Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz. Page: 74
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Washington's Use of Call and Response in "Mister Magic"
When jazz musicians critique smooth jazz (and crossover), it is frequently
because of the dreaded "two-chord vamp." In mainstream jazz, harmony is a vital
element of improvisation, fueling interaction between the soloist and the pianist,
guitarist, or bassist. The more sophisticated the harmonic palette, the more options the
soloist has. Harmonic complexity and sophistication are hallmarks of mainstream jazz.
For example, the reharmonizations of Art Tatum, the lush harmonies of Duke Ellington,
and the pianistic harmonic substitutions of Bill Evans are a rightfully vital and historic
part of mainstream jazz. On the other hand, crossover jazz artists sometimes perform
extended improvisations on just one or two harmonies. The harmonic foundation of a
tune like "Inner City Blues" pales in complexity to a Bill Evans piano arrangement. In
crossover jazz, though, Grover Washington, Jr. helped codify a new set of musical
priorities.
The two-chord vamp, though simplistic by mainstream jazz standards, is an
important element in a different kind of approach to jazz improvisation. Although
having only two chords on which to improvise may appear to be redundant or boring,
the lack of constantly shifting harmonies offers the accompanist and soloist a particular
freedom. A complex harmonic progression can actually restrict a soloist, possibly
confining him or her to a rigid set of patterns. A simpler harmonic foundation can
provide more options for the soloist. For instance, this concept was explored in the late
1950s, on albums like Miles Davis's Kind of Blue. On the tune "So What," which only
uses two harmonies, the listener is presented with a variety of approaches to a simple
two-chord harmonic progression. The harmonic simplicity of "So What" enabled and74
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West, Aaron J. Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz., dissertation, December 2008; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc9722/m1/85/: accessed April 23, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .