"Kenny G es una bosta!" Pat Metheny.-

Kenny G es una bosta!, y no lo digo yo... lo dice uno de mis héroes personales, el guitarrista y leyenda del jazz Pat Metheny.

En esta Sección "para musicos" voy a ir habilitando algunas cosas que hago como docente, hablar sobre tecnica de ejecución, y datos musicales que son mejor aprovechados por musicos que por personas "normales".

A lo mejor ya llego tarde en una controversia que comenzó años atrás cuando un video de Pat diciendo basicamente "Kenny G sucks!"(en Polonia!) se difundió por internet.

Las polemicas y controversias que se dieron en todos los foros musicales y etc. tuvieron una respuesta en la pagina oficial de Pat M. (" http://www.patmethenygroup.com/ "), en la que Pat, no sólo confirmaba la autoría de su comentario, sino que agregaba que si lo veía por ahi le daba con la guitarra por la cabeza, como el Caba-Zorro, (de Tiro Loco McGraw).-

Todo el articulo (que no tiene desperdicio se puede encontrar en este link <---click ahi! )

pero las mejores partes me parecieron estas... (sic) quiere decir sacado del contexto...

"the other main thing i noticed was that he also, as he does to this day, play horribly out of tune - consistently sharp".(sic)

" he SHOULD be compared to john coltrane or wayne shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument’s legacy and potential.

as a composer of even eighth note based music, he SHOULD be compared to herbie hancock, horace silver or even grover washington. suffice it to say, on all above counts, at this point in his development, he wouldn’t fare well. "(sic)

" kenny g put out a recording where he overdubbed himself on top of a 30+ year old louis armstrong record, the track “what a wonderful world”. with this single move, kenny g became one of the few people on earth i can say that i really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.

this type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when natalie cole did it with her dad on “unforgettable” a few years ago, but it was her dad. when tony bennett did it with billie holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. when larry coryell presumed to overdub himself on top of a wes montgomery track, i lost a lot of the respect that i ever had for him - and i have to seriously question the fact that i did have respect for someone who could turn out to have have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

but when kenny g decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing all over one of the great louis’s tracks (even one of his lesser ones), he did something that i would not have imagined possible.

he, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, shit all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that louis armstrong brought to every single note he played over an amazing lifetime as a musician. by disrespecting louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, kenny g has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of."(sic)

"normally, i feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don’t really benefit from public criticism, particularly from their fellow players. but, this is different.

there ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, louis armstrong and his music is hallowed ground.

to ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and i refuse to do that. (i am also amazed that there HASN’T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!- , magazines, etc.). everything i said here is exactly the same as what i would say to gorelick if i ever saw him in person. and if i ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.) "(sic)

Como vieron, en esto que es sólo un fragmento del ensayo escrito acerca de Kenny Gorelick o Kenny G en su web por Pat M. Ni Larry Coryell se salvó de los palos... la verdad es que todo este escandalo también viene a correlación porque que se trata de un guitarrista(Metheny) del que sólo se tenía una fama de no menos que "buenazo"...

Bueno, asi despido este primer artículo, que más que aportar conocimientos, parece comentario de comadres maliciosas. (Lean entre líneas, amigos, uno aprende de la filosofía de sus mayores y sólo tocando con grandes músicos puede aspirar uno a llegar a algo grande.)

P.D. aqui una audio entrevista : http://www.jazzpromo.com/realaudio/pat-metheny.ram