All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Smooth jazz, the New Adult Contemporary music, has taken over the radio airwaves. Around the world, smooth jazz offers the listener something easy on the ears. Some improvisation enters into the picture, but the focus remains on melody. These are catchy melodies that you can hum along with and return to after several interruptions. Let your attention lapse to avoid a reckless driver and you can still return to the melody afterwards. It’s still there. The music never occupies your full concentration, but still takes you to far away places through these popular artists’ best-selling titles, such as “Coral Reef,” “Under Northern Lights,” “Rain Forest,” “Afternoon in Brazil,” “Island Lady,” “Cancun Beach,” “Desert Paradise” or “Tierra Verde.”
Baatin uses this popularity to his advantage by overdubbing dozens of vocal and instrumental tracks himself for each song. His arrangements average four and a half minutes, making them suitable for smooth jazz radio airplay. Unfortunately, that calls for abrupt fades on nearly every track. Just when the music seems to be turning a new corner, it’s abandoned quickly for the sake of timing. The fades come quickly, unannounced, and all too soon. Characterized by keyboard drones, smooth guitar licks, a rumbling electric bass pulse, between-the-notes hand percussion and a steady back beat, Baatin’s smooth jazz features one solo voice at a time. Sunday Brunch features his vocals, flute, piano, guitar, alto sax and soprano sax – one solo voice to carry the melody and improvise. In this case, it’s a one-man show. Samples of his music are available at Baatin’s web site. All 10 tracks from Sunday Brunch are represented.
Baatin features his flute on “Sunday Brunch” and his saxophones elsewhere. “For Grover” offers a thoughtful tribute to Grover Washington, Jr. Featuring both flute and soprano saxophone solo work, the piece stands out as the album’s high point. “Play 2 Win” works out in a hip hop setting with overdubbed vocalist Portia Jackson as cheerleader. Baatin sings “Whatever it Takes to Make You Happy” surrounded by an arrangement designed to make the piece resemble Bobby McFerrin’s “Don’t Worry, Be Happy.” Baatin’s light, baritone voice lends itself well to Anita Baker’s song, however, emphasizing another of the album’s high points. Several other tracks include vocals. But it’s not the vocal lines or Baatin’s improvised instrumental solo spots that sell this album. Smooth jazz radio format listeners will remember each track for its ear-catching melody that reaches out, whether you’re driving down the highway, preparing dinner at home, cleaning up your living area (just a little), or just having polite dinner conversation with a friend. The music won’t interrupt you, but will instead offer a relaxed setting for whatever you’re doing.
Track Listing: Sunday Brunch; The Uphill Road; So Near (But Yet So Far); Whatever It Takes (To Make You Happy); For Grover; Play 2 Win; U Make Me Smile; Cancun Beach; Homesick; Something Funky 4 U.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.