“Peter White” Does Not Like My Review of Peter White

“Jeff Winbush, at one of MY shows? Cheeky bugger.”

I’m of the mind that anyone who creates something for public consumption is subject to have whatever that something is critiqued.  Not every artist agrees with the assessment, but most don’t take the compliments or the criticism to heart.

Most, but not all as my recent review of the new Peter White album seems to demonstrate:  

Make no mistake about it: Peter White is a technically proficient guitarist who blends impeccable taste and admirable fluidity in his playing. He is standing on the top of the smooth jazz food chain and Here We Go will do nothing to lessen his dominance as one of the most popular artists working today. White is a pro’s pro who knows what he can do and he does it quite successfully.

But there’s a tad too much polish and far too much restraint to make any lasting impression At its heart, Here We Go feels like just another in a series of pleasant-sounding Peter White recording that breaks no new ground, places no demands and commands little (if any) attention.

This isn’t a bad album so much as it isn’t a compelling one. The saxophones solos by David Sanborn on the horn-heavy title track and Kirk Whalum on “Our Dance” are as effective as they are routine. Sanborn and Whalum can play this kind of stuff in their sleep. Philippe Saisse‘s piano is a standout, and Ramon Yslas’ Latin percussion livens up the three tracks he appears on, but he isn’t enough to lift the album up from the humdrum and ho-hum.

White can’t be faulted for being a bad musician because he clearly is not. He excels at what he does, but what he does is play exactly the right amount of notes in exactly the correct sequence to make precisely the kind of pretty sounding music that doesn’t stray from his formula. Some artists swim against the tide; others prefer to float along with it. White excels at the latter.

There’s nothing wrong with courting commercial success, and who can blame White for staying in his lane and making what is essentially nice-sounding, but never compelling music. This album was never meant to appeal to jazzheads wanting their guitarists to have a harder edge, get a little nasty and put some blood, sweat and tears into their playing.

That is not Peter White’s style, it never will be, and he’s probably okay with that. Everybody else will learn to be too.

Track Listing: Night After Night, Time Never Sleeps, Here We Go, If Ever, Our Dance, Desert Night, Joyride, Costa Rica, My Lucky Day, Requiem For A Princess, Reunion

Personnel: Peter White: guitars, accordion, unspecified instruments; D.C.: unspecified instruments; Nate Phillips: bass (1, 2,); Phillipe Saisse: piano, keyboards, drum programming, orchestration (1-5, 7, 10); David Sanborn: saxophone solo (3); Andrew Neu: background sax, soprano sax, saxophones, flute (3, 4, 7, 8); Gabriel the Gun: flugelhorn, trumpet (3, 7, 8); Mel Scott: baritone sax (3); Kiki Ebsen: vocals (4); Charlotte White: violin (4); Ramon Yslas: congas, timbales, percussion (4, 7, 8); Roberto Vally: upright bass (5, 11).

The review received a comment.  Apparently, from Mr. White himself.  He wasn’t happy either.

Thanks for the comments, Jeff.

I was amused by your line- “This album was never meant to appeal to jazzheads wanting their guitarists to have a harder edge, get a little nasty and put some blood, sweat and tears into their playing”.

I am not a jazz player, I have never tried to appeal to jazz heads, never tried to break new ground or place any demands as you say and most of all, never tried to court commercial success as you imply. I welcome criticism of my music but draw the line when writers such as yourself start questioning my motives. You do not know me and have not a clue as to what my motives are for making music. Let me help you-

I play and record music that I like and turns me on. I hope other people will like it but that is not what drives me. Please reserve your criticism for what I do, not for what you thought I should have done. You may become a better writer in the process.

All my best…..Peter White

P.S. As to your snide comment that my music “commands little (if any) attention”, my current single and the title track “Here We Go” currently stands at number 1 on the Billboard Smooth Jazz chart. Maybe more research is needed here, Jeff.

Billboard Smooth Jazz chart:   1 – 1 (3rd week @ #1)

I have doubts Peter White trolls the Internet looking for middling-to-negative reviews of his albums so he can take the writer to task.  I would hope he has better things to do.   However, a Peter White fan has plenty of time to take exception to such a review.  Perhaps so much so they would respond to it by claiming they are Peter White.    That’s equal parts ballsy and stupid, but I had a few minutes to waste so I replied to “Peter.”

Hi, “Peter.”

If this really is  Peter White, the guy who says he never tried to court commercial success (but boasts his album is Number One on Billboard’s Jazz Chart), I’d say despite the claim ou welcome criticism of your music, aren’t you too busy enjoying that commercial success you say don’t care about?

It’s great your album is doing so well, “Peter,” but I don’t write my reviews based upon whether you’ve sold 500,000 copies or five. Nobody on All About Jazz does.

You are right “Peter” that I don’t know or your motives, but I do own enough of your music and that qualifies me to express an opinion. My opinion is I don’t care for Here We Go. It’s safe. It has no edge. It breaks no new ground.  That’s my opinion.  I never said it had to accepted as fact.

I listen to and review music that artists make and when I do, I write reviews that honestly reflect my assessment of the music. If you feel I’ve attacked you personally and in an unprofessional manner, I’d urge you to bring it to the attention of the editors at All About Jazz.

What I will promise you when you make an album I like, I’ll say I’ll like it, but when you make an album I dislike, I’ll say that I dislike it.

I will also promise I won’t tell you how to become a better musician if you don’t tell me how to become a better writer.

Have a good day.  That was also a better album than Here We Go.

Jeff Winbush

Peter White in the process of making sure he’s not playing jazz.

53 thoughts on ““Peter White” Does Not Like My Review of Peter White

  1. Aww, naw. You didn’t have to go here.

    I too, take offense at the statement

    “This album was never meant to appeal to jazzheads wanting their guitarists to have a harder edge, get a little nasty and put some blood, sweat and tears into their playing.”

    Have you ever seen Peter onstage? Believe me, the blood, sweat, tears AND Nasty are there. Lots of it. Including lots of emotion.

    And as much as people hate being pigeonholed into the genre of “Smooth Jazz”, Peter has not really felt comfortable embracing it, either. It was what was bestowed upon him. He just plays music that he likes. I told him that I thought, the title cut “Here We Go”, reminded me of a Beach movie. Hardly jazz. It’s music that’s fun. “Costa Rica” gets kudos from most of the people who have heard it…it makes them want to dance around the room. Not something jazzheads typically do.

    I don’t believe that every Artist goes into making a new CD saying “It MUST be cutting edge and break NEW ground!” If it ain’t broke, don’t fix it! If he (or his label) came out and promoted “Here We Go” as a “Cutting Edge Peter White composition that breaks new ground” THEN I could see your point. But it did not, So why the disappointment?

    You absolutely have your right to your opinion to like or dislike this new work, but when you imply that he’s just calling in the work for commercial success, I have to strongly disagree. There are other Artists who want to be commercial successes so badly these days, there are bombarded with vocals on their once primarily instrumental songs, just so they can hit the Urban charts. Peter’s not “faking the funk”, as I like to say. He is what he is. Like it or dislike it. But he DOES NOT misrepresent. And yeah, I’m happy he’s at that #1 spot, because it shows you don’t have to follow a formula, the same producer, or sell out to have success. He can just do what it does, and have fun with it.


    • Lory, I’ve never believed my opinion matters more than anybody else. It’s just published, that’s all.

      That said, I get to listen to a lot of guitarists and when they are just going through the motions, I hear it and I can’t get excited by their music if they aren’t either. I’ve never said every album has to be cutting edge, pushing the envelope, breaking new ground or any other creaky cliche. I get a lot of enjoyment from recordings that are just fun and engaging. I’m not looking for the next A Love Supreme.

      However, I stand by my review of Peter White. It’s the same old song and dance. Whether it’s good or bad old song and dance depends on how it hits your ears and what’s between them. To my ears it sounds like a continuination of Good Day, Playing Favorites, Confidential, Glow, Perfect Moment and every other Peter White recording of the last decade or so. White doesn’t have to be Miles to avoid being McDonald’s.

      I don’t buy your explanation he is “pigeonholed” into Smooth Jazz. If he is, it’s a place he worked to be in. That’s what he plays and those are the radio stations that play his music. Jazz music IS fun. I don’t see any disconnect there and it can even make you tap your toes and dance, but if music for a beach movie is all White is shooting for, I’d say he is aiming low and settling for modest accomplishments.

      It’s cool if you got more out of Here We Go than I did. I found it disappointing and I had to be honest by saying so.

      Agree to disagree, I guess. 🙂


      • Jeff, of course it’s the same old song and dance. It’s smoothjazz. More importantly, it’s smoothjazz at it’s best. Mr. White is never repeative where his CD’s are concerned. Believe me, if he were I would agree with you and I would not buy them.I am proud to say I own every CD this wonderful artist has ever done. Having thrown 125 CD’s away of other artists who became stale, I’d say this says it all…..I have all of Mr. White’s CD and play them daily…………BFT.


      • I think you’ve been hanging out with Brent Black too much….
        None of his CD’s are a continuation. Good Day is nothing like Glow, is nothing like Perfect Moment. Be for real. It was just trash PW week, and you did. Now let his numerous fans (like me) get through the moderation and tell you how WE feel.
        Oh, by the way, he’s #1 on the Jazz Song chart again….Woo Hoo!


      • Who the hell is Brent Black? 😕

        There is a great deal of similarities between Good Day, Glow and Perfect Moment. Confidential and Playin’ Favorites, not so much.

        I’m sorry you think even mild criticism of Peter White is the same thing as trashing him, but that’s the way it goes

        And while I’m happy for you that you’re so happy PW is Number One, it doesn’t change my opinion one bit.


  2. Ha ha Jeff- thanks for responding. It didn’t bother me in the slightest that you dislike my music- in fact I would consider a good review from a jazz critic such as yourself, the kiss of death! No no- it was the snide comments you felt necessary to include. Oh, by the way, insulting David Sanborn and Kirk Whalum, two of the of the greatest saxophonists on the planet didn’t exactly endear me to you either. Just keeping it real, Jeff- love you too!
    Peter White


      • Not the same troll as the aforementioned one. This one wants to ride in the bandwagon, but can’t play an instrument.


      • Jeff…..Mr. White is not a troll. That wasn’t called for. It only belittle you………….BFT


    • What’s love got to do with it, Peter?

      Sorry, but you have had the kiss of death from a jazz critic. I didn’t think Good Day was all that bad and said so. I really thought Confidential was a great album.

      However, it appears you take criticism to heart more than praise. It makes me wonder what would you have said if I had called Here We Go the best album of the year.


  3. Jeff, the supposed Peter White response may have been from a troll, but I found it too restrained and measured–something trolls aren’t good at.

    White seems to have a problem with “commercial success,” equating it perhaps with mediocrity at the expense of genius. Is it better to reach millions with mediocrity, or hundreds with genius? That’s the question every artist must answer, be they poets, novelists, movie directors, what have you.

    The trick: Give your fans genius mixed in with salable, mass-appeal mediocrity. If it’s good enough for Shakespeare–who often appealed to groundlings as well as those with refiner taste–it’s good enough for all. Shakespeare was a “commercial success,” and still a bard for the ages.


  4. I have a good friend who was a music critic for many years with NME, Melody Maker and occasionally Rolling Stone. He once told me that he does not really like to be called a “music critic” – but would prefer to be called a “music opinion-ator” – as he would “never be so petty as to criticize music….” WIth that preface, I would like to say that you are entitled to your “opinion” of Peter White’s music. But I find it laughable that you choose to express that you know White’s motives…and then to criticize them.

    Frankly, I AM a jazz head. Frankly, I like all types of music. I appreciate…no, I LOVE Peter White’s music. I am not alone.

    Are you of the camp that thinks art that is “pretty” cannot be art? Or are you just trying to be controversial and hipper than thou to somehow establish yourself as an expert? You have only exposed yourself as being somewhat shallow and rude. Get a grip, Jeff Winbush.


  5. Mr. Winbush: I’ve just read your review of Peter White’s new CD, as well as the subsequent dialogue. From what I can tell, the only thing that upset him about your review is that you questioned his motives for making music, to wit: “There’s nothing wrong with courting commercial success, and who can blame White for staying in his lane and making what is essentially nice-sounding, but never compelling music.”
    I’m guessing he doesn’t mind the “nice-sounding, but never compelling music” part — just the “courting commercial success” part. Were I your editor (and editing is what I do for a living, along with writing), I would have “red-lined” that passage (to use a pre-computer age term) because, without having spoken with White, there’s no way you could state definitively that that is what he does.
    I also noticed that your review was originally posted under the heading, “All About Jazz,” and I’m sure you’re aware that “jazz” would not be the genre within which his music falls. Of course, pigeonholing music into any genre is always dangerous and usually not entirely accurate. I tried to define his type of plying for my readers in a pre-concert story I wrote about White back in 1999, and I had to use the “somewhere between…” phraseology. But whatever it is, it’s not jazz, and White readily acknowledged that during our interview.
    In case you’re interested in how White thought about his music then — and I’d suspect it hasn’t changed much over the ensuing years — here’s a URL that will link you to that story: http://www.metroactive.com/papers/sonoma/08.19.99/white-9933.html
    I know it’s not always possible to talk to artists as part of the CD reviewing process, but had you made the effort to do so with White, I’m certain you would not have used that “courting commercial success” line.
    Bob Johnson


    • Mr. Johnson, jazz music may not be the genre you say within Peter White’s music falls, but it’s jazz websites reviewing Here We Go. It’s the jazz charts where Here We Go is riding high and its smooth jazz radio that’s playing Here We Go.

      Pigeonhole or not, Peter White is regarded as a jazz artist. He leaves no impression on the pop, R&B, or hip-hop charts.

      I was a newspaper editor too and I red-lined a lot of articles, however my editor at All About Jazz didn’t have the problems you did with the copy. I understand what you are saying about interviewing artists and I’ve conducted plenty of them, but even if I had the opportunity, I would never want to speak with an artist before reviewing their project. I don’t have any interest in having my opinion influenced or impacted by the input of the artist. Writing a record review isn’t a collaborative process. I don’t need help to do it.

      Any critique is subject to be be accepted, rejected or ignored, same as the product that is being critiqued. If you reject the review, that’s fine. It’s not going to affect your enjoyment of Peter White’s music one way or another. 😐


      • Thanks for the reply. But I’d truly be interested in your thoughts on the main part of my note — the part about where you infer that this album was, at least in part, about “courting commercial success.” That’s not reviewing the music; that’s trying to get into someone’s head. That’s the part that would not be acceptable to me were I your editor. In retrospect, would you include that phrase again?


      • Sure I would. Because I believe it to be both accurate and true. My editor at All About Jazz apparently agreed.

        The only artists that aren’t interested in being commercially successful either give their art away or are so attuned into following their muse wherever it takes them, they are contemptuous of such things as acclaim, acknowledgment and the trappings of success.

        Nothing wrong with saying Peter White is courting commercial success and he makes music that accomplishes that goal. I’ve never heard of a musician that wanted to be a commercial failure.


      • Thanks for your explanation. It provides good insight into how you approach your reviewing/writing. When I went to “J” school, the standard was quite a bit higher than, “Because I believe it to be both accurate and true.” But then, that was a long time ago. I’m old. And I realize that many of those standards no longer are embraced, particularly in the online world. Apologies for this likely appearing out of order on screen (there was no “Reply” option at the bottom of your reply), and I guess you and I… and your editor and I… are destined to respectfully disagree on this one.


      • I’m not certain how much respectfully disagreeing we’re going to do when you worked in of of those “When I was in J-school” raps. I attended J-school too and standards haven’t changed so much as it is the standards for criticism are not the same as news reporting. Criticism is a bit closer to writing an op-ed where there is greater latitude to express one’s opinion. At its core, all criticism is merely the expression of an opinion.

        Nobody says you have to agree with that opinion. However, I wouldn’t be much of a critic if I were to cower and change my critique based upon an artist going on his Facebook page and telling his fans to “sic ’em.”

        If Mr. White is going to stress out over anything less than a rave review, I have to wonder how he’s lasted this long as a musician. Nobody’s great all the time.


      • It’s challenging for me to “dialogue” with you because you seem to be doing exactly what you’ve accused Mr. White of doing — taking some mild criticism (on my part — some others have been pretty scathing) way too much to heart. My only quibble with your review was the “courting commercial success” line. That’s not an opinion on your part; that’s an assumption. Assumptions can be big traps for journalists. And your argument became circular when you wrote in a reply to me:
        “The only artists that aren’t interested in being commercially successful either give their art away or are so attuned into following their muse wherever it takes them, they are contemptuous of such things as acclaim, acknowledgment and the trappings of success.”
        Based on that, my question to you would be: If ALL artists (other than those few described in your reply) are courting commercial success, why mention it in ANY review of ANYONE’S music? It should just be assumed that if an artist releases a CD, he/she is seeking commercial success. (Oops! There’s that assumption trap…)
        Obviously, writers have more latitude in writing reviews and op-ed pieces. But all journalistic pieces are held to the same standard as far as accuracy is concerned, and you were absolutely inaccurate in your assumption about Mr. White’s focus on “courting commercial success,” as his reply to you demonstrated.
        Were I grading your review in a J class, I would have given it a C. Had you left out those three words, I would have given it an A. About your review of the music itself, there can be no quibble because it’s an opinion. But when it comes to positioning “courting commercial success” as a fact — even if you “believe it to be both accurate and true” — I would drop your grade in the hope that it would be an instructive lesson for an obviously good writer who could be even better.
        I can remember getting a C on a story I did while attending a journalism “camp” way back when. At first, I was crushed by the low grade; I wasn’t accustomed to getting Cs in school. But then I read the notes that the instructor (an L.A. Times feature writer) had written on the paper, took them to heart, learned from them, and got better.
        You may choose to ignore my very small criticism of your piece on Mr. White’s album, or you may choose to lower your defense shield for a moment, consider it, and perhaps view it as instructive, rather than solely critical.
        I’m 54, I’ve been a writer/editor for 38 years (yes, the math is correct), and I’m always trying to get better. In that regard, I read every letter to the editor, every Web post, etc., whether’s it’s complimentary or critical. I pay much more attention to the critical ones, hoping that I may learn something from them. If you can adopt that mindset, you’ll constantly be improving your craft.
        I hope you take this note in the spirit it is intended, and I wish you well.


  6. From what I have heard so far, I wasn’t thrilled with the new album. I may own it someday, but I’m not going to rush out and buy a copy. I own many of Peters CDs of earlier music and found those to be the Peter I know and love! I’m glad he has a single at number one. Here We Go was the best cut on the CD.


  7. Now, since when do musicians start writing letters in defense of their work? Let the music speak for itself huh?. And no offense but I never even heard of Jeff Winbush. (not a slam) But the point is it don’t matter if it’s from this blog or Rolling Stone or any Jazz site or whatever, I don’t think professional artists should stoop down to “our” level of whining and let everyone do their job. P.S. I do love me some Peter White though!


  8. Jeff, maybe if you ventured out of your single-roomed apartment and actually went to Peter’s shows (or any other Smooth Jazz Artist’s show for that matter), you would get to FEEL the music.

    I had the pleasure and honor of meeting Peter White, as well as Kirk Whalum, and sat in on Peter’s interview, where he spoke passionately about “Here We Go” as well as explaining where the songs for the album came from, and the inspiration for the songs.

    For you to slate Peter, David (Sanborn) and Kirk shows your lack of respect for them, not only as people, but as musicians who have endured a music industry swamped with “fly-by-nighters”, and who have shown that they have the longevity and musicianship to accomplish anything.

    I challenge you to release an album and allow Peter, David and Kirk, amongst others who are part of the Smooth Jazz fraternity, to write an honest review about that album and let’s see what your response would be. Only difference is, they would be speaking from experience and musical expertise, something you show as lacking.

    You seem to be a frustrated musician Jeff, maybe you played an instrument once, but had to give it up and now you resort to being an “authority” by writing these reviews and posting them on the internet hoping that the masses will read them.

    It’s a sad day when such an ignorant and arrogant opinion is flighted in cyberspace, with little to justify it.

    Maybe it’s best you stick to you day job.

    – Michael


  9. I think the writer Jeff Winbush has a point. I am a Peter White fan but as I compare the emotion and performance of a song like “My Prayer” from his earlier albums to any song on this one it feels like something is missing. As a producer myself I know midi, quantized, sampled, digital edited tracks when I hear them, they are everywhere. An argument can’t be made from having a #1 selling album but only from educated musical experience. I’ve seen Peter White live as well. He is quite good and has his style down. Just like Jeff I would like to challenge him to dig deeper into his soul and pull it out, take some chances, collaborate with some unlikely candidates, then we might see a ground breaking album. Thanks for the review Jeff. Keep your strong character that many others have abandon. JR


  10. BFT…..Jeff , like Mr. White says, you a have a right to your opinion and I respect that,but it only proves to me you don’t know this man. He almost drives himself crazy when he is in the process of doing his music because he would never settle for less than his best and never would give his fans something not heartfelt. Trust me, if he did, I would be the first one to tell him. We, his fans, are not blind sheep following their shepard. We are people who know the best when we hear it. I had almost given upon music before I heard this man play in the year 2000 and have been happy with every CD he has ever done, past anf present. I wouldn’t spend my money otherwise…………..Beverly From Texas(BFT)


  11. I personaly did not like the “cool or blind,” comment as we have a very real situation with Jeff Golub and if you have been to any Peter White concerts you know which he is protraying. Be careful your critisim does not come across as synisism.


  12. Jeff the only troll out there in cyber land is you!! My 3 favorite guitarist are Peter White, Jeff Golub & Tommy Emmanuel…and they are all so very different! And yes this is Peter White responding to you, not a troll. He let all his friends know about your nasty remarks on his facebook page and there are lots of us out there in cyber land that like Peter White just the way he is!


  13. Jeff,

    Perhaps you haven’t had the pleasure of taking in a smooth jazz cruise, and all the talent that is involved, including the names of Peter White, Kirk Whalum,David Sanborn and many many others. They are all respected artists in their field, and jazz artists are more than artists — they are part of a very large extended family.

    I can fully understand PW being offended, not only regarding your comments about his music, but to slash at other artists on his latest album simply isn’t necessary.

    Smooth Jazz truly is the one type of music where “competitors” collaborate, and help one another out — both in good times and bad. In reality, they aren’t competitors, they are best friends, and will do anything to help one another. It seems there are more bad times the past several years, and reviews that attack several artists simply are uncalled for.

    I have followed PW and his music before he was truly known in the jazz community. He has grown in his ability to transform something very special with each successive album. I have all his music, and will never tire listening to him in person, or while sitting on a plane.

    It’s very hard not to engage when listening to PW’s music, but I’m sure it is quite easy to disengage from your reviews.


    • Yet here you are engaging in commenting on the review. Mucho gracias.

      If Mr. White took offense, I honestly don’t know why. I gave him credit where credit was due. But if you accept the praise, you also have to accept the criticism.

      Personally, I don’t have all of Peter White’s music, but I have enough of it and have followed it long enough to venture an informed opinion of it. Guess the only thing some folks will accept is unqualified praise of whatever it is THEY like.


      • Have to say Jeff I find you cool even though you are giving my friend Mr. White a hard time. You were honest in your view and that’s all anyone needs to do…be true to yourself. Will never agree with your assessment of Mr. White’s music but love the exchange………….BFT


  14. Troll? Really? Who is Jeff Winbush? And, who cares what he says? Peter continues to put forth Class A number one albums. His music comes from his heart.

    Peter, you are number ONE in my book! Always have been, always will be!
    Hugs to you, my friend,


    • Damn. That was like, super heavy, man. Really deep and profound.

      I’m deeply touched by your skillful way with words, Francine. Actually, I’m not, but I give you points for trying.


      • Yea, I figured you would be … deeply touched. I’m a simple girl with a good ear for music … unllike “Whoever the bleep you are!”


      • Me? I’m the guy whose blog you’re cluttering up with your insipid one-liners as you try to score rhetorical points for what appears to be a somewhat insecure musician who despite his Number One selling-album (as I’ve been reminded to the point of nausea) seems to have a wild hair up his nose over a semi-critical review.

        Which is sweet of you to do, but kind of pathetic at the same time. 🙄


  15. Very interesting comments from Mr Winbush,i wouldnt worry too much about his opinions,fans of you and your music,dont over analyse what you do or your motives,we know you make great music and albums,you put in the hours,tour,write arrange and perform,and your your album is number1 on the smooth jazz charts,just keep on doing what your doing,why do artists have to radically change from album to album?you are in the entertainment business,pure and simple it works for me and thousands of others kind regards Mark Thorpe


    • I post a lot on Mr. White’s FB page and never suck up to him. He is truly a nice person. He dosen’t look at how much money you have or how you look. He looks at who you are as a person.I’ve been friends with this man since the year 2000.I’m not rich and not a youngester but one thing I do know, this man cares for me. He dosen’t have too but he dose. Get to know him a little better. You may find yourself posting kind things to him yourself……………….Beverly From Texas(BFT)


    • Jet it’s OK if you missed my comments. Just want to be sure Mr. White gets them. He always dose. Come over to the white side Jet. Don’t resist………..BFT


  16. Peter’s music makes me feel good no matter what the album or year……..he’s a fantastic artist and man….I’ve always enjoyed his music……keep up the good work bro…lovya always 🙂


  17. The bottom line is that Jeff Winbush doesn’t like Peter White new CD. He is entitled to his opinion. Personally I think “Here We Go” it is one of his best. It all depends on what type of jazz you like and this CD was perfect for me.

    One word to Mr. Winbush on his comments to Francine-they were a little harsh and cruel. You might lighten up a bit.


    • I thank you for recognizing my opinion is my own, Nancy. However, I don’t agree my response to Francine were harsh and cruel. In response to her “Whoever the bleep you are” crack, it was both appropriate and relatively restrained.

      This is how static works: If you don’t want none, don’t start none. Francine did and she gets what she gives. That’s all.


  18. Well Jeff, you have proven yourself be a ‘somewhat insecure journalist’ who feels bigger and better by insulting other people.
    How very sad your life must be. Poor you.


  19. Whoever the Moderator is left out my comment yesterday in support of Peter White; he is a GOOD musician and pretty good friend. I’ve met and talked to him one on one twice so far. He takes the time for his fans in appreciation of us. I totally agree with beverly figures when she said “He is truly a nice person. He looks at who you are as a person…. this man cares for me. He dosen’t have too but he (does). Get to know him a little better. You may find yourself posting kind things to him yourself”. Yeah, no joke…….I’ve personally experienced Peter’s sincere smile and warmth, NOT caring if I bought a CD or not…….AND he puts his whole heart into every performance, the sign of a true blue artist who appreciates and has fun with his fans……EVERY artist has their own niche’ and Peter is no different. He makes music that satisfies him and he can only hope us fans as well. True, there are PW songs I don’t like, but like Rick Braun said, “He can play anything (every form of music from the Blues to Rock ‘n Roll) “. Peter is an English Gentlemen that’s definitely carved out an original artistic style the same as Craig Chaquico, Marc Antoine, Chuck Loeb, and Larry Carlton, Peter’s fellow Greats in the music world, smooth jazz or not…..Cherio to ya Bud….and thanks for the GOOD vibes, music, and memories….Lovya always Bro 🙂 Don


  20. I have read all the comments and emotionally charged counter arguments re the latest Peter White album and must say that I am a little taken aback by the acusations of being ‘nothing new’. Having followed Peters musical carear from the Al Stewart days to present I never fail to be surpised and actually impressed by the variety in his music.’Here We Go’ has a vast array of musical genres. Yes he has a signature ‘feel good’ style of playing which manifests in all of his albums including this one, something that his army of loyal followers adore and look forward to. That said hidden away in all of his albums are tracks that are quite diverse and in many ways unique. Previous albums are no exeption. The beautiful ‘Swept Away’, created from looking out to sea from Canvey Island here in the UK, could be used as a film score whilst ‘Mission 2 Mars’ would be a classic funk style dance floor favourite. The track ‘Our Dance’ on ‘Here we Go’ incorporates melody with a hint of the blues whilst the uptempo tracks latin flavour will always be fans favourites for years to come.
    To catagorize and simplify his music as purely Smooth Jazz would be unfair. Let’s just leave it that Peter White is unique, a wonderful talent, a superb artist that has given pleasure to many over the last 40 years and long may it continue.


  21. I am the “real” Brent Black. Peter was gracious enough to grant me an interview. I’ve also interviewed Acoustic Alchemy, Steve Khan, James Carter ….Who have you interviewed? I am also a former contributor to A.A.J and am currently carried by Gannett. You are simply someone with an axe to grind and a wordpress account. Not too hard to come by…And if you consider yourself a writer then consider this. I can add and subtract – does not make me an accountant. Much luck Jehtro.


    • Pardon me for asking. I know it’s silly, but who the fuck is “Brent Black” and why exactly should I care?

      So Peter White gave you an interview. How special that must have been for you, Brad! Not sure why you’re telling me though. I didn’t read it. You didn’t include a link, so you must not want me to either.

      Good for you that you’ve interviewed some jazz artists. So have I, Bart. George Benson, Hiromi, Geri Allen, Keiko Matsui, Najee, Cindy Bradley, Chris Standring, Rachel Z., George Duke, Everette Harp, Jeff Lorber, Jane Monheit, Cheryl Bentyne are just a few of my interviews. I don’t mention them to impress you since impressing total strangers means nothing to me, but since you asked I guess it was important for you to know.

      I don’t recall your name at AAJ, Burt, and while you are “currently carried by Gannett” a cursory search of Google isn’t much help. I suppose I should be impressed, but when all I have to go on is your word, it’s unlikely I will be.

      Anyhow, I have no need to flaunt my journalistic or publishing credits to you, Bruce. If I’m simply someone with an axe to grind (and apparently a pretty sharp one that cut rather deeply) and Word Press (one word, not two) account, then what are you, Bob, but a troll with a keyboard to pound and opposable thumbs that make it possible?

      Thanks for bumping up my blog site hits, Ben. Write back when you win that Pulitzer Prize for Biggest Douchebag, okie-doke, Billy? 🙂


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