Review: Dead Kenny G’s @ Blue Nile

Pure saxophone schizophrenia ensued before Dillon jumped in and stirred the formula with heavy metal machismo. The metal ultimately progressed into a punk drive with an underbelly of New Orleans funk. During the heated uproar Dillon called out: “Zombies mother fuckers! Smooth jazz is dead!”

Original compositions of political and menacing pursuits were intertwined with tributes to afrobeat, samba, metal, industrial, punk, funk, bebop and cool jazz. The trio paid tribute to the actual Kenny G by burying his tacky, distinctive nasal melodies alive, only to stomp on them with a death march of minor chords and sound warps. It was clear that being buried alive gained Kenny G a ticket to hell, where he danced with the devil and returned to contradict his cheesy pursuits and raise hell.

Appearances aside, it was clear that the Dead Kenny G’s were the antithesis of easy listening. The musicians avoided all things smooth and connected, opting to support their sound with experimental tinkering, progressive explosions and stylistic snippets. There was no telling what path the band would journey down and when they would switch gears.

Needless to say The Dead Kenny G’s content was neither gentle nor legato, for every note was rough around the edges and struck with lethargic fury. Their set was a radical rush of jazz-fusion that bashed boundaries and eliminated Kenny G’s musical waste, while preserving the legacy of his curls.

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