The music video for Sentimental is in a similar vein to that of Forever In Love where despite the attempt to tell a story, the music video ends up being superfluous to the song itself and while I acknowledge how difficult it must be to come up with a concept for an instrumental-focused musician, I would have much preferred to have seen Kenny G in a concert performance, or even in a natural setting, playing the song.īy The Time This Night Is Over (with Peabo Bryson) is a great song and if you hear a little of Michael Bolton’s style, particularly from The One Thing era, you wouldn’t be mistaken as he co-wrote it with Diane Warren and Andy Goldmark.
It is so relaxing and visual, especially if you close your eyes and allow yourself to be taken to a wondrous world where music reigns supreme. In The Rain is a lovely song that flows nicely from Forever In Love but it isn’t arguably a standout track even though it adds to the overall album experience. Kenny G has taken that Soprano Saxophone to the very limit of each note, ensuring that it is one of the most memorable songs on Breathless.įorever In Love was also released as a single, but the accompanying music video is largely forgettable and ultimately sullies the song in my opinion. While it is sensational at normal listening volumes, it really opens up and sounds amazing when the volume is raised.įorever In Love is simply beautiful and I’m often left speechless upon listening to it. It’s upbeat and positively styled and if you haven’t already, I’d recommend you turn the volume up. The Joy Of Life is a gorgeous opening song that sets the tone for the entire album. In this case, I feel it is most certainly the compact disc. I know the resurgence of vinyl is all the buzz at the moment, but I believe that you should buy an album in a format that best suits the music. I also don’t feel we need to see a vinyl re-issue of Breathless. Hence, the standard CD should be the epitome of perfection for most music lovers. Yes, I acknowledge there are HDCD, XRCD, and SACD editions available in China and Japan but I think you’d be hard-pressed to notice a difference unless you’ve got a very expensive and very revealing system. In retrospect, that was an incredibly naive choice so a few years ago when I began building my record collection again, I picked up the CD for the fifth time and other than a misprint, I couldn’t be happier as the mastering of the CD is the same as that originally release in 1992 and shows just how exceptional the humble CD can sound. After several years, and at the dawn of the MP3 era, I thought it was a good idea to digitise all my albums into this new technological format and sell the CD on eBay. Oh, and I picked up the cassette release as well for I didn’t have a Discman at the time. I then purchased another copy for myself so that I never ran the chance of damaging another prized possession. Then I managed to scratch the disc, by accident, that caused a little more b-bop in G-Bop, so I had to replace it. Well, my mother was a fan upon the album’s release so I gifted her a copy. You may wonder why I purchased so many copies. I’ve purchased five of those copies over the years and streamed the album countless times. Album DescriptionSince its release in 1992, Breathless has amassed sales of over 12 million units. See More Your browser does not support the audio element. Whether you're into pop or jazz, Breathless is unlistenable. 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. 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.
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Purchase and download this album in a wide variety of formats depending on your needs.
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