I've learned that you simply can't control those bad vibes.
Kenny G
I think everybody has to kind of decide what the word 'jazz' means to them, and that's fine.
I was really amazed when I started hearing 'Songbird' on the radio. I couldn't believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn't anything like it on the radio at the time.
I approach everything in my life the same way; if it feels right, I know it.
Grover Washington was my main influence, and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
Maybe I'm a dreamer, but I think the ordinary guy has just as much right to say 'This is a good song' as somebody who is in the music business.
There are a few countries that, for whatever reason, really enjoy listening to my music.
That's my ideal day, time with my boys.
I listen to all the top 20 songs, and top 20 albums, even the rap albums. But I don't like negative messages. If somebody is putting a lot of ego out there, I don't like it. When I make my records I want it to be sincere.
If I even lose my glasses or make a mistake. I become really disappointed in myself.
The whole rise of new adult contemporary music and smooth jazz was a nice surprise.
I mean, what is music anyway? It's a form of communication - at least for me it is. And that's why I play the kind of music that I think - that I hope - can communicate with people.
I learned so much about playing and touring being on the road and in the studio with Jeff, but I'd always played a lot of gigs in Seattle even prior to joining the Fusion.
I listen to old jazz and classical music, and that's it.
Being a purely instrumental album, it makes a musical statement, not a religious one, and I hope that people can feel the emotion of the great melodies, even without the words.
Well, Grover Washington was my main influence and when I went to college, I started listening to more of the jazz masters like Sonny Rollins, Cannonball Adderley, and John Coltrane.
The Moment is an album that contains the best music I have ever produced.
You can't just walk away when somebody recognizes you. You have to take some time out and talk to them. It's not a waste of time - I just love talking to people. And I don't do this to sell records. The truth is, I do what I do because I love it.
I'm very serious about what I do. I practice every day for three hours. I work on my scales; I work on my tone. But otherwise, I like to have fun.
Just figure out what you think jazz is, and then if it fits into that category, it's jazz, and if it doesn't, it isn't. It's no big deal.
Maybe the biggest thing that I've learned musically is that anything is possible. Things can work when maybe they don't seem like they can.
What is music anyway? It's a form of communication, and that's why I play the kind of music that I think - that I hope - can communicate with people.
With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.
I've never personally criticized anyone else's music, but I know that the public's real problem is not the music I make but the perception that I play simple music for money only and for the notoriety and to increase my popularity.
I started realizing that music is the one area where I've always let go. When that saxophone goes into my mouth, I get into a space where I never think about the notes I've already played or anticipate the notes ahead.
I'm just more into playing golf. It's a great thing.
Unless I've got Katy Perry on the cover of my CD, it's going to be tough to sell a lot of records.
Just because people play songs with great technique doesn't mean the records are better.
I don't play the traditional Charlie Parker songs. But I do improvise and I do create with my instrument, and that to me is jazz. But there are people who use the word 'jazz' only in a traditional sense, and they would be offended by that, and that's fine.
If you go to Tiananmen Square, or go to any public area in China, you will hear my music at some point.
I don't go to clubs. I don't know what club mixes are supposed to sound like.
Finally, I was no longer a student and was making music for myself.
Sure, I love people, and I want to communicate with people. I mean, what is music anyway? It's a form of communication - at least for me it is. And that's why I play the kind of music that I think - that I hope - can communicate with people.
Generally, I like Indian music because the melodies are usually not too complex, which is how I like music, and that's the way I write music.
I really create everything I do from the heart.
I've never really played golf. With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.
I've been performing since I was in high school, so I've seen people react to my music and my playing. I'm always appreciative when people like the music, but I'm not shocked.
Any saxophone player will have those influences come through in their music in a very different way. I can listen to the same 10 sax players as someone else for my entire life, and we'll both play completely differently. That's the beauty of being a musician.
It wasn't until Duotones that I felt my true voice come out.
I'm responsive to my public, but I also follow my heart.
I just started as a part of the public school music program. I took lessons at the school every Friday and was a part of the school band. I was just a normal kid taking instrumental lessons at school, nothing special.
I live my life and play my music, and I don't really seek out other people's approval or accolades or things like that. I try to do what's true to me, and how it all comes out is fine.
When I play live, I feel how the audience is going and follow and lead at the same time.
