Any smooth jazz fans out there?

IMO, the real crap is the music elitism demonstrated by some of the posters. To denigrate someone's musical tastes by calling it crap is uncalled for; all issues of freedom of expression aside. I think some of you guys owe the OP an apology. A couple of thoughts:

-"Smooth Jazz" has been the introduction to "headier" musical fare in the genre of jazz for many listeners. From that standpoint, it's validity cannot be denied. Although the OP has stated he also appreciates more "serious" jazz.
-"Smooth Jazz" is too broad a term. Anyone who cannot appreciate the important contribution of a player like David Sanborn to the stylistic lexicon, should try speaking to professional saxophonists, many of who regard him very highly. Anyone who cannot appreciate the brilliance of Pat Metheny is missing the boat. Are the critics of The Yellow Jackets aware that Bob Mintzer is one of the heroes of the contemporary jazz-saxophone world, and a brilliant talent?
-For what it's worth, I have heard some otherwise great straight-ahead jazz players try to play in a funk groove, and embarass themselves.
-What genre of music can claim to not have examples of both brilliant performers, and jive-ass players/singers spewing nothing but bs? Why don't we hear the same criticism of milktoast "jazz" performers like a Diana Krall. Please, is that really good jazz singing? Have her fans listened to Shirley Horne lately? Give me a break. Oh, wait! I forget. Krall has much better legs. Why the constant adulation of a player like David Murray? I can think of a couple of reasons that have nothing to do with music.
-Same thoughts apply to other genres. How many more proclamations about the brilliance of "Dark Side Of The Moon" do we have to endure on this forum. Please!

The point is, lighten up guys.

I can see that further discussion about the need for a certain amount of respect and decorum are probably pointless. Too bad. But I stand by my comments re the inappropriateness, on this forum, of calling someone else's musical taste crap. I don't consider the OP's reaction to having his musical tastes called crap, to mean he is thin skinned; at all.

Duanegoosen, if any musician that "does not have a unique voice as a player and has not advanced the vocabulary of his instrument or any area of music one iota..." can thus be called crap, which is what you are suggesting, we have just defined music elitism; which was my point. I hope we can agree that there are many great players that while not necessarily advancing the vocabulary of their instruments, still produce terrific, valid work. I am sincerely very curious as to what you think David Murray has contributed to the vocabulary of the tenor saxophone (I won't even touch his bass clarinet playing), that in absolute terms, someone like Bob Mintzer has not. BTW, while I admit (and never suggested otherwise) that Mintzer is not one of the great innovators on the tenor saxophone, his arranging style has a very distinct voice. I am also, honestly, VERY curious about what recorded work there is by Liebman "that is sappy and predictable, and aim(s) for a piece of the lowest common denominator..." I am not aware of anything that does not have musical integrity. But I don't claim to have heard everything he has done. Since you are so well informed, I would appreciate the info.

Meaningless little squabbles aside, what is undeniable and far more meanigful, is the power of music to create such strong opinions in listeners. Our chosen musical favorites become a very personal matter, and cause us all to sometimes lose a certain amount of objectivity. IMO, when we become so invested in the pursuit of an ideal (based on our personal standards), to the extent that we lose the ability to be sensitive to others' viewpoints (however less sophisticated we may think that viewpoint is), we lose the ability to appreciate everything that Music's very essence has to offer. And our "more informed" viewpoint actually becomes a liability, not an asset.

Duane, thanks for clarifying, and for the info/examples. I have no doubt that once we get past the vagaries of the printed word, there is far more agreement than disagreement here.

Peace.

BTW, to this day, some of my favorite work by Liebman is from the late sixties, during his stint with Elvin Jones. If you haven't, check out "Dear John C." Also on the session was a 19 year old Steve Grossman; killing it!