HBO’s new Kenny G doc reevaluates decades of anti-‘Songbird’ smugness



I put saxophonist Kenny G’s pop-jazz mega-hit “Songbird” on a playlist remaining week. As a would-be hipster in highschool within the Nineteen Eighties, I had lengthy satisfied myself I hated the entirety about it: the corny vibrato, the too candy melody, the plodding drum beat, the calculated depth of the top notes. It used to be a characterless beige soundtrack for staring into the center distance. Possibly you possibly can hum alongside whilst it performed inevitably in some mall or dentist’s workplace. However now not me. Nope. No approach.

It’s that anti-G identification that Penny Lane’s superb new documentary, “Taking note of Kenny G” easily and with politeness kicks a hollow via.

Disliking Kenny G isn’t simply a classy choice. It’s a option to say you’re cultured, good and extra discriminating than all the ones individuals who have made Kenny G the best-selling instrumental artist of all time. It’s a observation of identification.

But it surely’s that anti-G identification that Penny Lane’s wonderful new documentary, “Listening to Kenny G” easily and with politeness kicks a hollow via. Like critic Carl Wilson’s superb book-length appreciation of Celine Dion, the documentary makes you query now not simply what you like and what you hate, however who you’re whilst you love and hate. You should still now not like Kenny G’s tune after seeing the movie. However you’re not going to really feel reasonably so boastful about it.

Lane interviews numerous tune critics who make the case towards a Seattle Jewish plumber’s son, Kenny Gorelick, and his phenomenally a success simple listening tunes. “He makes great tune for excellent other folks,” critic Will Layman sneers. Jazz guitarist Pat Metheny famously savaged Kenny G in a 2000 interview, attacking his technical competence and suggesting he used to be motivated by means of cash and popularity moderately than admire for or love of the jazz custom. “He did display a knack,” Metheny acidly admits, “for connecting to the basest impulses of the massive crowd.”

Any vastly standard pop musician could be accused of pandering. However Lane’s documentary leaves little question that Kenny G, no matter you call to mind his tune, is in reality pursuing his personal, very idiosyncratic imaginative and prescient.

And in spite of what critics like Metheny would possibly think, that imaginative and prescient is targeted now not totally on satisfying audiences, however on Kenny G’s personal procedure. The saxophonist nonetheless practices 3 hours an afternoon, each day, on my own, in his area. (At one level he needs that he may observe for 5.)

Kenny G practices saxophone to change into a greater musician, simply as he practices golfing obsessively to change into a greater (and award-winning) golfer. However he additionally sees observe as an ethic or even a classy in and of itself. When Lane asks him what he loves about tune, he’s nearly stumped. However then he says — as his complete face turns into animated with pleasure — “I suppose for me after I pay attention tune I take into accounts the musicians and what kind of they needed to observe.”

Kenny G geeks out over observe; he geeks out over manufacturing generation with a equivalent verve. His most up-to-date album, “New Requirements,” out in December, has taken two years to provide, partly as a result of he makes use of painstaking studio edits to verify each word is strictly proper. “It will glance find it irresistible’s sterile,” he tells Lane, as he touches his middle, “nevertheless it’s from in right here.”

This remoted, perfectionist way to tune turns out totally divorced from the collective, improvisatory historical past of jazz. And likely sufficient, critic Ben Ratliff of The New York Occasions argues that “Kenny G’s tune turns out to wish to don’t have anything to do with a previous.”

However that declare, too, falls aside beneath Lane’s delicate exam. Kenny G talks reverently about being attentive to saxophonist Grover Washington Jr.’s album “Internal Town Blues” each evening for 2 years in highschool. He’s proven in live performance speaking up Stan Getz and protecting John Coltrane’s “Naima” — a track which, with its pretty melody and comfortable, seamless air, sounds find it irresistible may are compatible into many a clean jazz playlist.

Fiery, spontaneous jazz is indisputably one custom. However there’s additionally a jazz legacy of meticulous, melodic, ambient, aural ornament.

Fiery, spontaneous jazz is indisputably one custom. However there’s additionally a jazz legacy of meticulous, melodic, ambient, aural ornament. Kenny G fused that legacy with the R&B clean jams of the Nineteen Eighties and ’90s (take a look at his collaborations with Toni Braxton) to create a stunningly standard and ubiquitous hybrid that’s conquered buying groceries institutions and places of work all the way to China.

Kenny G’s whiteness indisputably helped open doorways for him, which he recognizes. However Pat Metheny and Stan Getz are white, they usually didn’t scale the charts the best way Kenny G has. You might want to say G lacks grit. However does any individual who practices 3 hours an afternoon lack grit? You might want to say he’s inauthentic. However he makes heartfelt tune as a result of he likes heartfelt tune. The place’s the inauthenticity?

Kenny G, the personification of bland, were given up on level for his first skilled solo as an adolescent and performed a unmarried word for 10 mins, like some experimental drone oddball. Possibly Pat Metheny and highschool me are the blinkered ones, trapped in our conventions of sclerotic unconventionality like songbirds banging round within an elevator.

Taking note of Kenny G after looking at “Taking note of Kenny G,” I’m now not positive whether or not I’ve change into a part of some odd, frozen wallpaper, or whether or not I’ve stretched my wings and soared off into a distinct musical measurement. It’s disorienting, or possibly stress-free. I take into accounts how all of Kenny G’s practising has left me not able to inform the variation.

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