[an error occurred while processing this directive]

[an error occurred while processing this directive]

New Age/Jazz

Rating Scale: to

Artist:	BERNARD OATTES
Title:	"RULES OF THE HEART"
Label:	Countdown:ULG
Reviewed By:	Donn Jehs
Rating:

The third album from Dutch musician/composer/arranger Oattes, this is the epitomy of smooth jazz with no edges to catch your ear. Just soft notes to soothe and caress you. This could lead to monotony but Bernard is too sharp a composer to allow that to happen. Mixing a variety of beats and guest artists, Peter White on guitar and Keesten Dam on saxophone, he gives us lush sweet sounding music. "Rules of the Heart" opens and closes the album. The first version is a saxophone driven piece that will make a lot of folks start thinking "Kenny G," for it has much the same feeling but with a little more ornate instrumentational background. The closing version includes vocals from Bernard, and while he has a nice voice suited to this kind of music, the instrumental version is the better of the two. Even so, the latter is receiving a good bit of airplay on the local smooth jazz station. The next two cuts "Soaring" and "Sandonaya" feature the guitar artistry of Peter White, and both are nice, although "Soaring" has this tendency to abruptly change volume which is a little disruptive - like a little kid snuck into the studio and started fiddling with the volume controls. The latter piece pairs Peter with Keeter Dam and his sax, and contains a nice keyboard bridge by Oattes. This piece is a little livelier and keeps the album from getting bogged down. One of the most popular tunes being covered today is J. J. Cales' "Cajun Moon" which Oattes does exceptionally well both on the keyboards and vocally. Perhaps not as soulful as other arrangements, but it still contains the mystery the song's title suggests. The vocals on "Twilight Love" are kind of a jazzy rap that is very catchy, if low-key, while "Winter's Gone" features Bernard on the keyboards. He seems to favor a sound out of his keyboard like it's being played underwater which sounds a little weird but grows on you. "Closing In On You" is the second song to be reprised on the album, the first version featuring Bernard's vocals, the latter a sax solo from Keeter Dam. I'm not sure I really like this practice. It's like Bernard wants to feature his guest but then wants to make sure we see how HE does it. Both versions have their appeal but it seems like he is almost playing one against the other and I'd rather Bernard had given us two more original cuts to showcase his guests or his vocal talents. The remaining two cuts are "Skies Are Clearing," which offers a taste of everything, solos from everyone, and minimal vocals partnered with the sax play. "This Haunted Heart" has a latin feel to it and features Keeter Dam once again on the sax. This is a well crafted piece that I really enjoyed. Overall this is an enjoyable album to listen to. No surprises, nothing spectacular, but no disappointments either. Playing by "The Rules" is rewarding whether on the field or on your CD player.

 

 

Back to Jazz/New Age