Kenny G is no stranger to the limelight. As the best-selling instrumentalist of all time, he serves as the first exposure for many to the saxophone, smooth jazz, or instrumental music altogether. His uniquely impactful career has brought him critical acclaim across the world and accusations of co-opting the genre’s authenticity for his personal and monetary benefit. Amongst the great performers, who’s really decides what counts as “talent” in a genre antithetical to the shallow formulas of pop, but dependent on audience engagement just the same? I took my girlfriend for a romantic evening at the Smart Financial Centre to find out.
The saxophonist, donning his traditional navy blue suit, began painting a vividly nostalgic picture as he brought the audience back to their early 90s memories with the Grammy-winning classic “Forever in Love.” This record exemplifies an accessible, structured entry point into the genre for both aspiring saxophonists and listeners, and he famously uses the same Mark VI soprano sax he plays in high school, as a member of Barry White’s Love Unlimited Orchestra.
After he discussed his musical upbringing, he introduced his supporting bandmembers with some brilliant solos. In particular, I was impressed by Ron Powell’s percussion set, with an intense call-and-response, elbow technique, rainstick, and overall humorous crowd engagement (such as caressing his drums) that reminded me of Cindy Blackman Santana. He even brought out a rainstick! Vail Johnson, manning the bass and referred to by Kenny as the “Great White Hope,” had a NASTY funk (two words with positive connotation) to his groove, with a sound so slick and slippery I would have been satisfied with a headlining performance. In fact, Kenny G made reference to his backing band having the ability to “control” the flow of the show, specifically drummer Daniel Bejarano.
My girlfriend was enjoying the show so far – nice flow, multi-instrumental, very smooth on the ears. When Kenny G decided to change the atmosphere to a 1960s jazz club, compiled with a 10-minute, piano-accompanied improv of Stan Getz’s bossa nova classic “Desafinado,” she was shockingly unentertained, at one point commenting “It’s just noise.” Fortunately, the pace picked up with his cover of the Average White Band’s “Pick Up the Pieces,” a track where Kenny G’s style fits so seamlessly.
It was at this point where he decided to give away one of his signature “Kenny G Saxophones” to an audience member, which were also being sold for $1600 in the Smart Centre’s lobby. The winning couple was in the venue’s “nosebleeds,” and after two semi-awkward improvisations to keep the crowd entertained, they made it on stage, where Kenny performed a emotional, intimate ballad for the couple before handing them a premier piece of musical equipment that would be my golden ticket if I had any musical talent.
He closed out with his signature, chart-topping “Songbird,” a blissful anthem that has gifted the world many babies, and his cover of “My Heart Will Go On.” Although it will never top the version performed by Kelpy G, and deep-rooted jazz lovers maintain the war on Kenny G, it’s a fair interpretation to say that he’s having the last laugh. His music still resonates, live crowds of all ages find his work appealing, and I would recommend him to anyone interested in the jazz scene.
Photos by Keylee Paz for Space City Frequency
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