It may be too early to declare this the start of an entire youth movement, but the second generation of smooth jazz performers is off to a convincing, feel good start with 21-year-old Jimmy Reid -- a saxman raised on transcriptions of genre stars like Richard Elliot, Kirk Whalum, and Gerald Albright rather than the bebop forefathers those players so revered. All of those influences ring through loud and clear on Reid's slickly produced, right in the pocket debut Forever Loved, which heralds Reid's arrival not only as a notable player on all three saxes, but also as a solid pop songcraftsman. While perky, percussive lightweights like "Feels So Good" show that Reid can get our attention with catchy hooks and a combination of staccato verses and silky transitional passages, his true skills are as a balladeer, crooning and commanding with his horn rather than vocals. Reid and his co-arrangers build tunes the way Barry Manilow did in the '70s deceptively gentle beginnings and slowly emerging emotional fires leading to wild, gloriously overblown crescendos (how could he not go this melodramatic route on a remake of the Titanic theme?). Reid's kindhearted, sometimes weepy soprano tones on that tune and the lush, teary "So Beautiful" and "Lullaby" are Koz-induced all the way. His assured tenor melody on the light funk tune "Yearning for Your Love" falls somewhere in between Elliot's scorching robustness and Whalum's deeper, but more subtle emotions. And yet, one whiff of the way his improvisational blasts egg on and swirl around the gospel vocals on the title track, and it's clear that Reid can break out of those molds; hope also lies in the way his straight-to-the-heart alto matches Whalum's tenor note for note, and sometimes as a playful conversational point-counterpoint, on the duet "Love Is." Before the last chorus, the two even engage in a tease and taunt, push and pull repartee, as if to ask, "Who wants to lead?"