Contemporary player tabbed by Malaco as an early signee when the company, b… Read Full Bio ↴Contemporary player tabbed by Malaco as an early signee when the company, best known for downhome Southern soul and blues, tried to expand into jazz during the late '80s. Baldwin's heavily synthesized, pop and funk-centered work didn't prove commercially potent, and he moved to Atlantic in 1990. He remained in Atlanta into the next decade and has had moderate success there, continuing to churn out the familiar instrumental pop tunes and carefully crafted numbers, in addition to working some in radio.
In 1990, his fanciful funk keyboard action on Rejoice was masterful; when he later played with Marion Meadows, he became part of smooth jazz consciousness. This follow-up to his debut is a pop, jazz, and soul collection that rivals the first one in likeableness and simple adventure. Most of the cuts convey an easygoing sense of R&B rhythms, along with a propensity by Baldwin to improvise over the tastiest grooves imaginable. His version of Cyndi Lauper's "Time After Time" is so perky, you might not recognize it. The bounciness of "Billy's Funk" and "It's Not Enough (Enuf)" are indicative of the party flavor apparent throughout. And as if Baldwin wasn't impressive enough with his keyboards and occasional bass playing, he adds the sax talents of Grover Washington, Jr. and Meadows and the vocalese of Dwight Sills. A horn section is also used to great effect on "Everything You Want (In Time)." There are a few serious moments, such as "In a Sentimental Mood," but for the most part, this is a fun spirited, let your hair down kind of listen.
The smooth jazz format has lent itself to an unfortunate trend towards sugary and fluffy generic album titles that hardly characterize the grit and energy of the music they represent. Boney James went the route with Sweet Thing and now Bob Baldwin's blandly titled but explosively executed Cool Breeze makes a strong case for not judging a disc by its cover. As with his independent City Sketches earlier this year, the keyboardist never quite approaches the free-for-all soul-fusion jam sessions which marked his early Atlantic albums, yet he throws enough aggressive, improvisational punches into these uptempo romps to remind his old fans of the way he once pounded. Rather than crazed earthquakes, he gives us thoughtful, slickly produced tremors that lean towards gospel every so often. He also twists familiar pop hits like "Summer Breeze" and "Walk On By" into funky blue knots. His artful, no frills jazz trio spins on "Cool Wind Blowing" and "I Give Unto You" make many of the other tracks seem overproduced and machine generated by comparison. While Baldwin knows how to balance electric and acoustic currents to great effect, he should consider stripping down like this more often in the future. Why hide behind smoke and mirrors when you have this much emotion to offer?
A rookie of the year in 1990, superfunk keyboardist Bob Baldwin had plenty to be happy about with his sizzling Atlantic debut.. A sure candidate for the R&B crossover chart, Baldwin assembled immediately likable and upbeat synth grooves with some fancy acoustic interludes to form an eclectic hybrid of styles which he calls "PBJ Music" -- as in pop, blues, and jazz. Having grown up with both jazz and R&B influences, he writes and co-produces bouncy material which proves to be the best of both worlds. While his original material is a marvel, Rejoice is that rare album where the cover tunes bear the most repeated listening. His get down jam on Joe Zawinal's "Mercy Mercy Mercy" is the best example, but his light hearted medley dedicated to Motown legend Marvin Gaye is as sweet as tributes come.
Bob Baldwin wasn't the first artist to name a project after his website -- Fattburger and Jethro Tull both beat him to the punch -- but the funk-jazz keyboard whiz's Bobbaldwin.com devotes its liner notes to reminding us to enjoy technology but not let it take over for our heart and soul. Baldwin puts his music where his words are, using his synth rack to create numerous busy, often retro-soul textures, but, at heart, his graceful yet punchy melodies shine through at all times. He has a good time with titles, moving from the cool hip-hop of "eSmooth" (which features his trademark high-register swirling solos between revisits to the sax-driven hook) through "Westchester Online" (with a playful cat and mouse game between Dean James's soprano and Joey Summerville's bouncy trumpet) and then on to the album's most unusual piece, "Overtime (In the Chatroom)." As if to make a point about what too much cybertalk can do to one's sensibilities, Baldwin offers no defining pop melody, instead darting in and out with percussive avant-garde synth lines, clicking wah-wah guitars, and an occasionally smooth soprano line from Marion Meadows, over floating, hypnotic atmospheres. Most of the other material is smartly played and very in-the-pocket, from the opening cover of "Never Can Say Goodbye" (with crackling guitar passages and harmonies by Chuck Loeb) and the brassy party tune "Funkin' for Jamaica," featuring trumpeter Tom Browne and the harmonic blend of the saxes of Gerald Albright, Marion Meadows, and Fred Vigdor.
In 1990, his fanciful funk keyboard action on Rejoice was masterful; when he later played with Marion Meadows, he became part of smooth jazz consciousness. This follow-up to his debut is a pop, jazz, and soul collection that rivals the first one in likeableness and simple adventure. Most of the cuts convey an easygoing sense of R&B rhythms, along with a propensity by Baldwin to improvise over the tastiest grooves imaginable. His version of Cyndi Lauper's "Time After Time" is so perky, you might not recognize it. The bounciness of "Billy's Funk" and "It's Not Enough (Enuf)" are indicative of the party flavor apparent throughout. And as if Baldwin wasn't impressive enough with his keyboards and occasional bass playing, he adds the sax talents of Grover Washington, Jr. and Meadows and the vocalese of Dwight Sills. A horn section is also used to great effect on "Everything You Want (In Time)." There are a few serious moments, such as "In a Sentimental Mood," but for the most part, this is a fun spirited, let your hair down kind of listen.
The smooth jazz format has lent itself to an unfortunate trend towards sugary and fluffy generic album titles that hardly characterize the grit and energy of the music they represent. Boney James went the route with Sweet Thing and now Bob Baldwin's blandly titled but explosively executed Cool Breeze makes a strong case for not judging a disc by its cover. As with his independent City Sketches earlier this year, the keyboardist never quite approaches the free-for-all soul-fusion jam sessions which marked his early Atlantic albums, yet he throws enough aggressive, improvisational punches into these uptempo romps to remind his old fans of the way he once pounded. Rather than crazed earthquakes, he gives us thoughtful, slickly produced tremors that lean towards gospel every so often. He also twists familiar pop hits like "Summer Breeze" and "Walk On By" into funky blue knots. His artful, no frills jazz trio spins on "Cool Wind Blowing" and "I Give Unto You" make many of the other tracks seem overproduced and machine generated by comparison. While Baldwin knows how to balance electric and acoustic currents to great effect, he should consider stripping down like this more often in the future. Why hide behind smoke and mirrors when you have this much emotion to offer?
A rookie of the year in 1990, superfunk keyboardist Bob Baldwin had plenty to be happy about with his sizzling Atlantic debut.. A sure candidate for the R&B crossover chart, Baldwin assembled immediately likable and upbeat synth grooves with some fancy acoustic interludes to form an eclectic hybrid of styles which he calls "PBJ Music" -- as in pop, blues, and jazz. Having grown up with both jazz and R&B influences, he writes and co-produces bouncy material which proves to be the best of both worlds. While his original material is a marvel, Rejoice is that rare album where the cover tunes bear the most repeated listening. His get down jam on Joe Zawinal's "Mercy Mercy Mercy" is the best example, but his light hearted medley dedicated to Motown legend Marvin Gaye is as sweet as tributes come.
Bob Baldwin wasn't the first artist to name a project after his website -- Fattburger and Jethro Tull both beat him to the punch -- but the funk-jazz keyboard whiz's Bobbaldwin.com devotes its liner notes to reminding us to enjoy technology but not let it take over for our heart and soul. Baldwin puts his music where his words are, using his synth rack to create numerous busy, often retro-soul textures, but, at heart, his graceful yet punchy melodies shine through at all times. He has a good time with titles, moving from the cool hip-hop of "eSmooth" (which features his trademark high-register swirling solos between revisits to the sax-driven hook) through "Westchester Online" (with a playful cat and mouse game between Dean James's soprano and Joey Summerville's bouncy trumpet) and then on to the album's most unusual piece, "Overtime (In the Chatroom)." As if to make a point about what too much cybertalk can do to one's sensibilities, Baldwin offers no defining pop melody, instead darting in and out with percussive avant-garde synth lines, clicking wah-wah guitars, and an occasionally smooth soprano line from Marion Meadows, over floating, hypnotic atmospheres. Most of the other material is smartly played and very in-the-pocket, from the opening cover of "Never Can Say Goodbye" (with crackling guitar passages and harmonies by Chuck Loeb) and the brassy party tune "Funkin' for Jamaica," featuring trumpeter Tom Browne and the harmonic blend of the saxes of Gerald Albright, Marion Meadows, and Fred Vigdor.
Everybody's Beautiful
Bob Baldwin Lyrics
We have lyrics for 'Everybody's Beautiful' by these artists:
Barney Gamble$ They're alone but they're sitting in first row in front of…
We have lyrics for these tracks by Bob Baldwin:
Abbey Road ABBEY ROAD Lennon pulls out his pen Paul plays his bass an…
Are You Ready Can it be I stayed away too long? Did I leave…
Being With You I don't care what they think about me, and I don't…
Cafezinho Dil Chahta Hai, Dil Chahta Hai Dil Chahta Hai, Kabhi Na…
Don't Wanna Be Ooh ooh ooh ooh ooh ooh Day after day, alone on…
Funkin' For Jamaica Jamaica funk, that's what it is let it get into…
I Wish And I wish I never met her at all Even though…
My Love And when I go away I know my heart can stay…
Never Can Say Goodbye I never can say goodbye, no, no, no, no, now Never…
People Make The World Go Round People... ('Round And 'Round And Around...) People Make The …
Somebody else I can't get off my high horse and I can't…
Something Something in the way she moves Attracts me like no other…
The Fool on the Hill Ooh ooh ooh ooh ooh ooh Day after day, alone on…
The Way She Looked Something in the way she moves Attracts me like no other…
Where Are You Going Can it be I stayed away too long? Did I leave…
Where Are You Going%3F Can it be I stayed away too long? Did I leave…
Where Are You Going? Can it be I stayed away too long? Did I leave…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@eharvey6455
About 20 years ago, I met Bob at the Berks Jazz Festival in Reading, Pa. After each concert, the performer would come out and do a meet and greet. This time Bob did a jam session. It started around 2ish in the morning. Bob, Marion Meadows and the band played until sunrise. What a night!!! Had a chance to meet him after the session. Next to Joe Sample, Bob was the most genuine and honest musician that I've ever met. He is the truth!
Thanks for that memory Mr. Baldwin
@Danieljazzlover
Thank you very much for your comment, I love it when people tell these kinds of anecdotes. I wish I had been there.. By the way. How did you meet to Joe Sample? That man did I love the jazz so much, my favorite artist forever.
@margareta2189
Love this song ❤️❤️❤️
@juancarlosberenz3545
Excelente!! Beautiful song !!
@poetminor0723
Very nice. Thanks for uploading.
@avamendez1272
heading to Sao Paulo and I'm taking this track with me😊
@elcharrocibernetiko
muy buen trabajo, Danieljazzlover, lo mejor de lo mejor. Gracias por subirla.
@erisvaldolima5916
Não me canso de escutar...
@fte9000
<3 chill <3 Everybody's Beautiful. <3 <3 thanks for posting!
@dorothycurtis3339
Beautiful 😍