This song, in particular, pulls back so much of my childhood.įor me, this evokes a painfully specific facial expression. Sure, there are probably full-on batter-fests, but my understanding (and experience) of reality is that domestic abuse is generally a lot more subtle and nuanced than that. Physical abuse doesn't happen in a vacuum, and in practice tends to exist primarily to punctuate and reinforce emotional abuse.
People at the House of Blues show can expect a lot of material from Hello, Tomorrow, hits from the past, cover tunes, and us going wherever the music takes us.I don't understand why so many are hesitant to interpret this song literally.
Live we create new arrangements, different mash-ups, sort of taking (music from) the 11 albums and going into new territory. There will be changes, I can guarantee you…(The controversy) created a lot of dialogue, and we’re going to see the Grammy categories morph in the future into something more equitable.ĬM: What can people expect at your House of Blues show?ĭK: I have an incredible band (keyboardist Brian Simpson, guitarist Randy Jacobs, bassist Andre Berry, and drummer Jay Williams). I think that the NARAS felt it was bloated with categories and changes had to be made to keep the Grammys relevant to the future. That trophy still matters an awful lot to people. So I understand (the controversy) but what I focus on is that the Grammy still matters. One of the categories where my music fits – “Pop Instrumental” – was taken away. Especially when you are on the short end of the stick. He had a wedding band, so every weekend I was playing with really good musicians, never thinking I would make it my life’s work!ĬM: How do you feel about the recent decision by the National Academy of Recording Arts and Sciences to consolidate or eliminate several Grammy categories including the “Latin Jazz” category? (Dave Koz is an ongoing member of the Board of Governors for the Grammy Foundation.)ĭK: Nobody likes change. My older brother – he gave me my first job once I got good enough. It was a great socialization tool, it was loud! I was kind of a shy kid, dealing with a lot of foreign emotions, growing up gay…the saxophone was a savior to me. I was an awkward kid (and) playing the saxophone allowed me to come out of my shell. Travel is a great way to open your brain and soul, and let that music find its way inside.ĬM: As a young man, how did you learn to play saxophone?ĭK: Seventh grade, Mrs.
(Former Houston resident) Kirk Whalum is, in my opinion, one of the best living tenor saxophone players and he kind of grew up in the lineage of the “Texas tenor” sound…maybe it’s the bigness of it all! But there’s these pockets all over the country where great music happens.
When traveling the U.S., are there parts of the country where you found yourself surprised by the quality of the local talent?ĭK: I think the really exciting music is being made in cities other than L.A. All kinds of conversational moments if you really listen to the album.ĬM: Texas is home to some incredible jazz and blues musicians. And you can hear all kinds of subtleties. This was kind of “old school” where you hand select world class musicians and track the music live in the studio. DK: This was in stark contrast compared to the way I’ve made records since the late '80s where you start with a drum track and you kind of build up the track.
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