perhapss
Headphoneus Supremus
Regarding the Metheny albums posted here I'm particularly fond of the 80/81 album as well as the Ornette collaboration.
Jack DeJohnette's(along with everyone else involved) wonderful playing doesn't hurt with those either.
I don't see anyone here on this thread saying Pat Metheny sold out but I've known many who have said that.
To be clear: I believe Pat believes in everything he does and is quite conscientious and thoughtful about his choices.
At the same time he is often associated with smooth jazz.Not to say people are correct with their assumption.
If you're ever in a situation where you are forced to hear smooth jazz radio(which unfortunately I have been) Metheny's music gets a fair bit of airplay in that context.
His tune "Last Train Home"(among others) also was very often heard in the Muzak format in grocery stores and elevators.Not my opinion. Fact.
I have heard many other great tunes (Steely Dan's music was also common on Muzak) that context right next to complete shlock.
Let's face it, "elevator music" is maybe an even worse label than "smooth jazz" to have attached to you.
Of course many musicians have been envious of his success and that contributes to SOME people's assumption he sold out(NOT MINE).
Just to point out that he is associated with smooth jazz here's a sample of the WIKI article on smooth jazz:
I didn't read this WIKI article before making my observation nor did I contribute to this article in any way.
Just saying.
Jack DeJohnette's(along with everyone else involved) wonderful playing doesn't hurt with those either.
I don't see anyone here on this thread saying Pat Metheny sold out but I've known many who have said that.
To be clear: I believe Pat believes in everything he does and is quite conscientious and thoughtful about his choices.
At the same time he is often associated with smooth jazz.Not to say people are correct with their assumption.
If you're ever in a situation where you are forced to hear smooth jazz radio(which unfortunately I have been) Metheny's music gets a fair bit of airplay in that context.
His tune "Last Train Home"(among others) also was very often heard in the Muzak format in grocery stores and elevators.Not my opinion. Fact.
I have heard many other great tunes (Steely Dan's music was also common on Muzak) that context right next to complete shlock.
Let's face it, "elevator music" is maybe an even worse label than "smooth jazz" to have attached to you.
Of course many musicians have been envious of his success and that contributes to SOME people's assumption he sold out(NOT MINE).
Just to point out that he is associated with smooth jazz here's a sample of the WIKI article on smooth jazz:
Early history[edit]
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 and WVEE-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 WLOQ in Orlando, Florida (which began programming such a format in 1977), Russ Davis in Atlanta and "Jazz Flavours", Al Winters and "The Quiet Storm", 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".I didn't read this WIKI article before making my observation nor did I contribute to this article in any way.
Just saying.
... so many marvelous stuff there! https://www.actmusic.com/
