You’re seen by most audiences as exclusively a solo artist, yet your list of collaborations is both long and impressive. What do you look for in a collaborator – is it more about the artist or the music?
Kenny G (KG): It’s always about the music for me. If I think I can add to a song and make something beautiful happen then I will go for it.
Instrumental guest spots are usually given less prominence than vocal additions (in pop music, anyway). Do you ever come up against a mind-set that places saxophone playing below, say, a rap interlude from Jay Z or a harmony from Tom Petty?
KG: Never. Perhaps I’ve been lucky.
You’ve occasionally received criticism based on your perceived lack of street credibility – people go on about your hair, your take on classic jazz. Those arguments are best countered with references to your sales (75 million albums and counting), but you also make a point of using humour to poke fun at yourself, as on your Funny Or Die appearances. Is that about smart marketing or just a fun sideline?
KG: I like to look at the humorous side of life. The critical people who have strong opinions about what I do have no place in my consciousness and I will continue to create and play my music the way that makes sense to me.
What role does humour or banter play in your live show?
KG: I try to bring humour into my live show so people can get to know me as opposed to just hearing the music. They can do that at home!
Your current tour sees you leave the States for just a couple of weeks before heading back. How important is it – particularly in the digital age – to still go abroad from time to time to play? There can’t be much in the way of profit for those shows given the high transport and travel costs for single gigs – is the ongoing goodwill factor a reasonable reward?
KG: There are lots of factors involved. There’s business, music, my band, my family commitments and more. I try to look at all sides and then decide if it’s in my best interest to travel abroad to perform.
You’ve leapt all over the musical landscape with past releases (hit originals, jazz standards, Latin-influenced songs). What type of music would you still like to explore that might be unexpected for your established fans?
KG: Well, as it happens, my new CD, which is coming out in January, is all about Bossa Nova and I think somewhere in the future is a classical album waiting to be recorded.
South Africa has a rich jazz heritage. Do you have any favourite artists or prospective collaborators from this neck of the woods?
KG: Honestly, I tend to concentrate on my own music and compositions so I rarely think about collaborators.
Kenny G (KG): It’s always about the music for me. If I think I can add to a song and make something beautiful happen then I will go for it.
Instrumental guest spots are usually given less prominence than vocal additions (in pop music, anyway). Do you ever come up against a mind-set that places saxophone playing below, say, a rap interlude from Jay Z or a harmony from Tom Petty?
KG: Never. Perhaps I’ve been lucky.
You’ve occasionally received criticism based on your perceived lack of street credibility – people go on about your hair, your take on classic jazz. Those arguments are best countered with references to your sales (75 million albums and counting), but you also make a point of using humour to poke fun at yourself, as on your Funny Or Die appearances. Is that about smart marketing or just a fun sideline?
KG: I like to look at the humorous side of life. The critical people who have strong opinions about what I do have no place in my consciousness and I will continue to create and play my music the way that makes sense to me.
SMOOTH. Kenny G will be playing for a Johannesburg audience on November 20. Pictures: Supplied
What role does humour or banter play in your live show?
KG: I try to bring humour into my live show so people can get to know me as opposed to just hearing the music. They can do that at home!
Your current tour sees you leave the States for just a couple of weeks before heading back. How important is it – particularly in the digital age – to still go abroad from time to time to play? There can’t be much in the way of profit for those shows given the high transport and travel costs for single gigs – is the ongoing goodwill factor a reasonable reward?
KG: There are lots of factors involved. There’s business, music, my band, my family commitments and more. I try to look at all sides and then decide if it’s in my best interest to travel abroad to perform.
You’ve leapt all over the musical landscape with past releases (hit originals, jazz standards, Latin-influenced songs). What type of music would you still like to explore that might be unexpected for your established fans?
KG: Well, as it happens, my new CD, which is coming out in January, is all about Bossa Nova and I think somewhere in the future is a classical album waiting to be recorded.
South Africa has a rich jazz heritage. Do you have any favourite artists or prospective collaborators from this neck of the woods?
KG: Honestly, I tend to concentrate on my own music and compositions so I rarely think about collaborators.
Source- Citizen
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