[Dixielandjazz] OKOM and Kenny G overdubbing WWW and Metheny flame.

[Steve Barbone]

Hello Bill Allen. Welcome to the DJML. OKOM means "Our Kind of Music".
Roughly Traditional Jazz/Swing/Big Band, with the emphasis on Dixieland.

Dick Sleeman asked about whether Kenny G overdubbing Louis Armstrong's WWW
was ever on the list. Yes it was a couple of years ago when the list was
much smaller. 

Many different ways to look at it. For example.

Lots of folks say Metheny was right in dissing G because G can't play worth
a damn. Metheny states that G plays simple stuff based upon basic chord
progressions, blues and pentatonics. And out of tune. Lest we forget, that's
what a lot of Dixieland is based upon. If we like what Metheny says publicly
about G's ability, do we leave ourselves open to the same criticism?

Lots of folks also diss Kenny G for doing it, arrogance, etc., etc. But few
ask about how he was able to do it. The original Louis Armstrong record is
protected by copyright. G could not have done it without the copyright
holder's permission. Perhaps those who blame G, should focus the blame on
the owner of the copyright? Perhaps the holder thought it was a good way to
make money? Did the holder suggest it? Does anyone know?

And Kenny G donated all proceeds from his WWW overdub to a foundation
supplying arts funding for at-risk kids. Was it guilt or altruism?

Below are quotations from the Jazz Saxophone Chat List. They date back
several years. There are from mainstream pros, guy's you've heard of but
shall remain unidentified to protect them. 
 
NUMBER 1) "What really got Methany's goat, was Kenny G's splice with Louis
Armstrong; as if Kenny G was somehow placing himself at Armstrong's level.
I'm not happy with that myself, the whole concept really, but do any of you
doubt that if Louis Armstrong was alive today and producing music, that he
would join Kenny G in a Christmas special? He would, and they'd both make
millions. And to a true professional musician, that's all that counts. Yeah,
money. That's what being a professional is all about. Now an artist is
another matter. Problem with them though, they're too busy appealing to
themselves, that only a few get lucky when others buy their work and support
them. There's always been that split; those who put creativity first, and
those that place a higher priority upon making a living and appealing to the
masses . And guess what? There's nothing wrong with either. It's all music
in the end, and no jazz purist is going to have any more right to enjoy a
tune than anyone else; or dictate its construction. Enjoying music is a gift
we all can partake of; even if you don't understand it... or even want to."

        
NUMBER 2) "To me, the fact the the overdubbing was done on What A Wonderful
World makes it not that bad of an offense musically. That song has enjoyed
decades of commercial success with a listening public who could not even
name one other tune Louis ever did (and some may not even be able to tell
you who the gravely-voiced singer is or what instrument he plays). I think
if Kenny G would have tried to overdub himself on, for example, Armstrong's
Saint Louis Blues, that would have been a much worse offense."

NUMBER 3) "The sacredness of Louis Armstrong, and the distain for Kenny G is
something that only exists is our little subculture of jazz musicians,
saxophonists, and jazz purists. I don't think the casual listener takes such
matters so seriously, and they certainly would not be able to appreciate
what Pat Matheny is griping about. I'm sure they would pass it off as simple
jealousy."

Lots of other letters going both ways saying G is a snake, or "What's the
big deal". One guy wrote a nasty note about G and "showmanship appealing to
the general public", but he was exposed as a sax player who shoots flames
out of his bell, swings from a trapeze and has a choreographed band dancing
behind him in his "jazz show band".

There was also an article by Jazz Critic Ben Ratliff in the July 16 2000 NY
Times a little while after Metheny's note became public. Unfortunately I
could not access it today. As I remember it, the thrust was that both the
jazz world and Metheny were taking themselves much too seriously.

Me, I agree with Number 1 above. If Louis was alive, I think he and G would
be doing Christmas Specials together and pleasing millions of people.

Cheers,
Steve Barbone