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The titles of Kenny G's instrumentals on are a good clue to his approach: 'Sentimental', 'The Joy of Life', 'Forever in Love' and 'The Wedding Song'. When it comes to background music that's slightly catchier and peppier than most new age music, Kenny G is a master of his genre. This album is built on Kenny G's most obvious strengths: his knack for writing hummable pop hooks and his ability to play those radio-friendly melodies in a breathy, fluid style that invites the listener to lie back and relax. Genres: Smooth Jazz, Adult Contemporary.ĭescription Like its predecessors, Kenny G's Breathless is a collection of tuneful, easy-listening instrumentals baited with a couple of pop-soul vocal numbers. Released 17 November 1992 on Arista (catalog no.
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Le producteur attitré Walter Afanasieff veille à l'efficacité du son, pour que Paradise sonne différent mais pas trop, afin de ne pas troubler les habitués.Picktorrent: breathless by kenny g - Free Search and Download Torrents at search engine. Cette sauce est parfois relevée par les interventions d'invités comme Chanté Moore (« One More Time »), Brian McKnight (« All The Way ») ou le guitariste Phil Upchurch. Mais la suite laisse à désirer, entre ballades soft parées d'une boîte à rythmes ou d'une frappe métronomique (« Malibu Dreams ») et chansons pop affûtées pour la route et les ascenseurs.La vision tropicaliste de Kenny G est très édulcorée des titres prometteurs comme « Spanish Nights » ou « Ocean Breeze » se révèlent bien fades. Le style de Kenny G est aisément identifiable le saxophoniste soprano aux soixante quinze millions d'albums vendus (rien que huit pour Breathless en 1992) a beau multiplier les styles et les collaborations, son souffle et ses compositions ne trompent guère les habitués.Ce treizième album le voit emprunter des chemins de traverse du jazz, si tant est qu'on peut classer Kenny Gorelick dans le jazz car n'est-il pas plutôt un musicien affranchi des codes ? Paradise, donc, se consacre au survol de musiques exotiques et d'évidence le premier titre « Brazil » en est l'illustration. This is a small matter, since most of the collection is given over to his biggest songs, but it is enough to recommend Greatest Hits over this collection, even if this will likely satisfy the needs of most casual listeners. This gives the album a slightly stronger MOR bent - which, of course, is remarkable, since Kenny G has always traveled in the middle of the road, but the emphasis on covers ("The Girl from Ipanema," "What a Wonderful World," "The Look of Love," "The Wedding Song") emphasizes this strain in his music plus, the newer numbers are slicker and more polished than before. Released in 2003, Ultimate Kenny G covers more territory, including two previously unreleased tracks (one being a cover of "My Heart Will Go On"), which does not necessarily mean that it's a superior collection, particularly because the albums he released since 1997 didn't quite qualify as big hits or as his best material. Kenny G had a hits collection in 1997, spanning 17 songs and perfectly capturing the time when the smooth jazz saxophonist was one of the most reliable hitmakers in mainstream pop.
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Whether you're into pop or jazz, Breathless is unlistenable.
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Even the presence of the great R&B crooner Aaron Neville on "Even If My Heart Would Break" can't save this one-dimensional release. Always sounding like he's on automatic pilot, Kenny takes no risks whatsoever and sees to it that one song is as shamelessly contrived as the next. There's nothing even remotely tasteful about interchangeable tunes like "Sentimental," "Forever In Love" and "End of the Night," all of which are about as bloodless and schlocky as it gets.
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And Breathless isn't bad because it's a pop album or because it's commercial it's bad because of its complete lack of soul, substance or creativity. True, it was silly for jazz artists to judge Kenny by hard bop standards when hard bop (or even soul-jazz or fusion) was a long way from what he was going for. Kenny G's huge following responded that the attacks were silly and misguided because the saxman was the first to admit that he was primarily a pop instrumentalist and wasn't pretending to be anything else. Throughout the 1990s, Kenny G was the whipping boy of the jazz world - the instrumentalist who hardcore jazz improvisers loved to bash when the subject of smooth jazz came up.