Soul Strings

Soul In Every Note: Kenny G On Craft, Discipline, And Staying True

• In Your City Show With Kelley and Gordon

Share episode

What if the clearest path to connection is refusing to chase it? We sit with Kenny G to explore how a sound born before the internet’s noise can still cut through, why three hours of focused practice beats hacks and shortcuts, and how a meticulous ear turns a pop track into the perfect canvas for a sax line. He shares how learning in isolation sharpened his instincts, how circular breathing became a 45‑minute Guinness record, and why the tiniest variables—reed moisture, breath timing, embouchure fatigue—separate myth from mastery.

We get into the craft behind collaborations and why he spends days sculpting a solo until it feels inevitable. There’s the viral Valentine with Kanye West that started with a skeptical text and ended with a sprint to late-night TV, along with candid reflections from his documentary on the small breaks that changed everything. He’s honest about the career move he’d redo, the early boost from Jeff Lorber and Clive Davis, and the choice to stick with an artist-first mindset even when the market grabs louder headlines.

Beyond the stage, the conversation stretches into his disciplined life: pro‑am golf with a competitive edge, pilot training and staying legally current, and a quiet track record as an early Starbucks investor who knows wins don’t erase the misses. Rapid-fire favorites reveal the taste behind the tone—Tokyo shows, a dream duet with Stan Getz, and the song he’d play forever. We close with what to expect from the upcoming Factory concert: a tight band of longtime players, a set that blends classics and Christmas, and an energy that surprises people who think they already know the show.

If this conversation resonates, follow the show, share it with a friend who loves music stories with real craft, and leave a quick review so more listeners can find it.

SPEAKER_01:

I'm your host, Gordon Montgomery, and today we are in for something truly special. My guest is a global icon whose sound is instantly recognizable within just a few notes. Over 75 million albums sold, multiple Grammy nominations, and a career spanning more than four decades. He's the man who turned the saxophone into a universal language speaking straight to the soul, from songbird to silhouette, from collaborations with legends to pushing the boundaries of smooth jazz. He has shaped the soundtrack of countless lives and moments around the world. Please join me in welcoming the one and only who almost forgot about me today, but he's here. Kenny G, Kenny G, welcome to the show. I'm glad to be on it. Two white guys talking about soul music.

SPEAKER_00:

Great.

SPEAKER_01:

You know what? And yeah, I'll tell you, brother, you know what? I love soul music. I love RB. I love jazz. And and uh my daughter loved jazz. She actually grew up playing the saxophone, and uh, we went to many concerts. Uh, I've seen your Christmas special here before in St. Louis. I think one one year it was over at the family arena in St. Charles. So it's a thrill to have you on the show today. You know, your music has become synonymous with emotional connection. When you pick up the sax, what are you actually trying to communicate to the listeners?

SPEAKER_00:

Honestly, I don't think about it like that. Um, I'm not trying to do anything to the listeners, I'm just trying to do something that feels right to me and means something to me. And lucky that when I do that, people seem to connect with it. So that's great, you know, that's a great combination. I'm not really thinking about, you know, and I don't think artists should do that. I really don't. I don't think an artist should be thinking, I'm gonna make this so people can do this and this. They should be doing whatever is in their heart and soul for the kind of music that they want to do. Do that for that reason, get satisfied with yourself and then release it and hope, hope that people enjoy it. And and and if for some reason it doesn't connect with them, you know you've done your best for yourself.

SPEAKER_01:

Well, we know a lot of people have connected because you've sold a lot of albums. So we know a lot of people are connecting to your music. You know, your tone, it's so recognizable. I mean, there's a lot of people who play saxophone, right? Well, I mean, we've got a lot of huge jar jazz artists who play saxophone. But you know, how do you get that Kenny G sound? And what did it take to find it? And was it was it on purpose or was it by accident? Or how do you get that?

SPEAKER_00:

Yeah, I don't know. How do you how do you get this face? How do you get this you know you're born you're born uh with whatever you're born with, and and you grow up and things happen in your life and it shapes your life, and you have thoughts about things, and just like every person in the world. Uh so when I picked up the saxophone, fortunately for me, we didn't have what we have today, which is this this you know, this video thing that you and I, you and I are doing, we didn't have that. Now I say fortunately because basically I just learned the saxophone in a vacuum of my own, you know, parents' house. So there wasn't an internet for me to go and explore the world and see what people were doing with a saxophone. You know, barely you could figure out, you know, if you didn't know much about jazz, you would never really would know it because you'd have to find it on a radio station, and you'd have to hope that you listened at the time that the the VJ said DJ, not VJ, the DJ.

SPEAKER_01:

The DJ, right.

SPEAKER_00:

But who was the artist? And then you have to go down to a record store and go, hey, uh, do you have any, like I would say, do you have any Grover Washington Jr.? Like when I first heard something of his, and they go, Who's that? I go, I know he's a sax player, and then oh well, let's look. Oh yeah, and then like they didn't even know. And I found a couple of albums and I took them home, put them on my record player. We didn't have tape machines, so I just had to listen and then try to remember what I heard or play it over and over, and then you'd scratch the record up and have to get another record. This is what we did. So when I started to play the saxophone, I just basically developed a sound that I developed because I was just doing my thing by myself. It's like if you never saw anybody and you wanted to play golf, let's just say, and you had a golf swing, and you never ever saw anybody do a golf swing except for you, or maybe some of your friends that were just like you, like kids, you wouldn't know if you have a good swing or a bad swing. You just, you know, hope that it works. And I played the sacks the way I played the sack. So there you go.

SPEAKER_01:

I it's funny you bring up golf because we were going to talk about that today, because not many people know how good of a golfer you actually are. You're you're a pretty amazing golfer. I mean, you competed in the Pro Am PGA tour events, and what is your handicap, sir?

SPEAKER_00:

I don't know what it is today, but it it was low at one point. But um, I haven't played for very I haven't played regularly for the last few years because I've been touring a lot and traveling the world a lot. So uh, you know, it's like anything else, you got to stay on top of it to stay sharp. Uh, I'm not sharp, uh, I'm sharp with my sack, and that's the most important thing.

SPEAKER_01:

Was the saxophone the first instrument you learned how to play, or was there other instruments?

SPEAKER_00:

Well, my mom uh wanted me and my brother to play the to learn music, so she had us take um piano lessons. And my brother liked it and he kept going. I I didn't like it, and and I quit after a couple years of doing it. I I wasn't good and I didn't like it, didn't like the teacher. And then um a couple years after that, so I started at six, so at the age of 10, my um mom and I were watching the Ed Sullivan show on TV. Remember back in those days, or yeah. Three channels. Three channels, so there wasn't much to much, and which was great, by the way, great. And somebody, you know, somebody stood up in some band, I think it was maybe the big band that was featured that night on the show and played a sack solo, and I was that that looks fun. I want to do that. And that's how it started.

SPEAKER_01:

Well, that's incredible. You know, you've played with a lot of legends in your lifetime. Uh, what collaboration changed you the most as an artist with those collaborations?

SPEAKER_00:

Gosh, I I'm gonna say none of them because I I I'm still doing me, you know. I'm I'm not gonna change. Uh what I but what I try to do is is fit in with the song in a way that I you know, I don't I don't want to sound conceited. I don't want to sound that way, and I'm not that way. But I'm also proud of how dedicated I am to do something great. So when I do play with other artists, what I do is I really, really look at that piece of music and I listen and I try things, and I listen again and I try other things, and I and I work really hard to find what I would say would be like the the masterpiece solo for that song for that artist. And so it may not be something that I would ever play on my own that particular way, and I would never put those notes together that way, but it works perfectly for this particular artist and this song. So that's what I do. I don't really change for the artist, but I will just try to, you know, it doesn't change me as a it doesn't change me as a musician, but like for example, right now I'm working um on a song for a K-pop guy. He's God, he's got a great voice, and this is such a cool song. But it's really tricky to find a soul, to find a soul that's gonna work on this pop, really pop song. Uh and I'm working it out and I got it really close now. And I I, you know, so I I I worked for like a few hours on it, and now I've listened to it, and I'm gonna work a few more hours. I'm gonna listen. So I'm dedicated to making this stuff work, and it takes a long time. I don't think, I don't think other sax players, when they play solos on other people's records, are doing that. I'm pretty sure it's like, all right, Tuesday night, let's get it done, and then it's done. It's like, I wish, I wish that was the case. It's not Tuesday night for me. It's Tuesday night, then it's Wednesday, then it's Thursday, then it's next week. It might take me two weeks to do a solo for somebody because I want to make sure that I've got it exactly right. Then when I send it to them, I've got my my EQ on it, my reverb on it, and I send it to them exactly, exactly the way it should sound. So that's what happens.

SPEAKER_01:

Tell me a little bit about my son. Knew that I was gonna get to talk to you today, and he goes, ask him about the Kanye West uh Jesus is King album. And tell me a little bit about that story and how that how that happened.

SPEAKER_00:

Well, I can say this, um, you know, uh at the time, at that time, how many years ago was that? I don't know. A few years ago, I can say he was nothing but cool for me. Like there was no some of the things that he said in the uh since then, none of that was even heard of or anything. So he he was great for me. He treated me nicely and was kind and fun to be around. So um, somebody, a third party had sent me a text message that said, Hey, Kanye West wants you to go over to his house tomorrow and play some songs for Kim Kardashian for Valentine's Day. So it's like, okay, well, I I happen to be home here. Um, and I know where I know the area of town that he lives in, only because it was set in my text. I otherwise I wouldn't know. And it's you know, it would take me like a half hour to drive there. I so I said, I'm thinking to myself, I can do it, but why would I do it? I don't know him. He's not my not my bro, he's not my friend. Right. So I would do these kind of favors for a friend. So I just kind of said, I think I responded like, I think I'm just gonna pass. And then the the producer David Foster, who I think is a pretty famous name now.

SPEAKER_01:

Yes, absolutely.

SPEAKER_00:

He calls me and he calls his name, his nickname for me is K-Man. He goes, K-Man, you're gonna do this thing for Kanye, aren't you? I said, How do you know about this?

unknown:

What do you mean?

SPEAKER_00:

He goes, No, no, he goes, Listen, do it. It's I'm telling you, it's the right thing to do. You're gonna you're gonna you can you're gonna have a good time. I really want you to do it. I I no, I I mean I I would advise you to do it. So you so David Foster says that so so it gives it a little bit of legitimacy because I said, Look, right, I'm not I'm not a tabloid guy. I don't I don't know about that. He goes, No, no, it's not like that. You're gonna like it, it's gonna be fun, and and you know, you you may end up striking up a friendship. Uh you should go. So that's why, because of David Foster uh his his endorsement. So when I went over there, I remember it was a rainy day, and so it was supposed to be a surprise. So they when I got there, the some security guy shuffled me into a room because so that nobody would know I was there. And um so after an hour, uh I'm texting I think his manager or something, because who had also texted me. I said, Listen, I'm letting you know I'm gonna wait five more minutes and I'm just going home. I don't need to be waiting around for this. So 10 more minutes goes by. I said, okay, I'm leaving. And as soon as I say that, the door opens and he walks in. Kanye. Big smile on his face, warm heart, big hug. It's like it's like he's like we've known each other for years. He made me feel so uh welcome. And then we start talking about what he wanted me to do. He showed me and he says, Hey, and then I said, Sure, sure, I'm I'm I'm ready. I said, I've I've been ready. I've been ready. So uh anyway, so I just waited uh in a little corner of the room until he kind of gave me the nod that Kim was coming downstairs, and then I just did my thing and she loved it. And she, you know, she filmed it and posted it. And by the time I left their house, I was getting calls from like uh you know, um, Access Hollywood and the uh James, the James Corden show, and they wanted me to come and do the show, like, hey, come do the James Corden show. And what is it? What do you mean? You mean now? Yeah, I'm driving home right now from Kanye's. I know no, come on, your your friend Ray Romano's on, uh, gonna be on, and and we're gonna do a bit. We got this whole bit figured out for you. Just come down to CBS. So, this is what happens when you live in LA. You know, you can do these things, like, because you're right. I said, okay. So I just drive down there, and then they have this whole idea that they want to recreate what I did for Kim Kardashian for the different guests on the show, but it's but I'm annoying, like I'm just playing, and there's roses everywhere, and they're just going, can you just get out of here? Can you just leave? I can't, like Ray's going, I can't hear myself. Can you just it's like we're we're golf friends, Greg Romano and I. That's why I said my friend. So it was really fun. And I and I we had a great time, and then it's like, okay, can I go celebrate my own Valentine's Day now? By that time, it was like five o'clock, and I had dinner reservations at like 6:15. I had to leave. Well, the good thing was I said, Hey, can I take some of these roses with me? And I I took all the roses. I was a big hero, you know, with big roses. Like, it was really cool. So it all worked out.

SPEAKER_01:

Yeah, that's isn't it amazing how that happens sometimes when just things work out like that? So, how incredible! What a great story, you know. Um let's talk about for for young musicians, for young musicians starting out wanting to play saxophone, you're quite disciplined. What does that discipline look like for you on a daily routine?

SPEAKER_00:

Well, daily routine uh is different when I'm on tour and different when I'm home. So I'm home today. So my normal day, uh, by the way, I'm not growing a beard or anything, folks. I I would I had planned to shave and look good for this thing. And I've since I forgot, I said I'm not gonna wait another few minutes to see.

SPEAKER_01:

I just I just shaved mine. My wife always says, you know, she hates it when I shave it now because during COVID, I'm I'd let it grow, you know, caveman. And uh she loves it now. And every time I shave it, she goes, you know what, just leave it. It makes you look distinguished. I go, that's just a nice way to say I look old.

SPEAKER_00:

I completely agree. Not because I said not for you, but I agree for the concept of that. Uh but no, I'm taking it.

SPEAKER_01:

Tell us about the discipline. Yeah.

SPEAKER_00:

Yeah, this this will be gone tomorrow. But anyway, um, so my normal routine when I'm home is uh I'm gonna I I wake up very early because the day can get away from you very easily, and you may not be able to do the things you want to do, which for me is three-hour practice sessions. So I want to play my saxophone for three hours um because you got to keep this strong, gotta keep it strong. It's like going to the gym, gotta work your, which I do again. So it's three hours of practicing, one hour of uh actually about an hour and 15 minutes in the in the gym. You have to stay um capable. You have to be capable of of love doing your best. So, how do I do my best? Well, I gotta stay sharp on the sacks. So three hours is a good, I mean, I could practice six hours when I'm home. I'm I don't really have anything much else to do. But I found that three hours is my is like my little sweet spot. It gives me enough, and it also isn't too much where uh all I do is practice all day. So um, young players, you probably need to practice more than three hours a day. You know, I'm playing three hours and I've been playing for 50 years. If you're coming up, probably need to practice more than that if you want to get great. So you can get good, you can get very good by just practicing an hour a day or so and whatever. You can get really good, but you're not gonna get great. Do you ever feel pressure to outdo yourself? Well, I self-induced, yeah, of course. I'm always I'm always trying to get better. Um, so what's gonna happen is I'm gonna be really sad when I get old and too old, where these things don't work, where the brain tells them to do something and they're not gonna be as quick and fast as nimble, because that's just gonna happen. Nothing I can do about that, but I'm not gonna be happy at that point, and then I'm gonna have to figure out what my next move is. But for now, uh I'm at I'm at I'm better than I've ever been. You know, I'm faster and cleaner and stronger, and every practice session I get closer to whatever it is I'm trying to get to, which is better and better, you know. So uh young people that are doing it, you just here's what you got to figure out. Actually, I'm gonna give um a uh props to Steve Martin, the comedian, for this next quote. I didn't make it, but when he said it, it was it's things that I've said it, not quite maybe so easily that he said it, but I've said this my whole life. My my my philosophy is get so great that the world can't say no. That's what he said. So let's say you want, like, hey, I want to make it, I want to do what you're doing. Well, then get great. Get so great that everybody's gonna go, well, I want to watch him play, I'm gonna watch you play, because you're so great, I can't not watch you, and then you're good. But if you're if you're good and there's other people that are good, then how are you going to be the one that's gonna be able to rise to the top? Well, maybe you if you're so good looking that you can, maybe that's you. Um, I don't know, maybe you got such a personality, I don't know. But I think that then then luck comes in to play. And yes, luck comes into play all always, but gosh, you know, the better I get, the luckier I seem to be. You know, that's what that's true. Well, who some somebody said that, some golfer said that. But that's what I would say. If you're if you're really trying to like you want to be, you know, in this industry and you want to be like a solo saxophone player or and a solo violin or whatever you want to do, you better just get you better get so great that that everybody that hears you goes, wow, I've never heard anything like that. And then you just keep on moving.

SPEAKER_01:

Something that I don't think anybody's been able to accomplish, but you have, and that's the holding the Guinness World Record for the longest note played on a saxophone. What drove you to attempt that? And what did it teach you about doing that? I think that's part of the outdoing yourself that we were talking about earlier. What was it, 45 minutes and 47 seconds, something like that?

SPEAKER_00:

Uh well, I was on the Regis uh show doing some, I don't know, promoting something, whatever it was. Uh, and then somehow he says, he just said something like, Hey, I hear you uh can hold no for a long time. Show us how you do it. So I just gave a little demonstration of the breathing and the playing at the same time. And that particular day on his show, uh, they had the Guinness people going to talk about all the world records that were made recently. And that's kind of interesting to see, you know, because you don't ever think about it. Like, uh, this guy made the biggest croissant ever, you know, whatever they were talking about. Stuff that's like, well, I never didn't know I was interested in it, but I am because it's kind of fun to know. So the guy says to me, Hey, you know what? You should set and set a record for the longest note. I said, Great, what's the record? He goes, There isn't one. I said, Sounds like I'm gonna get it then. All right, so we set it up, and so we set it up at a music store, and they advertised that I was gonna do this performance, and people came down and they were telling you, man, they were so looking forward to me playing. I've and I said to them, I said, guys, I'm not playing music, I'm just holding a note. This is gonna be super boring for you guys. Anyway, people stuck around and then I just did it. I didn't know how long. I thought maybe 10 minutes was gonna be a lot. 10 minutes sounds like a lot. So after the 10 went and then 15, then 20, I went, Wow, this this could go on for a while, and then it just went on until 47 minutes, 45 minutes. My mouth was very, very sore after that, very sore.

SPEAKER_01:

So, do you feel like you could have gone longer than 45 minutes and you just felt like, you know, I gotta give up, I'm done.

SPEAKER_00:

No, I could have gone longer, but what happened was the um, you know, because you you're not allowed to well, not allowed your body, it's really tough to swallow at the same time as you're doing this. It's just hard to your body do coordinate like that. But somehow there was like, you know, uh moisture building up in my mouth because like it's I'm kind of getting dry from not drinking and coating my throat after just blowing air constantly coming out of the throat. So it got a little dry.

SPEAKER_01:

How do you recirculate that air? How do you do that?

SPEAKER_00:

You go through the nose, and that's breathing in as you're breathing out.

SPEAKER_01:

Yeah, I don't know if I'm sitting here sitting in my chair trying to do that, and I don't even know how you do that.

SPEAKER_00:

It's you know, it's any anybody that plays a wind instrument can do it. Any by any any human being do it? I'm not built differently, it's no different. That's a technique that you learn to do. And so what happened was there's a little moisture got on my reed, and the sound went in front, it went like bah uh and he goes, I uh that's it, that's it. I wasn't done, I was still holding it. And he goes, No, no, that's it, that's it. That the sound broke. That's part of the rules. Rule is the sound has to be a certain level, it has to be this. And I said, Um, can I just like like for so to play the note, also your hands are holding down keys? Like my hands are like, oh man, come on, I'm gonna let go of this thing. So I said before we started, I said, Can I just tape down my keys so that I could just hold the instrument like this instead of this? He goes, nope, nope, you gotta play the instrument the way you play the instrument. All right. I said, Can I play different notes? So I instead of just holding one note, can I go blah blah blah little? Because that's actually easier because it's there's there's a lot of room for error when you have multiple notes, you can do it, and it's you don't hear much of the of the transition of the in and the out breath. But nope, nope nope, you gotta hold one note, it's gotta be this, gotta be that, gotta be that. And he's got this meter, and he's got to get holding this like this tape measure based like this meter, he's holding it here, and it's like, ah, there you go. And it's like, oh, I could, I was, I wasn't done. I still had it going, but they they called it at that at that moment.

SPEAKER_01:

You know, let's talk about listening to Kenny G, the documentary, a little bit. Is there anything that you learned about yourself by watching that? And how did it is that is that kind of strange to go back and just kind of watch yourself through that documentary?

SPEAKER_00:

Well, you know, just remembering all the stuff that happened that I I didn't remember, and I was reminded because they got video of it and they've got they got info. The director, her name is Penny Lane. What a great name she's got. She's a great lady, very talented lady. Uh, Penny Lane um would say, hey, blah, blah, blah. I go, I forgot about that. Yeah, well, then since you reminded me, and then I'd go to some story that I that was about that. So it was actually cool. I mean, I I I guess by from watching it, I just realized that there were so many little pieces of the puzzle that came into came into play to make it all happen the way it happens. Like at any point, something of one of those things could could have not happened, and then who knows if I would be talking to you today.

SPEAKER_01:

Was there anything in that that they left out that you wish that that would have made the final cut?

SPEAKER_00:

Yeah, my my friends, my high school friends came down and were talking about me at our high school because I went back back to visit the high school. I said, How about my bring my friends there and just let's all talk? So, but that that made it to the editing room floor, and I felt bad because I I love my high school friends there. We're still we still keep in touch all the time. And I said, guys, I'm so sorry, man. It's like I didn't, I don't control, I didn't control the editing, it wasn't up to me. But you guys, I thought you did great, but um, yeah, they didn't make it, so I felt bad about that.

SPEAKER_01:

It's so endearing to us, isn't it? Especially as we get older, our our childhood friends and the friends that we grew up in school and stuff. So if you could look back, like you did through the documentary, but if you could go back and talk to young Kenny G from Seattle, what advice would you give him personally and professionally?

SPEAKER_00:

Well, let's see. Um could have could have skipped one of my marriages, could have done that. That would have been nicer. Let me think. What else could I say? Uh you know, I don't know, man. You know, it's like every a lot a lot of things fell into place in the right way. I played with Barry White when I was in high school.

SPEAKER_01:

Oh my gosh, my wife loves Barry White.

SPEAKER_00:

Me too, me too. Um, then I was in a uh a funk band in Seattle, and I got you know some some at least exposure, and Jeff Lorber called me, and I was playing with playing with him and met Clive Davis through him. And what could I have done differently? Um, yeah, I wouldn't have I wouldn't have left Arista Records. Uh I left them maybe nine, eight or nine years ago. Uh Clive and I had a little bit of a uh you know a butting of the heads, and we should have just worked it out. I could have worked it out, um, and I didn't pay enough attention to it. That was a mistake. That was a career mistake right there. Um so I wish I could do that one over. That would have been better for me. Um I don't know, man. Seriously, uh not much.

SPEAKER_01:

You've had a 60, you've had a lot of great things happen in your life. It's hard to not be thankful and grateful. Yeah.

SPEAKER_00:

Yeah, it really is. Uh, you know, yeah, I I can't I can't complain. I've you know, I've grown as growing up in Seattle, you know, you're there with Microsoft came from Seattle, Starbucks came from Seattle, uh Costco came from Seattle, you know, all these companies that it's great.

SPEAKER_01:

What interest did you have in Starbucks? A lot of people don't know that.

SPEAKER_00:

Yeah, well, you know, I was one of the first investors, you know, and along with my uncle, my dad, and some of some other people in in town, you know, a dozen people, you know, were let's say the first investors. I was one of those, and that's obviously after, but you never know, but you never know. I've done other things like that and and lost money. So that one was a good one. So, you know, I can't complain.

SPEAKER_01:

Now we were talking about golf earlier, and you said you don't get a chance to play as often as you would like because of you know touring and all the things you're doing. Uh, are you still flying?

SPEAKER_00:

It's been a couple years too. I'm flying. My my airplane got into an accident. Oh, really? It's instilled in the repair shop. It was supposed to be done a year ago, and you know, uh, which is I don't I just don't understand. I mean, of course, take your time, right? Take your make it safe to fly again. Yeah. If you say it's gonna be ready in April, and then next April is still not ready, that's that's like, how do you not how do you not judge judge it? That that seems like an awful uh big discrepancy from where you think you can deliver it and and when it's still not ready. So uh I and I'm I'm grateful for the people that are working on it because they're the best, so I'm gonna be patient. So it's still it's still in the in the stages of getting fixed. Hopefully in a few months it'll be back. And then I problem is that I'm not current anymore, so now I have to get current again, which means I gotta go back with an instructor. Not that I don't know how to fly, by the way. I could step in the airplane and fly it, no problem. But can I fly in the clouds and do all of the things that are required to be an instrument pilot? I'm telling you, I could, I'm sure I could, but I'm not legal to do that. So there's legal things that pilots have to do, and we just do them, even though we know that it's like can be complete overkill, but you still do them. You still do them because you got to check off a box and you just have to have to do that. And we're I I would say all any any pilot that I know, we have our rules and we never break our rules.

SPEAKER_01:

You know, I'm gonna do a little rapid fire with you, and it's gonna be really quick, and then we're gonna talk about your real quick. We'll talk about the upcoming show coming up here at the factory on uh December the third. So rapid fire, are you ready?

SPEAKER_00:

I am ready.

SPEAKER_01:

Song you wish you had written.

SPEAKER_00:

Uh for the love of you, the Isley Brothers.

SPEAKER_01:

And no other cities get butthurt over this, but your favorite all-time city to perform in.

SPEAKER_00:

Tokyo.

SPEAKER_01:

Most underrated instrument besides the sax. Ah, buffoon. One word that best describes your style. Meticulous. Daily habit you absolutely refuse to skip. Dream duet, living or gone. Stan gets what's the first thing you order at Starbucks? Uh, usually an energy bar. And if you could only play one song for the rest of your life, which one is it? My song Silhouette. Well, Kenny, I can't thank you enough for your time today. Let's talk about this upcoming concert. It's at the factory. It's Wednesday, December 3rd. The doors open at 6:30. The show starts at 7:30. Uh, is this your first time at the factory?

SPEAKER_00:

No, no, we were there a year ago or two years ago.

SPEAKER_01:

Yeah, yeah. Great venue. I love going to concerts at the factory. It's a beautiful and it's a very intimate venue, which I love. So tell us a little bit about the show that we're gonna see and what we can expect.

SPEAKER_00:

It's probably two hours at least, uh, maybe two hours and five or ten minutes, you know. Uh try I we could play a three-hour show, believe me, but I think that'd be just too long for everybody because we want to play a lot of our uh songs that people have heard over the years. Of course, we and we add our Christmas songs. You know, it's a it's it takes up time, you know. So we want to make sure we cover both of those areas. Uh the guys that are in the band, uh I've been playing with for you know decades and decades. They're amazing musicians. So, you know, you come down and you know, maybe just because you're thinking you want to hear the sacks, but uh, you know, there's other musicians on stage that are gonna just blow you away, and you're gonna be so grateful to have watched these masters do their thing. So it's a it's a and and we our show is fun. It's fun. We we make it fun for everybody. There's I guarantee you're gonna you're gonna enjoy yourself. It's lot that's a lot livelier than you think it's.

SPEAKER_01:

gonna be just come down and check us out and and we you're gonna walk away feeling like uh wow I didn't expect it to be all of that and and and we're proud of our show uh you know what and I know it's gonna be a great show I've seen you before and it's your shows are always spectacular and appreciate you and thank you so much for being on here today you have a fantastic day can't wait to see you December 3rd at the factory if I don't get to talk to you at the factory have a great Christmas as well thanks Kenny appreciate it yeah and same to everybody watching happy Thanksgiving happy Christmas