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Slow jams with quiet storm elements continued to be produced through the 2000s and 2010s. [4] Quiet storm songs are a mix of genres, including pop, contemporary R&B, smooth soul, smooth jazz and jazz fusion – songs having an easy-flowing and romantic character. The format first appeared in 1976 but initially it drew from songs recorded earlier.
Music journalist Jason King wrote, "Sensuous and pensive, quiet storm is seductive R&B, marked by jazz flourishes, 'smooth grooves,' and tasteful lyrics about intimate subjects. As disco gave way to the 'urban contemporary' format at the outset of the 1980s, quiet storm expanded beyond radio to emerge as a broad catchall super-genre."
A slow jam is music with rhythm and blues and soul influences. Slow jams are commonly R&B ballads or downtempo songs, and are mostly soft-sounding with heavily emotional or romantic lyrical content. The earliest known use of the term is the 1983 Midnight Star recording "Slow Jam" on their album No Parking on the Dance Floor .
The mid- to late-1970s included songs "Breezin'" as performed by another smooth jazz pioneer, guitarist George Benson in 1976, the instrumental composition "Feels So Good" by flugelhorn player Chuck Mangione, in 1978, "What You Won't Do for Love" by Bobby Caldwell along with his debut album was released the same year, jazz fusion group Spyro Gyra's instrumental "Morning Dance", released in ...
Let’s be honest: Love songs always hit right in the feels. A ballad can transform from a regular song into the soundtrack of your relationship—whether you’re celebrating your 25th ...
The smooth jazz format also added R&B; according to Cary Goldberg of JVC, Paul Hardcastle "brought a sophisticated, urban groove" to the format. She said, "Instead of bringing jazz to R&B, he's brought an R&B groove to contemporary jazz." [7] The smooth jazz music mix included 70 percent instrumentals and 30 percent vocals.
In Aaron J. West's introduction to his analysis of smooth jazz, "Caught Between Jazz and Pop" he states, "I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era.
The name given to the renewed interest in swing music from the 1930s and 40s. Many neo-swing bands practiced contemporary fusions of swing, jazz, and jump blues with rock, punk rock, ska, and ska punk music or had roots in punk, ska, ska punk, and alternative rock music. 1990s -> Jazz noir [4] A form of slow or erratic contemporary jazz.