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Kenny G: Classics in the Key of G

 A l b u m   D e t a i l s


Label: Arista Records
Released: 1999
Time:
 55:27
Category: Jazz
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: www.kennyg.com
Appears with:
Purchase date: 2001.01.31
Price in €: 7,99



 S o n g s ,   T r a c k s


[1] Summertime (Gershwin/Gershwin/Heyward) - 646
[2] Look of Love (Cahn/VanHeusen) - 5:31
[3] What a Wonderful World (Thiele/Weiss) - 3:02
[4] Desafinado (Jobim/Mendonca) - 5:51
[5] In a Sentimental Mood (Ellington/Kurtz/Mills) - 4:55
[6] Girl from Ipanema (de Moraes/Gimbel/Jobim) - 4:15
[7] Stanger on the Shore (Bilk/Mellin) - 3:08
[8] Body and Soul (Eaton/Eaton/Green/Heyman) - 7:21
[9] 'Round Midnight (Hanighen/Monk/Williams) - 6:26
[10] Over the Rainbow (Arlen/Harburg) - 8:10

 A r t i s t s ,   P e r s o n n e l


Kenneth Gorelick (aka. Kenny G) - Arranger, Soprano & Tenor Saxophone, Producer

Louis Armstrong - Vocals
George Benson - Guitar
David Foster - Arranger, Keyboards, Producer
Paulinho Da Costa - Percussion
Nathan East - Bass
Felipe Elgueta - Synthesizer, Engineer
Greg Bieck - Synthesizer, Keyboards, Programming
Bebel Gilberto - Vocals
Ricky Lawson - Drums
Dean Parks - Acoustic Guitar
Greg Phillinganes - Fender Rhodes
Randy Waldman - Piano
Walter Afanasieff - Synthesizer, Piano, Arranger, Keyboards, Programming, Producer
Jeremy Lubbock - Conductor, Orchestral Arrangements
William James Ross - Conductor, Orchestral Arrangements

Humberto Gatica - Engineer, Mixing
Dave Reitzas - Engineer, Drum Programming
Robert Fernandez - Engineer
David Gleeson - Engineer
Steve Shepherd - Engineer
Mike Scotella - Assistant Engineer
Peter Doell - Assistant Engineer
Dann Thompson - Assistant Engineer
Ryan Hewitt - Assistant Engineer
Andy Haller - Assistant Engineer
Aaron Lepley - Assistant Engineer
Christine Sirois - Assistant Engineer
Pete Krawiec - Assistant Engineer

 C o m m e n t s ,   N o t e s


Some jazz critics may point to Classics in the Key of G as proof of Kenny G's lack of jazz substance, but it really is proof of how well he makes instrumental pop albums. Yes, Kenny G never delves into deep improvisations anywhere on the record, and he has reworked a predictable set of pop classics, from "Summertime" to "The Look of Love," to fit his signature smooth sound, but that should all be expected from an album like this. Kenny G will never abandon his signature sound because that sound is him; he doesn't want to push musical boundaries, he just wants to make gentle, melodic music. If he's seen as a pop musician, not a jazz saxophonist, his virtues become evident. Unlike some of his peers, there's genuine warmth in his tone, and he never diverts his attention from the melody; he crafts records around songs, not improvisations. That factor makes him a pop musician, not a jazzman, and he's the better for it. For that matter, so is Classics in the Key of G. Containing nothing but ten songs everybody knows, the album is a pleasant, unassuming listen (with the exception of "What a Wonderful Word," which contains a jarring original vocal from Louis Armstrong). As a matter of fact, it may be one of his better records, simply because he's working with ten terrific songs and his performances show real affection for the music. He sticks to the original songs, only updating the production or throwing some minor glissandos into the melodies. His solos are extensions of the original themes - at times, it's hard to tell when he's slipping into a solo since it's so smooth - and it all comes together as nice, pleasant music. That may mean that Classics in the Key of G may occasionally fade into the background, but that is one of its virtues. Like any good instrumental pop album, it's sweet to the ears whether its in the foreground or sonic wallpaper.

Stephen Thomas Erlewine - All Music Guide



Offering a tribute to composers of previous generations, soprano saxophonist Kenny G uses his 11th career release to present his interpretations of various standards and assorted chestnuts from the past century. G's approach is as smooth and gentle as ever, and anyone in the market for mild-mannered, relaxing jazz should be satisfied with this package. Highlights include a slowly evolving version of George Gershwin's "Summertime," with George Benson on guitar, and a largely respectful rendering of Monk's "'Round Midnight." Subdued orchestral backing is used throughout the recording, and two vocal selections are included: a "duet" with the Louis Armstrong vocal track from "What a Wonderful World," and the subdued samba of "The Girl from Ipanema," which features singer Bebel Gilberto, daughter of the song's original vocalists. That selection is reprised instrumentally on an uncredited, nonindexed 11th track that is heard about 20 seconds after the conclusion of Harold Arlen's "Over the Rainbow." Languid listening from start to finish.

Terry Wood - Amazon.com



It has been repeatedly mentioned that the Mister G. had a creative pause between his early successes in the late eighties and the mid-nineties recordings. That's simply nonsense. On this CD you hear the proof: G and his men are playing together as one. In my opinion,the highlights of this CD are the titles "Over the Rainbow" and "Stranger on the Shore".The former is played wonderfully and unpretentiously in a common song context. The Kenny-meister's soothing sax notes are warm and perfect. The latter is a killer diller.On both tracks you can hear how he has influenced all new young jazz stars.I advise you to program your CD-player and listen to "Over the Rainbow" ten times. It's one of the best Kenny G. tonal portraits ever,the same is true with "Stranger on the Shore". I'm a proud owner of the complete output of the entire Kenny G.series, but this is one of the most rewarding. People who don't like this just do not understand jazz! I am a student of Ellington, Gillespie, Armstrong, etc., have nearly one thousand jazz recordings, and still have room for Kenny G., who deserves his spot in the jazz hall of Fame.

(jd) Durham NC, March 24, 2000
 

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