New album "GORELICK" drops soon on ROYAL POTATO FAMILY, vinyl and digi release!!
April 1, 2012 street date.
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Talking 'punk jazz' and the Dead Kenny Gs with genre-defying saxophonist Skerik -------------------------------- Dead Kenny G's on Jam Cruise 10!! -------------------------------- New album Operation Long Leash on Royal Potato Family records drops on March 15, 2011!! -------------------------------- ALARM MAGAZINE
MARCH 2011 -------------------------------- Check out the great the interview with Skerik at the live music blog site The Way Live Should Be -------------------------------- Now
Available! You saw Skerik wearing it on the Carson Daly Show! Now everyone's gotta
have it! Yes, that's right - The Dead Keny G's T-Shirts! ---------------------------------
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Upholding the Standards of Smooth Jazz Purists ---------------------------------
Pat and Kenny Pat Metheny on Kenny G:
Los Angeles Times | July 15, 2011 by Chris Barton
Ever since sometime in the mid-'90s, a wild-eyed saxophonist who calls himself Skerik has seemed the center of a particularly rambunctious and unclassifiable corner of the jazz universe. Born Eric Walton, the busy Seattle-based musician is co-leader of the influential freak-jazz combo Critters Buggin as well as the more rock-oriented Garage a Trois and the Dead Kenny Gs, a provocatively named "punk jazz" trio with Critters Buggin members Brad Houser and Mike Dillon that touches on elements of funk, metal and Gypsy music. The band released the raucous "Operation Long Leash" this spring and performs Sunday at the Del Monte Speakeasy in Venice (a show at Long Beach's DiPiazza's follows Monday).
Though Skerik has collaborated with a wide array of musicians including drummer Bobby Previte, eight-string guitarist Charlie Hunter, bassist Todd Sickafoose and Primus' Les Claypool, his style-hopping music is often dismissed as part of the Phish-adjacent "jam band" scene. But in terms of sonic inventiveness as well as drawing a new audience to jazz and jazz-adjacent instrumental music, Skerik is one of the most significant West Coast saxophonists of the past 15 years.
We talked with Skerik about his band's confrontational name, the perils of musical labels and a brief reminiscence about a national tour that was scheduled in the days surrounding Sept. 11, 2001.
So, about that name, the Dead Kenny Gs. It definitely makes a statement.
Well, we’re as equal fans of the Dead Kennedys as we are vehemently opposed to the proliferation and existence of smooth jazz. Poor Kenny is kind of a figurehead in this whole deal.
Are you guys pretty much running opposed to all that smooth jazz stands for you?
You know, it’s hard playing instrumental music in contemporary times. In the early '90s everyone was asking, “Oh are you guys acid jazz?” No. And then in the 2000s it was like, “Are you guys a jam band?” No. It’s just always something, and then for this whole genre to creep up, smooth jazz, it’s just really sad. And of course saxophone takes a big hit.
So you don't identify yourself as being part of the jazz scene or the jam-band scene?
Well, we’re like punk-jazz. That’s a term that I think was made popular by Jaco Pastorius. He’s someone that used distortion and didn’t follow ideological divisions in music, whereas other people have made careers off the ideological subdividing of genre, like Wynton Marsalis. “You have to play this kind of music, you can’t like this kind of music.” I mean it was just absurd.
So I think there’s a much greater spirit that really needs to be respected, and I think Charlie Parker, Jimi Hendrix and John Coltrane, they were all very revolutionary, just as some of the political music from the punk movement of the '80s was very revolutionary. To me there’s no difference between Charlie Parker, Jaco Pastorius, John Coltrane or Jello Biafra. They’re all just free thinkers, you know.
Is the jam band label something that bothers you when it gets applied to what you do?
I remember John Medeski [of Medeski Martin and Wood] saying once that he thought it describes the audience better than the music. Because with the bands it’s like, what does Ween have to do with Del McCoury? Or Femi Kuti and Neko Case? Well, they both play at the same jam band-oriented festival, does that make them jam bands? Genres in general are really stupid, they’re stereotypes that just don’t work.
When you were first starting out, did you ever play straight jazz or was it always an amalgamation of styles?
I just kind of came up through school -- big band, stuff like that. And then you start getting older you start seeing the "jazz arms race" is what we called it, where there’s more of a priority on the accumulation of jazz knowledge than actual pursuing of yourself and the spirituality of the music and the greater message that it has. And I got really turned off by that so I went into rock music.
Occupying this kind of no-man's land musically, do you have a hard time finding the right sort of room to play, such as jazz clubs versus rock clubs?
Yeah, we kind of default to rock clubs just because it’s a little more understanding I think, there’s a little more flexibility there. But it’s frustrating sometimes because you do want to use the dynamics of a jazz club, where people are seated and quiet and it’s really nice. Sometimes it’s a real blessing when a lot of people don’t show up because it does increase your ability to use just a broader spectrum and that’s definitely something that’s really important for us.
We just got off tour opening for Primus for like two to four thousand people a night. But sometimes they were seated, we were playing in performing arts centers so we could get real quiet.
Ten years ago you were on tour with Critters Buggin and the Master Musicians of Jajouka right after Sept. 11. What was it like being on the road then?
We were touring on the East Coast right when that happened. We were supposed to play the final shows at the Wetlands, it was supposed to be this big thing but of course Manhattan was closed. Our show in New York was canceled and our show in Washington, D.C., was canceled. And we’re driving on the East Coast going into the South and every truck stop we pull into there’s 8 ½ by 11 printouts of targets with Bin Laden’s face on it wearing a turban. And the guys that we’re touring with are Muslims who were dressed like that. So there’s all this jingoistic nationalism going on and Arab-bashing hatred so we were pretty concerned about their safety. We almost canceled the tour, but I'm glad we didn't.
We had a day off in New Orleans and [percussionist] Mike Dillon and I actually flew to New York to do a Garage a Trois show that had been previously booked at B.B. King's in Times Square. I just remember sitting on the sidewalk kind of like, "God, is this a good idea that we’re here? Should we just leave these people alone?" And people that I didn’t even know were coming up to me, looking me straight in the eye saying, “Thank you for coming.” You know, they needed a break, they’d just been in it for four or five days. They needed a diversion so I felt a lot better about playing the show that night.
During the show you played in Santa Monica for that tour, you took a solo at one point and it sounded as if you were screaming through your horn. It was one of the most cathartic things I’d ever seen.
Yeah, it’s good when the influence of Pharoah Sanders comes through.
Join us as we celebrate the 10th Sailing of Jam Cruise, January 9-14, 2012! Jam Cruise will once again set sail from Ft. Lauderale on the luxury liner MSC Poesia with stops in Labadee, Haiti, and Falmouth, Jamaica. We want DKG's fans to be the loudest and freakiest people on the ship! Cabins go on sale Tuesday, May 24 at Noon ET! Visit www.jamcruise.com for details.
If the moniker for the combustible punk jazz trio The Dead Kenny Gs doesn’t say it all upon initial glance, a first listen to their new album Operation Long Leash quickly makes their intentions clear. Saxophonist Skerik, bassist Brad Houser and drummer/percussionist Mike Dillon are committed to musical subversion of the highest order. Exploring a muso obsession of musical styles and sonic colors, The Dead Kenny Gs have both the courage and the chops to realize their wildest aural fantasies. One moment they draw inspiration from punk legends The Minutemen, the next finds them embracing the spirit of jazz giant Rahsaan Roland Kirk and yet another finds the influence of indie rock progenitors Deerhoof; all the while sounding purely DKGs. To further that extent, it’s not just music informing the trio’s voice, but a keen understanding of political conspiracy in American history. The album’s title, Operation Long Leash, comes from the clandestine CIA operation in the late ‘40s to fund Abstract Expressionism as a means for Western culture to undermine the rigid, confined and conformist ideals of the Soviet Union during the early years of the Cold War.
The Dead Kenny Gs: Operation Long Leash (Royal Potato Family)
Alarm Magazine, March 2011
The Dead Kenny Gs: "Devil's Playground"
Fans are long used to seeing the names Skerik, Mike Dillon, and Brad Houser in the same sentence. Together, the three multi-instrumentalists comprised three quarters of genre-hopping groove merchants Critters Buggin (along with percussionist/keyboardist Matt Chamberlain); Skerik and Dillon have worked in Garage a Trois and a few outfits with Les Claypool, and Houser has again joined forces to create The Dead Kenny Gs, a trio of musicians who "listen to Bad Brains and Art Ensemble of Chicago."
Operation Long Leash is the group's second album, and though it isn't freewheeling punk jazz, it shares that marriage of rock aggression, funky hooks, and left turns. Call it heavy acid swing — or something completely different — but it shares just enough elements with the trio's previous projects while exploring new territory.
After a cohesive, rhythmic blend of dueling saxophones, Dillon's glistening vibraphone, and freak-out effects, the middle and tail end of the album get into more heavy rock grooves, including distorted bass on "Black 5" and pounding tom hits and sax bleeps on "Sweatbox" — which quickly transforms into a jazzy jungle groove. The thuds soon return for more of the album's wildest and loudest sounds, almost resembling some of Zu's most recent "sludge jazz" album. From there, the soothing outro of "Jazz Millionaire" proves that The Dead Kenny Gs' moods can swing as much as its music.
Email From KENNY GORELICK?
Your sophomoric "poopy pants" band has no relevance. at. all. period. You think by making this an all age venue that my fathers' croonies aren't coming down to piss mop you folks out of town? Perhaps you'll notice me smiling in my Bentley with my 20K dog, Mr. Cuddles , barking as you crawl out with your saxophone wrapped around your juvenile head. As my good friend Governor Schwarzenneger would say, "tis judgement time."
Get Mean,
Kenny Gorelick
P.S. Do you know how to get rid of carpenter ants?
FROM: kennygis@mac.com
By Ben Ratliff, New York Times
Have you seen the Wikipedia entry on smooth jazz lately? Probably not, but it’s a mess. The administrators have tagged almost every section with provisos: “Its neutrality is disputed”; “needs additional citations for verification”; “reads like an advertisement”; may contain “unverified claims.”
Poor smooth jazz, besieged by haters. Being righteous about what’s called traditional jazz is easy. Being righteous about smooth jazz is much more difficult. It is a commercial construct, a radio format more than a style of music. For 20 years it has appealed across race and class and gender, partly because it asks so little. It is a physical presence but an intellectual absence. It is an unverified claim.
It lost ground last week when WQCD-FM, the New York radio station known as CD101.9 and the station with smooth jazz’s biggest market share in the country, went off the air, replaced at 101.9 by the rock format WRXP. In related news, the saxophonist Kenny G — the regent of the smoothiverse, a man who at his height moved 15 million copies of just one album (“Breathless,” from 1992) — has been selling fewer records lately. Well, so has everyone. But as a consequence he now plays where actual jazz performers play, like the Rose Theater at Jazz at Lincoln Center, where he appeared on Tuesday.
The concert was an outside rental and not a production of Jazz at Lincoln Center itself, but there was still a paradox in there somewhere. The organization has effortfully formed definitions of what jazz is and is not, and Kenny Gorelick, one assumes, is a boldface Not.
Curly-locked and slim-hipped, he made his customary entrance, playing and walking through the audience. As he approached a small stage in the front rows, he halted a slow ballad to hold a single note, by circular breathing, for several minutes, shaking hands with the audience along the way. In 1997 he set a Guinness world record for longest saxophone note — 45 minutes 47 seconds — so this bit is now a running joke. “Still going ...” flashed the screen above the stage. “Still going ...” He held the note with the same feathery authority that he plays everything, and the tremendously long note had no emotional or narrative connection to the song itself.
Kenny G is a dull but wickedly consistent musician: automatic with his tremulous phrasing and canned licks, which formed fast, organized roils during his unaccompanied solos; melismatic purrings of the melody on ballads; and gospel phrases in R&B songs. He was strangely unobtrusive, letting his band provide most of the excitement. His stage persona is the gifted California optimist, a good-time bro unencumbered by history.
His new album, “Rhythm & Romance” — released by Concord Records and Starbucks — is his first Latin record, with traces of bossa nova, samba, salsa and Peruvian lando. You can’t really fault him for exoticism. That’s for adults. His show seemed more aimed at children.
When he began the first notes of “Havana,” from an older record, the screen read: “Havana: ha-VAN-a, n.: A city of rhythm and romance,” then showed pictures of palm trees and tropical fish. He made much of his new album, which in contrast to his past records features much of his own writing. But he didn’t evince his own connection to Latin music. Introducing his new single, the mild boogaloo “Sax-O-Loco,” he gave seven words of exegesis: “This is a very fun, happy song.”
His band played the new music with assurance; the percussionist Ron Powell and the bassist Vail Johnson gave it teeth by playing athletically on feature solos. The band did the right thing by hiring two excellent local percussionists, Pedro Martinez and Johnny Rivero, to give the rhythm more depth, form and, I guess, authenticity, but it didn’t make it mean much.
Secret Story
no longer
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.
Pat's Answer:
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 preexisting 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.
Pat Metheny and Kenny G Part 2
This is a follow-up post by Pat that was written a few days after the previous one.
(June 10) A few days ago, I wrote a response on this web site (the pmgln) to questions that had come in regarding an offhand comment that I made about musician Kenny g that became a mildly notorious net-disseminated video/soundbyte (at least among the folks that posted on the topic on the site). my "explanation" was intended for the 100 or so people who contributed to and followed the thread in question on our web site and kept sending in questions to the "q and a" section of the site about it. of course, I overlooked the possibility that someone would copy THAT response and post IT on what now seems to be a bunch of other sites and newsgroups around the web, where of course, rightly, many folks cannot understand what the big fuss is all about, because like the initial comment , the context was missing (or maybe it’s just because of the probably also justified, "who cares?/what is the problem?! it’s only KENNY G!!" - factor ). whatever.
But the response has been interesting. my mail box is flooded with a bunch of "you go, pat!" type missives from the (seemingly legions of) g-bashers worldwide and a lesser number but equally impassioned folks expressing dismay that i would be so low as to use my "bully pulpit" (!!) to "humiliate" the hapless Mr. g or that I was "way over the top" and "unprofessional" in my "fierce defense" of the standards that are set and accepted within the world of the music that I love and work in. there are even the predictable variations from the archetypically sanctimonious jazz-purist-types who of course must question "how can pat methane, of all people, presume to defend louis Armstrong against Kenny g?" - that’s one I should have seen coming up 6th avenue, had I been in new York at the time! wait a minute, I was!
Among my favorites of all of these is this from robboer; "...... (This) leads me to wonder at the level of furious and terribly angry horrible invective that has come from (Pat and) our fellow listeners (towards Kenny g) .... There have been whole lists and topics devoted to the shrill and angry denouncement of Mr. Gorelick and his smooth ilk. I have nightmares of these gentle folk, led by their true God Pat, rising up to find poor Kenny and drag him from his bed, brandishing his vapid CDs, and crucifying him for his sacrilegious shallow, mollusk like, and repetitive horn playing and defilement of the holy Louie."
And then I thought, yeah, rob!!! that sounds about right - let’s go DO that!!! no, seriously; to the people who seem to care one way or the other about this (which appears to have grown from the initial 26 to a fairly hefty 87 and counting); I thought I would respond to a few of the questions that people had sent in to our board since I hadn’t done it in a while, and that one (the "g" question) came up on the list first. I quickly tossed off a response thinking that there were a few funny (and yes, sincere) things in there that the aforementioned 26 people who read that board would get a kick out of (no, folks, I won’t be hitting anyone in the head with my guitar, despite the fact that "El Kabong" WAS probably my first major guitar influence as a kid) and thought that it would it least put the little sound byte that had been floating around of me saying basically, "Kenny g sucks" (I wonder if bevies got letters from the same folks as me?) in some kind of context for the folks who kept writing me to insist that I "explain" it. (again, I have to think, what needs explaining?? it’s KENNY G!!) so, let me just add this for the folks who question the wisdom of actually "going public" with such a "harsh" view (IT’S KENNY G!! IT’S KENNY G!! IT’S KENNY G!!).
No, I don’t really presume in any way whatsoever that my little 2 cents on the G-man and his contributions to the demise of American culture are going to make even one iota of difference or have any real significance nor do I expect it to, to either g himself or the legions of fans that actually dig hearing him play - and god bless all of em. (nor, for that matter, will the other tetragazzillionbytes of bandwidth that have been taken up in discussion about him, me, Winton Marseilles or anyone else in this or other forums), peoples words and opinions about music, mine included ("stature" be damned), especially when jotted down, are largely for the pleasure of the language, they mostly have less to do with the music in question than the cultural point of view that they are offered in and usually intrinsically designed to illuminate/castigate/defend/whatever - but about the best you can say about those words is they are superfluous in relation to the actual sounds in question when one is actually listening.
Like any fan of music, I’ve got my opinions, too - and from this episode I guess I should think twice about saying em out loud.** but, for what it’s worth, I can safely say that I personally have never read anything, good or bad, from anyone anywhere that has had any impact whatsoever on the actual musical issues that involve my most every waking minute. dare I say, somewhat sadly in this case, that the same is probably true with the G-man (and his audience, let’s not let the XX-million people who actually bought the record off the hook) as well.
So, anyway, the real job for me and other musicians out there that are trying to find the good notes, in fact, has nothing to do with talking, or with opinions; the real challenge is to try to make music that is the antidote to the disease, a symptom of which *might* be under discussion here. I do passionately believe that there is the possibility to make music that renders these kinds of discussions, and even the kind of music in discussion here, moot. like for instance, the reality of the music that Louis Armstrong gave the world at his best.
One last thing - it is a little alarming to me to see that my little rant on this topic seems to have generated such a relatively huge response. it makes me feel that in this day and age, even within the "jazz community", controversy, especially PUBLIC controversy, has the chance to "win" over musical substance, even in terms of what gets discussed - people seem to absolutely love it. I have seen (and have never dug) at least one of my peers banking on this for a few years now with his public pronouncements and I have to admit that I underestimated the impact/interest that a "negative" public comment even on an obscure corner of the web can manifest. I guess I wish that the actual playing and writing could generate the kind of discussion that what was essentially an off the cuff cultural/political blurb into cyberspace seemed to. again, it seems more practicing and better music needs to be involved - gonna continue to work hard on that (finding the good notes) as a goal.
But then again, shouldn’t someone say something about this? isn’t it our responsibility? or is it actually just cool, Kenny g and a dead Louis in the year of his 100th birthday? even if it was his sappiest track ever, there is still so much valuable and rare information in the way he sang even THAT tune - like with everything he sang or played - that is the SHIT - and somehow juxtaposed with G, I don’t know, there is something practically obscene about it to me, obviously.
As far as I know (and it is very possible that I missed something) the major jazz and music mags (not to mention time or newsweek or something) have not really had too much to say about the subject other than the usual Kenny g bashing and maybe a little eye-rolling, nor do I know of any other prominent musicians who have spoken out on the subject. maybe as someone put it, dissing Kenny g is like "shooting fish in a barrel, he would have to be the world’s easiest musical target" but, isn’t this different? or are we all so numb to all the crap out there and so worn down by the apathy of the general public to any higher musical intentions that it really doesn’t matter to anyone anymore, something like this?
(one final final aside on this; I actually do know someone who works as an animator at MTV’s Celebrity Death Match where I suggested that they arrange a "Kenny g vs. the ghost of Louis Armstrong" match to settle this once and for all!)