By Gerard Cox This BAJL list is for two kinds of people: Those who already like smooth jazz, and those who remain skeptical about whether the music has any real merit. "Substance, please," as its detractors would argue. These, however, are records which can in some sense bridge the gap between these two listeners. On the one hand, we believe these records truly do have substance and weight and prove the naysayers wrong. On the other, these records are for the most part made by musicians with connections to more traditional sides of jazz. This doesn't mean "instant credibility." That's not the point. But if straight-ahead jazz fans who may already be aware of these musicians in the straight-ahead realm can open their ears to the music listed here, then, certainly, it's equally possible that smooth/contemporary fans can connect the dots with these musicians and check out some of their straight-ahead work An ideal situation, obviously. But the jazz world is so often, and so unnecessarily, splintered into competing factions. It would help people to step back and see the commonality, not the difference, within this great music. So, to anyone who doubts that smooth jazz offers substance, or to anyone who already knows this and just wants to reaffirm it, this set's for you.

Grover Washington: Mister Magic (1974) One of the true classic records of the contemporary idiom along with Winelight (also by Washington). Grover was a major pioneer of the idiom and has inspired many younger musicians like Antonio Hart and Donald Harrison. George Duke: A Brazilian Love Affair (1979) George Duke is one of the most purely creative musicians working on the contemporary side of jazz, and this record shows Duke presenting his love for Brazilian music in a package that is accessible, but not at the expense of substance. A fine "Jazz meets Brazilian music" record by any measure. Gerald Albright: Live at Birdland West (1991) Gerald Albright has always had an incredibly full, soulful tone reminiscent of Cannonball Adderley; here is the chance to hear him truly spreading his wings, playing blues alongside Eddie Harris, jamming with Kirk Whalum on standards, and offering his take on nothing less than Coltrane's "Impressions." Eric Marienthal: Walk Tall (1998) As with Gerald Albright, Cannonball Adderley is a big inspiration to Eric Marienthal, and here then he blows his alto over classic Cannonball compositions, updated in a contemporary sound that flatters the tunes nicely and does them justice indeed. A nice surprise. Lee Ritenour: This is Love (1997) Lee Ritenour, who takes much inspiration from Wes Montgomery, is unquestionably a major talent on guitar. If you want to get a better idea of what he can do as a musician, then check this record out. The music here is all well-conceived and melodic, and shows Lee to be quite a creative musician working out of the contemporary format. Wayne Shorter: High Life (1994) Arguably a classic record and one which was hastily overlooked by critics who heard smooth contours and high production values and assumed there could be no great music there. Wrong, way wrong. The one record that smooth jazz and acoustic jazz fans should agree on; it presents both the artistry and the accessibility of Wayne Shorter. Regina Carter: Regina Carter (1995) A record with great sunny vibes and tasty surprises. Carter solos on her violin with sass and panache on several rock-solid R&B tracks, goes nuts on a modal burnout tune, and finally exhales in playing the wistful ballad "Don't Explain." Motor City Moments, a dual homage to Motown and Detroit's jazz tradition, would be a nice follow-up. George Benson: Absolute Benson (2000) Anyone who really knows jazz knows that Mr. Benson is BAAD and can play. Problem is, smooth fans don't often hear just how MUCH he can play, and straight-ahead fans seem to have forgotten what they once knew as undeniable truth. This is as close to a perfect compromise between the two sounds of Benson as we're likely to get, and the results are often very satisfying. "Lite," maybe, yet still filling. Kenny Garrett: Simply Said (1999) Another record that got lost in the shuffle (like Shorter's) because it was neither smooth enough nor straight-ahead enough to sit comfortably with everybody. For open ears, however, this record may hold definite value in its very eclecticism. There is an amazing range of expression here which speaks of Kenny Garrett more than it speaks of any producer trying to make him a show pony.