section_path: Post-war jazz/Smooth jazz
section_name: Smooth jazz
paragraph_text: Smooth jazz
  
  In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in " quiet storm " time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade, as well as saxophonists including Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 beats per minute), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular).
  
  In his Newsweek article "The Problem With Jazz Criticism", Stanley Crouch considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating:
  
  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. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.