Klarinet Archive - Posting 000965.txt from 2000/01
From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] So what's wrong with Kenny G?
Date: Fri, 28 Jan 2000 20:45:40 -0500
David Blumberg wrote:
<<<I'll tell you what's wrong with Kenny G. in one word - depth. It all
sounds the same. It's the jazz equivalent of Bruckner.>>>
Ah, but with one tiny exception. Bruckner wasn't rich.
Ken Wolman opined:
<<<From some people it's probably at least jealousy in part: the guy is
making oodles of money. However, that isn't all of it. He has good
technique and a beautiful tone, yes. I had a beautiful tone on the
clarinet when I was in the 9th grade. So what? Kenny G doesn't appear
to play better or as well as other people who specialize in the soprano
sax, a ballbreaking instrument no matter who's playing it. For example,
as anyone ever listened to what the lady with the funny name, Jane Ira
Bloom, can do with a soprano horn? Basically she can blow Kenny G. off
the stage. Or Steve Lacy, an innovator whose music is not always easy
to listen to but who I think has probably expanded the audience for the
instrument as well as added to the repertoire. Their technique is at
least as good as Kenny G's and they show something like imagination.>>>
I am always amused by the piling on whenever Kenny is discussed. I am also
truly amazed at the vitriol of some of the postings (not necessarily the
ones I've quoted above -- but y'all know what I'm talking about). If you've
been on the list for awhile, you might remember that I went to college with
Kenny Gorelick. I'm saddened to see people get all red-faced in his
direction; he's certainly done nothing to deserve it. Unlike a great number
of jazz musicians who made a point to impede the career of others, Kenny is
one of those "truly nice guys."
Dave BLumberg hit a nail on the head when he noted that Kenny's records all
sound the same. This is not an accident. Kenny is a very, very smart guy
who figured out a niche to make some coin. He records what he does (a type
of music I not-so-lovingly refer to as "newage" -- rhymes with "sewage") for
a very simple reason: he makes a pile of money doing it. Kenny's a CPA (for
real!) who did the math, and figured that the life of a gigging jazz
musician wasn't for him.
There are lots and lots and lots of fantastic musicians who play their horns
primarily for money, and don't get blasted for it. Most working musicians
play music they don't like to put food on the table. (Even great woodwind
types -- listen to the woodwind work on the old Warner Brothers cartoons.
Wasn't that Mitchell Lurie & Abe Gallodoro?) Studio musicians, by and
large, are excellent, but often have to play dreck. Heck, I've played
Mahler for free, but made a fair amount of dough playing polkas. Does this
make me evil?
You don't like Kenny's music? Don't buy it. If you are on this list, you
are not his targeted audience anyway.
Ken's post did rub me a little bit the wrong way, however -- in particular
the part about how "Jane Ira Bloom . . . can blow Kenny G. off the stage."
I wasn't aware that they had appeared together in a cutting session; if they
had, I'd wouldn't bet on Jane.
Just because the music Mr. Gorelick plays in his Kenny G character is a bit
vapid doesn't change the fact that he is a truly remarkable saxophone
player. On a technical level, he is head and shoulders above Jane Ira Bloom
or Steve Lacey -- there is NOTHING he can't make a saxophone do. His
recorded playing, while perhaps a bit vapid compositionally, is technically
outstanding; I'd place him as the Stanley Drucker of the soprano sax.
You should also not assume that he can't play hard bebop, just because it
isn't what he records. I've heard him live in clubs, playing for fun -- cat
can play. Anything. Seventeen choruses of Giant Steps, all interesting.
Cherokee at Phil Woods speed. Whatever. Don't assume that he can't play
this stuff because he won't put in on a record that people won't buy.
The upshot of my rambling is that you shouldn't confuse how "good" a player
is with how much you like the music that they play -- you may not be hearing
the good stuff.
Do I have little sax students listen to Kenny? You bet. They need to get a
good tone in their head before they can get one out of their horn, and his
is a good one to hear. In addition, if they listen to Kenny today, they may
listen to Bird tomorrow.
kjf
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