A Smooth Discovery

While traveling in the elevator at the hotel in Buffalo, NY, I finally came to terms with a deeper part of myself. I accepted my love of smooth elevator jazz.

It's awesome.

Casiopea, The Square, Megalith, George Benson, The Rippingtons; the list goes on and on. The grooves are usually solid, the musicianship a step above the rest, and the production is usually above average. I seem to be drawn to the rhythm section parts on the tunes (big surprise). The drums are almost always miced and tuned wonderfully and are usually played by some seriously solid studio cat. The drumming itself may not be technically difficult, but the groove is rock-solid and often slightly "busier" than a standard drum part. The bass lines are usually pretty funky and deep in the pocket, even though
"smooth jazz bass tone" is often a little too treble-y for me. Be that as it may, the rhythm section is tight, even though the melody lines can be contrived and the solo sections square in a melodic context.

The problem with the realization is based on the fact that I get... some flak... over my listening habits. They're perhaps... too eclectic for some.

I was down in the lobby, waiting for the elevator to go back up, jamming to the groovy tunes pumping out of the speaker, and a man came walking up, and stood by rather uncomfortably as I beat-boxed along with the awesome drums. I wasn't going to stop or anything, so imagine his relief when two elevators appeared. He made a bee-line for the one nearest him, pressed his floor, and discretely began pushing the "Close Door" button. So... apparently, not everyone loves smooth jazz.

Here's a shot of the elevators. The one on the left had the speakers turned on, while the one on the right did not. So the left elevator became the lift of choice. Obviously.

Enjoying the road,
-Nate on Bass