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Views : 2,913
Genre: Music
Uploaded At Nov 2, 2022 ^^
warning: returnyoutubedislikes may not be accurate, this is just an estiment ehe :3
Rating : 4.925 (2/104 LTDR)
98.11% of the users lieked the video!!
1.89% of the users dislieked the video!!
User score: 97.17- Overwhelmingly Positive
RYD date created : 2023-07-24T20:13:29.21199Z
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Top Comments of this video!! :3
LOL I know one genuine Kenny G fan. My old high school best friend (as a high schooler back in the 1990s) was a genuine, bonifide, Kenny G fan. He had several of his albums on CD back then and we used to to tease him about it...relentlessly. I could never understand that one. While he was listening to Kenny G, I was listening to Rush and Kath era Chicago. We had some similar tastes in music, but we definitely had some vastly different tastes as well. <smh>
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"a good example of a bad example" is a great way to look at it. I pick everything apart and there's always something OK about everything, but sometimes it takes some digging. I was just watching your breakdown of Frownland yesterday, or listening to it while I was walking home anyway. Beef heart is like reverse engineering a beautiful piece of art that the artist threw away. I don't know. It's very strange. I love it though. ESPECIALLY because I don't understand it, but in this case, hallucinogens really do help get on Beefheart's level. I forgot all about your channel and have been binge watching your interviews. Thanks again.
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I'm angered by this video. It's all very well being a snooty classical music elitist, but mocking Kenny overlooks his subtle, but extremely significant contribution to the jazz canon. Kenny G's 1999 single "What a Wonderful World" contains the most wonderful overdubbing of Louis Armstrong's recording of the same song that would have made Louis sing "What a wonderful what a wonderful world"; and his treatment of this classic demonstrates a servant of jazz steeped in its traditions at the peak of his powers. In “New Standards”, it’s wonderful déjà vu all over again: the composition entitled “Legacy" features the 'sound' of Stan Getz produced by sample programming credited to Jochem van der Saag which makes use of “sample notes" to create a brand new melody never before played by Stan. Manipulative technological brilliance that would make everyone's toes and hair curl like Kenny's. On all of his albums to date, Mr G's saxophone hangs weightlessly in a soothing, digital soundscape — the other instruments are seemingly unreactive to what he's doing (lifeless, in a void) because they are clearly in awe of his free-floating, flat-lining, chest-pumper purring, flexing his throat muscles like a panther waiting to pounce and gorge on the meat of a mellifluous 4/4 time happy meal for the masses. Also, his songs are mainly structured on pre-written pop melodies, and not improvisation in which all manner of things can go to ratchet with artists who seek to create in the realms of chaos and chance. And so we understand that Kenny's music is free of dialogue, either with jazz progenitors or the musicians who accompany him. Nothing he plays is clearly traceable to the Gamaliels of this form — no Duke Ellington, no Coleman Hawkins, no Lester Young, no Sonny Rollins. Just G. And that's all that we could ever ask for (and more and more, encore, encore). The only thing I'd like to add is that Kenny G is extremely well endowed when it comes to sax. He really knows how to hit the money note. And his concert C always hits my G spot. I'm extremely passionate about his music. But his music also makes me passionate about the man. For he is a real man. And he will not be diminished by the flaccid critics who cannot hear past the hard-ons of the fans.
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@KimathiDonzooya
1 month ago
Kenny G is a legend and a Champion at the same pace😊
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