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Many people think of smooth jazz as something that didn't start until the 1980s, but arguably, smooth jazz started around 1966-1968 with the overtly commercial, pop-drenched albums that guitarist Wes Montgomery recorded during the last few years of his life. Love it or hate it, Montgomery's more commercial output had a major impact on Peter White and many other guitarists who have contributed to smooth jazz (including George Benson, Lee Ritenour, Earl Klugh, Chuck Loeb, and Henry Johnson). Musically, a lot has changed since the '60s, but the more things change in music, the more they inevitably stay the same -- and 2009 found White (like Montgomery 41, 42, and 43 years earlier) still struggling with a desire to improvise and a desire for mass acceptance (the thing that jazz, for the most part, lost after World War II). Of course, one doesn't necessarily rule out the another; the late saxophonist Grover Washington, Jr. knew how to be commercial and adventurous at the same time, but most smooth jazz artists play it way too safe -- which is what White usually does on Good Day. This 2009 release is, on the whole, an album of pleasant but not very memorable background music; White usually sounds like he is yearning to let loose as an improviser but has to hold back because he dare not offend the smooth jazz/NAC stations that have been playing his recordings all these years. Nonetheless, Good Day has some noteworthy tracks here and there, including the Brazilian-flavored "Love Will Find You," the nuevo flamenco-ish "Ramon's Revenge" and the hypnotic "Mission 2 Mars" (which hints at ambient electronica). But most of the time, Good Day is the sort of album that is content to innocuously fade into the background -- and White, like so many of the smooth jazz musicians who sells himself short creatively, is capable of a lot more.
© Alex Henderson /TiVo
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Michael Egizi, Composer, Writer - Peter White, Composer, Writer, MainArtist
DC, Composer, Writer - Peter White, Composer, Writer, MainArtist
Peter White, Composer, Writer, MainArtist
Danny White, Composer, Writer - Basia Trzetrzelewska, Composer, Writer - Peter White, Composer, Writer, MainArtist
DC, Composer, Writer - Peter White, Composer, Writer, MainArtist - David Kochianski, Composer, Writer
Peter White, Composer, Writer, MainArtist
Peter White, Composer, Writer, MainArtist
Peter White, Composer, Writer, MainArtist
Peter White, Composer, Writer, MainArtist
Peter White, Composer, Writer, MainArtist
Presentación del Álbum
Many people think of smooth jazz as something that didn't start until the 1980s, but arguably, smooth jazz started around 1966-1968 with the overtly commercial, pop-drenched albums that guitarist Wes Montgomery recorded during the last few years of his life. Love it or hate it, Montgomery's more commercial output had a major impact on Peter White and many other guitarists who have contributed to smooth jazz (including George Benson, Lee Ritenour, Earl Klugh, Chuck Loeb, and Henry Johnson). Musically, a lot has changed since the '60s, but the more things change in music, the more they inevitably stay the same -- and 2009 found White (like Montgomery 41, 42, and 43 years earlier) still struggling with a desire to improvise and a desire for mass acceptance (the thing that jazz, for the most part, lost after World War II). Of course, one doesn't necessarily rule out the another; the late saxophonist Grover Washington, Jr. knew how to be commercial and adventurous at the same time, but most smooth jazz artists play it way too safe -- which is what White usually does on Good Day. This 2009 release is, on the whole, an album of pleasant but not very memorable background music; White usually sounds like he is yearning to let loose as an improviser but has to hold back because he dare not offend the smooth jazz/NAC stations that have been playing his recordings all these years. Nonetheless, Good Day has some noteworthy tracks here and there, including the Brazilian-flavored "Love Will Find You," the nuevo flamenco-ish "Ramon's Revenge" and the hypnotic "Mission 2 Mars" (which hints at ambient electronica). But most of the time, Good Day is the sort of album that is content to innocuously fade into the background -- and White, like so many of the smooth jazz musicians who sells himself short creatively, is capable of a lot more.
© Alex Henderson /TiVo
Acerca del álbum
- 1 disco(s) - 10 pista(s)
- Duración total: 00:51:04
- Artistas principales: Peter White
- Compositor: Various Composers
- Sello: Peak Records - Telarc
- Género Jazz Jazz contemporáneo