Is improvisational jazz to impressionism art as smooth jazz is to realism art?


So, I’ll acknowledge up front, I’m an engineer. Civilian and Warfighter lives can be in the balance depending on whether our company products perform as required or not. As a result, I try very hard to drive the entropic world we live in towards black and white as much as possible. I need to put order to chaos. When i look at art, impressionistic art requires a lot of mental work to make sense of. I just don't see it or get it, appreciate it or like it. I also find, as hard as i may try to enjoy improvisational jazz, that i don't get it, appreciate it, or like it. Instead, I love Realism art and instrumental smooth jazz!!
Reading from Audiogon forum pages for a couple of years now, i feel like i should feel inferior because 1. I don’t appreciate the free flow of expression that is improvisational jazz and 2. I love that there is a tune and thread in smooth jazz. I love the guitar artistry of Chuck Loeb, Chris Standring, and Acoustic Alchemy; the trumpet expressions of Rick Braun, Cindy Bradley, and Chris Botti; and the bass works of Brian Bromberg. 
I’m curious if there are many others out there that equate order (or lack there-of) in their music tastes to that of their taste in the visual arts?
Also, are there many other music lovers who would rather enjoy a good smooth jazz listening session than improvisational jazz?  If so, who do you listen to?
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Nice post, @deadhead1000- I don't think anyone seriously thinks they can convince a person to like a certain type of music, and the added difficulty with jazz (not quite as much as a factor with rock during its heyday) is that jazz performers appear on lots of records as non-featured artists. To a lesser degree true with rock, but some of my favorite work is actually that of the side persons/session players on a given recording. 
I grew up around people who would follow the Dead; my listening of them told me they were consummate, and could jam blues/folk/rock/ endlessly at a high level of technical and musical proficiency, but it really is a long trip, isn't it? (Some of these jazz tracks are entire sides, not making that a measure of anything). 
On Tull, having come up on them from the beginning, "Stand Up" is so much the template for what that band did in creating a men in tights medieval balladeer meets crushing rock (the guitar wielded by Martin Barre was pretty gnarly); This Was is more blues and jazz and doesn't reflect the general direction of the band (though Aqualung, commercially and musically, may be the album of broadest appeal). But, at the end of the day, just using that band as an example you can find different periods associated with different overall sounds/styles from the band. Sometimes, your point of entry affects your perception, too. 
In connection with jazz, I really didn't pay any attention to any of these records at the time they were released. They were only discovered by me after many excursions into more unfamiliar terrain, sometimes, with knowledge of one or another musicians who appeared with them for that particular recorded performance. 
Maybe my mantra should be listen more, talk less. But, then you'd never see me. :)

@estreams: Your view of the different strains of Jazz can lead one to this fact: amongst some musicians, the more "difficult" a music is, the more artistic it is. It’s a form of snobery, one I clearly hear in the music of, for instance, Frank Zappa. The term "abstract" is, I believe, a better one than impressionism for what you are talking about.

The snobery comes from the belief that more complex and/or difficult (atonal, lack of melody and/or traditional song chord progressions/structure) music expects and asks more of the listener, requiring a knowledge of music theory, if only to discard it in practice.

If I may suggest a (non-Jazz) music which is very formally structured, melodic, and "inviting" (unlike the off-putting "difficult" strains of Jazz), give J.S. Bach a try. His music is all of the above, but in Baroque music the musician is often free to add his own improvisation embellishment to the written score. In fact, in the 17th and 18th centuries that ability was expected. It’s almost like a musician taking a solo in a song, though to a lesser degree.
Abstract Art was a CIA project. No kidding... Classified Documents revealed that the whole market for doodle art was created by the CIA, they wanted to show the west as being more advanced and progressive compared to the Rigid Soviet Union.
The agency paid curators, and bought the art to kick start the market.
I think their motives were more of an experiment, to see if they could influence people to abandon classical standards, and accept the post modernism view, that there is no objective beauty.
If you don’t get abstract art and music, don’t worry... you still have a functioning brain, and are probably smarter than the average Joe.
The key to enjoying jazz of any type is to listen to it. Listen to all of it.

My cousin introduced me to jazz around the age of fourteen. I cut my teeth on West Coast Jazz. Dave Brubeck Quartet, Howard Rumsey's Light House All-Stars, Shelley Mann, Cal Tjader, etc. It all made sense and sounded so melodic. I loved it.

My cousin loved the likes of Thelonious Monk, Charlie Parker, and Charles Mingus. I couldn't stand them. My cousin told me to just keep listening, and I would eventually get it. Sure enough, one night while listening to Monk, the lightbulb went on and I realized that the man was a musical genius. The rest followed suit. 

A friend of mine is an ex-studio musician (guitar). He loves opera. I couldn't stand it. My friend told me the same thing my cousin did about jazz ... just keep listening to it. So, I put a cassette tape of some opera arias in my car and started listening. Bingo! I now have a very nice collection of complete operas and opera highlights. 

So, to the OP and others who don't get abstract jazz, just keep listening. Once you realize that the players are in complete control of the music, you'll start to get it. It helps to follow the bass line. 

Frank