate string section arrangements, and a much stronger emphasis on melody than was typical in jazz. Some critics and jazz fans expressed a distaste for CTI releases, but the label's output is now generally well-regarded: critic Scott Yanow writes, "Taylor had great success in balancing the artistic with the commercial."

In the mid- to late-1970s, smooth jazz became established as a commercially viable genre. It was pioneered by such artists as Earl Klugh, Lee Ritenour, Larry Carlton, Grover Washington, Jr., Spyro Gyra (with songs such as "Morning Dance"), George Benson, Chuck Mangione, Sérgio Mendes, David Sanborn, Tom Scott, Dave and Don Grusin, Bob James and Joe Sample.

Smooth jazz groups or recording artists tend to play their instruments in a melodic fashion such that they are recognizable within just a few measures; this category includes names such as saxophonists Kenny G, David Sanborn and Art Porter, Jr.; guitarists George Benson, Marc Antoine, and Peter White; and pianists Joe Sample, David Benoit, and Bradley Joseph. Some performers, such as Dave Koz, Bob James, and Nathan East are notable for their numerous collaborations with many of the genre's big names. Groups include Fourplay, Pieces of a Dream, Acoustic Alchemy, Airborne and The Rippingtons. Female performers include Keiko Matsui, Joyce Cooling, Mindi Abair, Candy Dulfer, Sade, Brenda Russell, Pamela Williams, Regina Belle, and Anita Baker.

The Weather Channel released its first compilation album in 2007, The Weather Channel Presents: The Best of Smooth Jazz, based on collections of popular smooth jazz music played on the Local On the 8s segments. It peaked at #1 on Billboard's Top Contemporary Jazz charts in the same year. Artists represented include Joyce Cooling, Dave Koz, Paprika Soul, Four 80 East, Jeff Lorber, Pieces of a Dream, Chick Corea, Jeanne Ricks, Ryan Farish, Mark Krumowski, Najee, and 3rd Force. In 2008, their second compilation CD containing their most requested music was released, titled The Weather Channel Presents: Smooth Jazz II. Artists include Russ Freeman & The Rippingtons, Jeff Lorber, Ramsey Lewis Trio, Bradley Joseph, Bernie Williams, David Benoit, Spyro Gyra, Norman Brown, Chris Geith, Joe Sample, Charlie Parker Quartet, and Eric Marienthal.

Derivatives

A recent development is urban contemporary, which incorporates aspects of hip-hop. This style is aimed at audiences who would normally listen to radio stations that play a mix of hip-hop and R&B. Among the musicians who frequently perform urban jazz are Dave Koz, Boney James, Paul Jackson Jr., Nick Colionne, Bobby Perry, Urban Jazz Coalition, Streetwize, Tha' Hot Club and former NBA player-turned-bassist Wayman Tisdale.

Urban jazz includes artists such as Michael Lington, Brian Bromberg, David Lanz, Bobby Ricketts, Kim Waters, Daniele Caprelli, Ken Navarro, Walter Beasley, Peter White.

Another nascent trend involves the fusion of smooth jazz and electronica, the results of which are similar to what has, among electronica enthusiasts, come to be called "chill." Radio stations such as New York's WQCD and DJs such as Rafe Gomez pioneered the usage of playlists that blend tracks from both genres.

Public reception

The music of musicians like Pat Metheny, David Sanborn, Marcus Miller, and Sting is often classified as smooth jazz, and many of these artists are capable of performing well in multiple styles, although Metheny has been one of the harshest critics of smooth jazz, namely in his denunciations of Kenny G. The Allmusic guide article on "fusion" states that "unfortunately, as it became a money-maker and as rock declined artistically from the mid-'70s on, much of what was labeled fusion was actually a combination of jazz with easy-listening pop music and lightweight R&B."

Music critic Piero Scaruffi has called pop-fusion music "...mellow, bland, romantic music" made by "mediocre musicians" and "derivative bands." Scaruffi criticized some of the albums of Michael and Randy Brecker as "trivial dance music" and stated that alto saxophonist David Sanborn recorded "[t]rivial collections" of "...catchy and danceable pseudo-jazz". Kenny G in particular is often criticized by both fusion and jazz fans, and some musicians, while having become a huge commercial success. Music reviewer George Graham argues that the “so-called ‘smooth jazz’ sound of people like Kenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the 1970s”.

The over-30 audience in the US enjoys the melodic nature of the music, its frequent revival of Pop standards and its freedom from histrionic vocal lines). The appeal of smooth jazz is also developing in the late-teen and 20s age groups in East Asia (especially Japan) and in Europe. In particular, late-night coffee bars play smooth jazz in order to create an enticing late-night, non-alcoholic social atmosphere where conversation is encouraged.

In the United Kingdom, British jazz performer Digby Fairweather, before the launch of UK jazz station theJazz, denounced the change to a smooth jazz format on defunct radio station 102.2 Jazz FM, stating that the owners, GMG Radio were responsible for the "attempted rape and (fortunately abortive) re-definition of the music — is one that no true jazz lover within the boundaries of the M25 will ever find it possible to forget or forgive."

Radio

Early history

Smooth jazz as a radio format has its roots in the construction of what were once called "beautiful music" stations, which generally played fifteen-minute sets consisting of instrumentals bookending a vocal song or two. The incubators of the format were specialty shows at night or on the weekends, in places such as Atlanta (WQXI-FM), Miami (WWWL-FM) and San Antonio (KTFM). The first jazz radio station to attempt to reach an audience beyond hardcore jazz fans full-time was New York's WRVR-FM, which was acquired by Sonderling Broadcasting in 1976. Under its new management, WRVR more than tripled its audience by emphasizing artists like George Benson and Pat Metheny that were crossing over to more popular formats. Other early pioneers included Russ Davis in Atlanta and "Jazz Flavours", Ross Block, Dave Caprita and Stu Grant at Love 94FM with "Sunday Morning Jazz" in Miami and Art Good at KIFM San Diego with "Lights Out San Diego".

After programmer Frank Cody began "The Wave" KTWV in Los Angeles and the simultaneous KIFM (San Diego) and the eclectic KKSF (San Francisco), another wave of "Smooth Jazz" stations banking on "The Wave's" softer sound grew quickly. Those included "Breezin' 100.7" in Milwaukee and KHIH in Denver programmed by consultant Gary Guthrie, WNUA (Chicago) consulted by Cody, WVAE and WJZZ in Detroit, WNWV in Cleveland, Ohio, and the re-launch of WQCD (CD101.9), New York. Also Love94FM [WWWL, later WLVE] in Miami/Ft. Lauderdale, an early innovator with its "Sunday Morning Jazz" show went totally smooth jazz by 1990, not long after The Wave in Los Angeles had switched to the format. The format had been deemed "New Age" originally and radio stations like WNUA Chicago and KNUA Seattle emulated the phrase in their call letters.

In the late 80's, research firm Cody/Leach conducted a study for WNUA/Chicago; it was through the verbatim responses from listeners that the name "Smooth Jazz" was identified. WNUA then adopted the slogan "Smooth Rock, Smooth Jazz". Under the direction of General Manager John Gehron, "Smooth Rock" was dropped. Cody is credited with making "Smooth Jazz" a household name, giving rise to its nationwide proliferation through the firm Broadcast Architecture, the widely syndicated “The Jazz Show with David Sanborn” and his association with saxophonist Dave Koz. Cody was also responsible for overseeing the launch of the now defunct Satellite Music Network's syndicated "Wave" format.

"Smooth jazz" has gone on to be recognized as a successful radio format, first emerging in name in the mid- to late-1980s (often, they would be transitioned from existing "new age" stations) and subsequently spreading into most radio markets within the United States and many without.

Smooth jazz radio today

The smooth jazz radio format continued to grow and thrive through the 1990s and early 2000s, though in the late 2000s most markets began losing smooth jazz stations. Stations such as WQCD/New York City, KKSF/San Francisco, and WJZW/Washington D.C. all abandoned the smooth jazz formats for other formats, and were not replaced. Currently prominent commercial smooth jazz stations include San Diego's KIFM, Seattle's KWJZ and KYOT Phoenix.

At least one non-commercial FM station, the community-based WGDR in Plainfield, Vermont, broadcasts a weekly program under the name "The Quiet Storm" -- a hybrid of smooth jazz and soft R&B, presented in "Triple-A" (Album Adult Alternative) style, with a strong emphasis on "B" and "C" album tracks that most commercial smooth jazz stations often ignore. Launched in 1998 and hosted by Skeeter Sanders, "The Quiet Storm" -- which takes its name from the early-evening program pioneered in 1976 by WHUR-FM in Washington, D.C. and duplicated with great success as a 24-hour format three years later by KBLX in San Francisco—is the only radio program of its kind in northern New England. WONB in Ada, Ohio, owned by Ohio Northern University, offers similar programs of "smooth jazz and urban vocals" on Sundays.

A handful of LPFM stations also offer the smooth jazz format, among them WGRV-LP in Melbourne, Florida and nearby communities via a translator network, and WLFM-LP (actually a low-power analog television station whose audio feed can be picked up on most FM radios) in Chicago, Illinois.

It is not uncommon for adult contemporary music stations to devote some of their weekend programming to the format in an effort to serve a niche market without devoting an entire station to it. An example of this is WZUN in Syracuse, New York.

Syndicated shows

In January 2007, Broadcast Architecture launched the satellite-delivered Smooth Jazz Network, featuring smooth jazz artists Dave Koz, Kenny G, Norman Brown, Brian Culbertson, Paul Hardcastle and Ramsey Lewis as on-air hosts. So far the network has spread to 25 markets across the US, with among its more notable affiliates including WJCD in Norfolk, Virginia; WJZL in Lansing, Michigan; WQJZ in Ocean Pines, Maryland; KJZS in Reno, Nevada; WKYL in Lexington, Kentucky; KORL in Honolulu, Hawaii; and WAUN in Green Bay, Wisconsin. WLFM-LP in Chicago also began as a 100% satellite-fed Broadcast Architecture affiliate, but has since gone to mostly local programming during weekday daytime dayparts, with the satellite feed filling most of the remainder of the schedule.

Saxophonist Dave Koz is now the most listened to Smooth Jazz host in the US with his daily Smooth Jazz Network afternoon show in over 20 cities across the US. The smooth jazz network's morning drive is hosted by Jazz Legend Ramsey Lewis. Other weekly syndicated smooth jazz radio shows include the long running Art Good's Jazztrax, "Chill" with saxophonist Mindi Abair, Ramsey Lewis' "Legends Of Jazz and the weekly two-hour Dave Koz Radio Show. In the summer of 2007, Broadcast Architecture launched the format's first ever national countdown show, the "Smooth Jazz Top 20 Countdown with Allen Kepler". The Smooth Jazz Top 20 now airs in more than 20 radio stations.

Until September 30, 2008, Jones Radio Networks also distributed a smooth-jazz format via satellite. This network was discontinued following Jones Radio Networks' purchase by Triton Media Group, owners of the Dial Global stable of 24/7 formats, and Triton's decision to eliminate Smooth Jazz from its portfolio. Jones' Smooth Jazz network had dwindled to only a handful of affiliates at the time the format was discontinued; most of the remaining Jones stations (i.e. WJZL and WQJZ) were switched over to Broadcast Architecture's network.

Recent problems

However, there have been a number of well-publicized defections from the format in recent months. In a number of media markets, this format is no longer available over-the-air except on HD Radio.

Three of the originators of the smooth jazz format - WQCD in New York City, WNUA in Chicago, and KKSF in San Francisco - have all signed off in the last several years. WQCD became album-rocker WRXP on February 5, 2008; KKSF shifted to classic rock as "The Band" on May 18, 2009; and just four days later, WNUA abruptly dropped the format for "Mega" (a Spanish pop format). The demise of these pioneering smooth jazz stations seems particularly indicative of the problems within the format. However, the format soon made a minor comeback in Chicago, as low-power TV station WLFM-LP - which broadcasts on Channel 6, allowing its audio portion to be heard at 87.75 MHz on most FM radios - switched from alternative country to Broadcast Architecture's Smooth Jazz feed as "87.7, Chicago's Smooth Jazz." A similar situation has unfolded in Anchorage, Alaska, where smooth jazz KNIK-FM disappeared from its old frequency of 105.7 (replaced by KNLT, a soft A/C station) and was revived on TV Channel 6 with the audio portion available at 87.7. Another pioneering station, KTWV in Los Angeles ("The Wave"), has not dropped the format entirely but modified it into a mainstream/urban A/C hybrid with one or two instrumentals an hour, under new program director Jhani Kaye; Kaye has made similar changes at CBS Radio sister station WSJT in Tampa.

Smooth jazz has also disappeared from the traditional radio dial in most other major or medium-sized markets, including Cleveland; Detroit; Miami; Atlanta; Cincinnati; Dallas; Minneapolis; Philadelphia; Baltimore; Washington; Houston; Indianapolis; Sacramento; Dayton, Ohio; and most recently, Milwaukee. Many of these stations continue to program smooth jazz via HD subchannels or online streams. A number of the smooth jazz stations that do remain, such as WLOQ in Orlando, Florida and WXJZ in Gainesville, Florida, have dropped the word "jazz" from their on-air positioning; WLOQ is now simply "Smooth 103.1."

Reasons

The decline in popularity of the smooth jazz format has been blamed on a variety of factors, including lack of compelling new music, over-reliance on instrumental cover versions of pop songs similar to the mostly-defunct Beautiful Music format, and Arbitron's PPM reports showing lower ratings returns for smooth jazz stations than the traditional diary system had. Lack of revenue and the genre not being viable during the current economic crisis have also been cited as reasons. Many purists of the format also feel that the smooth jazz interpretation has strayed too far from its roots in contemporary jazz and new age music by over-relying on soft urban vocals, with R&B artists such as Beyonce Knowles and Aretha Franklin now staples of many smooth-jazz playlists. Others indicate that the repetition of the same tracks on stations and the reduction of artists recording tracks resulting in fewer tracks for airplay may have also contributed to the decline. Arbitron's renaming of the format from "Smooth Jazz" to "Smooth AC" seems to underscore the recent changes in the format.

Time to stop complaining about it not being the way it used to be ... and start embracing the way it is and the way it’s going to be in the future ... whatever that may be! Hello, Tomorrow.

— Dave Koz

American saxophonist Dave Koz responded back in November 2009 to the claims that the smooth jazz radio genre was in decline by stating that although the audience has aged and not enough young people were embracing the format, making it harder to gain advertising revenue, the genre is still seeing the support in record sales and audiences at shows. He also suggested that the format may move from a genre covered by big FM stations to one covered by smaller stations, in particular Internet radio stations which were showing an increase in popularity.

Some of the former terrestrial smooth jazz stations, including the former KHJZ in Houston, the former WJZW in Washington, WVMV in Detroit, and the former WQCD in New York, continue to offer smooth jazz programming as Internet streams or as offerings on their HD subchannels. Some stations which are still providing smooth jazz and are still popular in their respective markets, including Jazz FM in the United Kingdom are integrating traditional and popular jazz and jazz standards alongside smooth jazz tracks in their playlists.

Smooth jazz radio internationally

The smooth-jazz format is less common in Canada, possibly due to Canadian Content regulations and a relative lack of high-profile Canadian smooth-jazz artists (with some exceptions such as Diana Krall and Michael Bublé). Two of the more notable smooth jazz stations in Canada include CIWV-FM (The Wave) in Hamilton, Ontario (which also reaches parts of the Toronto market) and CJGV-FM (Groove FM) in Winnipeg, Manitoba, although Montreal's CKLX-FM is a mainstream jazz station playing partially smooth jazz (sister station CHLX-FM in the Ottawa/Hull area also plays a mix of traditional and smooth jazz) and CHMC-FM in Edmonton, Alberta as an AC/smooth jazz hybrid.

New and innovative material from the UK, Europe and Australia has largely failed to gain airplay in the US. Well financed and often government-funded radio organisations in the UK, Europe and Australia, coupled with technical developments in the digital radio field, have led to the launch of a number of smooth jazz radio stations in these markets and their playlists are substantially more diverse than in the US.

In the UK however, the only radio station that regularly played smooth jazz was 102.2 Jazz FM in London and 100.4 Jazz FM in the North West. Upon takeover by the Guardian Media Group in 2003, the station started to create playlists predominantly consisting of easy listening soul and pop. Finally, in March 2004 in the North West and in June 2005 in London, the station changed its name to Smooth FM, and dropped smooth jazz from its playlists altogether. At the same time, GMG launched jazzfm.com in some parts of the UK which after closing in some areas. However, as part of its relaunch, smooth jazz and funk has also been played alongside more mainstream and traditional jazz output as played by former UK jazz station theJazz. On October 6, 2008 jazzfm.com was relaunched under a three year deal with The Local Radio Company to relaunch Jazz FM with smooth jazz output in the daytime and early hours of the morning.

See also

• List of smooth jazz musicians
• Quiet Storm
• Sophisti-pop

Record labels

• GRP
• Higher Octave
• Instinct Records
• Narada Productions
• Native Language
• Heads Up International
• Windham Hill
• NuGroove
• A&M
• Narada
• Blue Note, in its later incarnations