First off, I have to agree with BB. Black people born without soul are trying to deal with life under a tremendous handicap. But this may be remedied if these people DON'T listen to smooth jazz saxophone. Long periods of listening to Sweet Papa Lou, Earl Bostic, and Illinois Jacquet just might offset the lack of good grooves and feeling into the hearts and minds of those in need of a soul transfusion.
But I have to say that I'm a black man, and I used to have a ball hanging out with David Hartman! He used to come and hear a band I was leading at the Tavern On The Green in NYC, and he loved jazz. He used to bring his son, an aspiring drummer to hear Dave Gibson, the drummer I was using, and they would hang until after the gig was over and we would sit at a table and talk. He was very knowledgable about the music, and had very good ears.
I don't agree with the statement that Kenny G "almost single handedly brought the soprano sax back into vogue." You have to give that credit to John Coltrane. And Grover Washington opened the door the rest of the way. Kenny G was a very late arrival to the party. I remember listening to an interview of Steve Lacy done at WBGO just a week or so before his death. He mentioned how Coltrane started the trend, and how he, Steve Lacy, was so happy to see new sopranos on display in music stores, something he never saw when he was holding down the fort back in the 1950's.
I remember Grover running around Philly blowing the stew out of an old curved Conn soprano back in the late '60s. By the early '70's, he was a big star, and featuring a new mk6 sop on his records and live gigs. Grover, me, and many of my friends were buying sopranos in the late '60's and early '70s because of John Coltrane. And Grover made the sound of the soprano more palatable to the pop music record buying public. And he was selling LOTS of recordings of his soprano playing.