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 f...
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