KENNY G: Well, I do when I’m not performing a lot. TP: Do you continue to maintain an assiduous practice regimen? Anything you do over a period of ten years or twenty years or thirty years, you’re going to keep getting better. I also think that my technique, in terms of playing note-for-note, is a lot better than it used to be. I think that my songwriting has gotten a lot stronger in terms of just being able to do different kinds of things, not just the same kind of song. Now I play melodies a little more straight. I think my sense of melody is a lot stronger, so that when I perform a song on my records, I think that instead of maybe kind of embellishing the melody… I’d probably embellish it more ten years ago than I do now. KENNY G: I think now I play a lot more in-tune. TP: How do you feel your saxophone playing has evolved from when you emerged as a solo artist 20 years ago?
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But I don’t analyze how to write or what kind of albums to put out or anything like that. KENNY G: I only listen analytically to my saxophone playing on each song, whether I’ve played exactly the way I want to play. TP: Do you listen very analytically to your records, to one in context of the last one, or is it that once one is done, that’s it, you’re done with it, on the next to the next thing? KENNY G: Yes, “Spanish Night” was the first one. TP: Do you remember which of the tunes came first? TP: So from the first tune to the last tune, to recording it, to putting together the charts, getting in the studio, all of that took about a year. Maybe just a little bit more than a year. TP: How long did this project take from gestation to realization? Then I just do that until I feel like I’ve covered what I feel I need to cover for this particular record. I’m going to try to write songs with a different tempo. So I’m not going to write any more songs with that tempo. I start with writing songs, and each song kind of happens when it happens, and pretty soon they start coming together, and at some point I may realize that there’s too many songs that are of this particular tempo. TP: Do you start from point one and then progress from that?
I don’t even know how to say that in other words. But instrumentally, you’ve got to keep everything sounding… It has to feel right.
KENNY G: Well, you could have ten great instrumental songs, and if you put the wrong vocal song on there, maybe it’s a big hit or whatever, but if it sounds inappropriately placed, then I don’t like it, and I won’t do that. I try to make it so that a person can listen from the beginning of song 1 until the end of song 11, and enjoy it, and not feel like there is one song that sticks out in any kind of a bad way. I just kind of start creating music, start writing songs, and little by little, an album takes shape. But normally, no, I don’t really do that. KENNY G: Well, with Classics, that was obviously well thought out in terms of finding the material, using material that was already written by the great masters of these instruments.
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