Jazz guitar legend Pat Metheny has weighed in on the issue of Kenny G and his music. This was originally posted by Pat in the message board of his official website and has also surfaced in the newsgroups and email. His remarks are being presented here in their entirety.
(I wholeheartedly agree with Pat's opinion on Kenny's music and would further state that I think G could still make his money and play better material, so my only guess is that he chooses to pander to the public voluntarily. This is disturbing.- Bob)
Date: Jun 05 2000 Subject: Controversy and Kenny G
Question: Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than
enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not
find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive
of other musicians it seems.
Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the
way he played that interested me one way or the other either live or on records. I first heard him a number of
years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that
he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time,
like grover washington or david sanborn, but was not really an advanced player, even in that style. He had major
rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and
blues- lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a
professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.
but he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three
most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams
in them) at the keys moments to elicit a powerful crowd reaction (over and over again). The other main thing I
noticed was that he also, as he does to this day, play horribly out of tune - consistently sharp.
Of course, I am aware of what he has played since, the success it has had, and the controversy that has
surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that
he sells an enormous amount of records while not being anywhere near a really great player in relation to the
standards that have been set on his instrument over the past sixty or seventy years.
And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing
so well financially, especially when so many of them who are far superior as improvisors and musicians in general
have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who
are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even
he disagreed with that statement.
Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right
“bait” of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not
even jazz at all.
Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising
from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact
clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as
being jazz. It’s just that as jazz or even as music in a general sense, with these standards in mind, it is simply not
up to the level of playing that we historically associate with professional improvising musicians. So, lately I have
been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the
world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.
And after all, why he should be judged by any other standard, why he should be exempt from that that all other
serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context
playing with a rhythm section as he does? he SHOULD be compared to John Coltrane or Wayne Shorter, for
instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at
finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in
the context of his instrument’s legacy and potential.
As a composer of even eighth note based music, he SHOULD be compared to herbie hancock, horace silver or even
grover washington. Suffice it to say, on all above counts, at this point in his development, he wouldn’t fare well.
But, like I said at the top, this relatively benign view was all “until recently”.
Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong
record, the track “what a wonderful world”. With this single move, Kenny G became one of the few people on earth
I can say that I really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and
as a musician, for presuming to share the stage with the single most important figure in our music.
This type of musical necrophilia - the technique of overdubbing on the pre-existing tracks of already dead
performers - was weird when Natalie Cole did it with her dad on “unforgettable” a few years ago, but it was her
dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest
singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell
presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him
- and I have to seriously question the fact that I did have respect for someone who could turn out to have have
such unbelievably bad taste and be that disrespectful to one of my personal heroes.
But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the
greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling,
wimped out, fucked up playing all over one of the great Louis’s tracks (even one of his lesser ones), he did
something that I would not have imagined possible. He, in one move, through his unbelievably pretentious and
calloused musical decision to embark on this most cynical of musical paths, shit all over the graves of all the
musicians past and present who have risked their lives by going out there on the road for years and years
developing their own music inspired by the standards of grace that Louis armstrong brought to every single note he
played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has
ever tried to do something positive with improvised music and what it can be, Kenny G has created a new low
point in modern culture - something that we all should be totally embarrassed about - and afraid of. We ignore
this, “let it slide”, at our own peril.
His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the
only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for
the record sales and the money it would bring.
Since that record came out - in protest, as insigificant as it may be, I encourage everyone to boycott Kenny G
recordings, concerts and anything he is associated with. If asked about Kenny G, I will diss him and his music with
the same passion that is in evidence in this little essay.
Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and
don’t really benefit from public criticism, particularly from their fellow players. But, this is different.
There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at
even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass is to agree
that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do
that. (i am also amazed that there HASN’T already been an outcry against this among music critics - where ARE
they on this?????!?!?!?!- , magazines, etc.). Everything I said here is exactly the same as what I would say to
gorelick if I ever saw him in person. And if I ever DO see him anywhere, at any function - he WILL get a piece of
my mind and (maybe a guitar wrapped around his head.)
NOTE: this post is partially in response to the comments that people have made regarding a short video interview
excerpt with me that was posted on the internet taken from a tv show for young people (kind of like MTV) in
poland where I was asked to address 8 to 11 year old kids on terms that they could understand about jazz.
While enthusiastically describing the virtues of this great area of music, I was encouraging the kids to find and
listen to some of the greats in the music and not to get confused by the sometimes overwhelming volume of music
that falls under the jazz umbrella. I went on to say that I think that for instance, “Kenny G plays the dumbest
music on the planet” - something that all 8 to 11 year kids on the planet already intrinsically know, as anyone who
has ever spent any time around kids that age could confirm - so it gave us some common ground for the rest of
the discussion. (ADDENDUM: the only thing wrong with the statement that I made was that I did not include the
rest of the known universe.)
The fact that this clip was released so far out of the context that it was delivered in is a drag, but it is now done.
(it’s unauthorized release out of context like that is symptomatic of the new electronically interconnected culture
that we now live in - where pretty much anything anyone anywhere has ever said or done has the potential to
become common public property at any time.) I was surprised by the polish people putting this clip up so far away
from the use that it was intended -really just for the attention - with no explanation of the show it was made for -
they (the polish people in general) used to be so hip and would have been unlikely candidates to do something like
that before, but I guess everything is changing there like it is everywhere else.
The only other thing that surprised me in the aftermath of the release of this little interview is that ANYONE would
be even a little bit surprised that I would say such a thing, given the reality of Mr. G’s music. This makes me want
to go practice about 10 times harder, because that suggests to me that I am not getting my own musical message
across clearly enough - which to me, in every single way and intention is diametrically opposed to what Kenny G
seems to be after.
Proceed to Part 2
Pat's comments are © Pat Metheny