Earl Klugh at Anthropology San Diego: 2010
Earl Klugh, the master of smooth jazz guitar, performed at Anthropology in San Diego. Klugh's nylon-string acoustic guitar playing is instantly recognizable - melodic, sophisticated, and imsmooth.
The Master of Smooth Jazz Guitar
Earl Klugh has been making records since the 1970s, collaborating with George Benson, playing with Yusef Lateef, and creating a signature sound that blends jazz, classical, and pop influences. His nylon-string acoustic guitar tone is warm and inviting, and his technique is flawless.
Smooth jazz gets a bad rap - dismissed as elevator music or watered-down jazz for people who don't really like jazz. But at its best, smooth jazz is about melody, beauty, and accessibility without dumbing anything down. Earl Klugh represents smooth jazz at its best.
The Performance
Klugh opened with "Living Inside Your Love," one of his signature pieces. The melody is gorgeous, the harmonies sophisticated, and his guitar tone is like butter. Watching his fingers move across the fretboard - precise, relaxed, musical - was a masterclass in guitar technique.
He played material from across his career - songs from his classic albums like "Finger Paintings" and "Heart String," along with newer compositions. Each song showcased his melodic gift. Klugh doesn't show off with speed or flash; he plays beautiful melodies with impeccable taste and touch.
"The April Fools" demonstrated his ability to blend jazz harmony with accessible melody. The song swings without being aggressive, it's sophisticated without being pretentious, and it's memorable without being simplistic.
His backing band - bass, drums, keyboards - provided tasteful support. They knew when to lay back and when to push. This wasn't about solos and showing off; it was about creating beautiful music together.
Nylon String Guitar
Klugh's choice of nylon-string acoustic guitar (as opposed to steel-string acoustic or electric) gives his sound a classical flavor. The tone is softer, warmer, more intimate than steel strings. It's the sound of classical guitar brought into jazz contexts.
Watching him play, you could see classical technique - the right-hand fingerstyle approach, the careful attention to dynamics, the singing tone he gets from the instrument. But the music is jazz - swing rhythms, jazz harmonies, improvisation within melodic frameworks.
Anthropology Setting
Anthropology was a small, intimate jazz venue in University Heights. Seeing Earl Klugh in such a small space meant you could see and hear everything. The acoustics were good, the sight lines were close, and the audience was appreciative.
Small venues like Anthropology are crucial for keeping jazz alive. They provide spaces for artists to connect with audiences in ways that large venues can't match. Seeing Earl Klugh from 20 feet away, watching his hands work, hearing every note clearly - that's the jazz experience.
The Smooth Jazz Question
Is smooth jazz "real jazz?" Who cares? The question is: is it good music? Earl Klugh makes good music. His melodies are memorable, his playing is impeccable, his tone is beautiful. If you need to categorize it, fine - call it smooth jazz. But what matters is the music.
Jazz purists might dismiss Klugh as too commercial, too accessible, not adventurous enough. But there's value in music that's beautiful, skillful, and welcoming. Not every jazz performance needs to be challenging or avant-garde. Sometimes you want music that's sophisticated but not difficult, complex but not alienating.
The Verdict
Earl Klugh at Anthropology was exactly what you'd hope for - a master guitarist playing beautiful music in an intimate setting. His nylon-string tone, his melodic gift, and his flawless technique made for a satisfying evening of music.
If you appreciate guitar playing, melody, and jazz that's accessible without being simplistic, Earl Klugh delivers. He's been doing it for five decades, and he's still got it.
Thank you, Earl, for making beautiful music and for showing that smooth jazz can be smooth and jazz without apology.