Being in proximity to my music collection more frequently during the pandemic, I have had opportunity to assemble playlists. As mentioned previously, the activity—thinking about and listening to music—is a little bit of tonic for a pandemic. This past week I put together a playlist of what might be called “smooth” jazz.
Generally, smooth jazz does not hold my interest very long, usually because I quickly tire of its sameness in production and kind. My speculation is that what separates smooth jazz from really smooth jazz is to be found in the way the rhythm sections plays and / or is produced. I am struck by how many examples of a smooth-er jazz that hold my interest have a great rhythm section. If a drummer like Lenny White, a bassist like Lonnie Plaxico, and a keyboardist like Jim Beard are playing, chances are the smooth is really smooth. Solos are important too, of course, and the bluesier the soloist is, the better?
Good Tonic
Social distancing and personal anxiety about the future brought on by, well you know, can be relieved by a dose of good music? Here’s a CD that’s working for me: T.S. Monk’s Higher Ground, 2002. Upbeat and well-played, it features an interesting variety of tunes. Problem being: you can’t purchase Higher Ground on iTunes; and the physical CD is available on Discogs or Amazon, but not individual tracks for download. My favorite track is “Ladera Heights,” an easy-going number with just enough bottom and excellent solos. You may recognize it if you listen to jazz radio.
Junky Star over and over
Gotta be honest; I’d never heard Ryan Bingham (b. 1981) until I recently took a chance on Junky Star (2010.) Gotta be honest; I bought the CD because I liked the cover—design / imagery— and because it was produced by T Bone Burnett. Sometimes a person finds themselves in church for all the wrong reasons.
For me, this is a rare CD, one in which once it’s in the car player I keep repeating it, from 1-12 and back to 1. The sequence and pacing of individual cuts flow nicely, and the craft (tunes and production) holds a lot of interest. I had a difficult time choosing just one song for a mixed playlist.
Bingham’s voice is strained and gritty, so not everybody will be immediately attracted to his sound. Think of John Mellencamp, rather than the oft-compared Bob Dylan.
Among my favorites . . . jazz leader guitar
I’m no expert on jazz, but I listen to a lot. I’m no guitarist, but I’ve known a few. Here’s a list of favorite jazz guitarists’ solo projects, selected out of my collection, and the list excludes jazz guitarists playing as sidemen (too many great examples!) and titles I don’t own. And the list is skewed a little by recordings from the 1970s. Apologies to Mr. Montgomery!
CORYELL Larry and CATHERINE Philip, Splendid, 1978
GREEN Grant, Solid, 1964
KESSEL Barney, Feeling Free, 1969
MARTINO Pat, Footprints, 1972
MCLAUGHLIN John, Electric Guitarist, 1978
METHENY Pat, Rejoicing, 1983
PRINCE Roland, Free Spirit, 1977
RYPDAL Terje, Waves, 1977
SCOFIELD John, Uberjam, 2002
SHARROCK Sonny, Ask the Ages, 1991
TOWNER Ralph, Solstice, 1975