Kenny G

inspires jokes and occasionally antipathy. Still, he's good natured, confident, and wildly successful enough to be unperturbed by the ribbing. Besides, he's probably far too busy to care. Following the death of James Brown, the Man born Kenneth Bruce Gorelic just might be the hardest working man in show business. He approaches his musical craft with a focus and clear eyed determination of an athlete in training, and he's been training

for over half a century. He puts in three to four hours of practice each day to ensure that his playing remains up to his exceedingly high standards. His hard efforts have paid off on a new album entitled New Standards, a collection of original material designed to evoke the timeless spirit of jazz classics. He's also the subject of a new documentary by filmmaker Penny Lane called appropriately Enough Listening

to Kenny G. Premiering December three on HBO. The film explores his artistic journey, superhuman work ethic, and his somewhat polarizing reputation as a musical figure. It also showcases his host of other non musical talents, including baking, flying, and golf, and as you're about to find out, he's also really good at being interviewed. It's my pleasure to welcome Mr Kenny G. So sit back, relax, and enjoy, and maybe throw on a Candy G album in the background. Why not?

I wanted to start with the upcoming h bio documentary Listening to Kenny G. It's such a fascinating premise because it's not just a biography, it also documents your relationship with fans and with your critics. How did this begin for you? How did you first link up with with Penny Lane, who, in addition to being very talented, has

an awesome name. She has an awesome name. Definitely, Well, you know I got the call from who did I get the call from Actually it was from my attorney who said he would talk into this guy Bill Singer at Ringer Films that they may want to do some sort of an HBO doc on me. And so I just basically said, sure, I'm interested, and I got together with Penny, who was also contacted by them. And here's what happened. They contacted Penny and said, would you want

to do a documentary on a musical person? And she came back and had and had the idea to do about me. So that's really where it came from. And what was the experience like for you making this film? I mean, I'm thinking back to the old This is Your Life programs. I mean, did you learn anything about yourself in the process? Um? Well, you know no, I mean I pretty much know everything that I that I said about myself. But it was, um, it was fun.

It was actually really fun. Penny made it easy. It was um a lot of um, you know, self reflection. That was a lot of thoughtfulness, good questions. And also I got a chance to see my old high school a band teacher, which was awesome because I hadn't seen him in twenty plus years. Oh that's incredible. I there's a very moving part of the film when I and Uh he was saying that you found your soul when you played a ten minute note on stage you have. Is that a real, uh, crucial turning point in uh

in your life. Do you remember that moment very well? Well, I think he remembers it more than I remember that particular moment. I think I was just playing my heart out and doing my thing. And I think maybe for him, he might have looked at me. You know, a teacher might look at a student one day and go, you know, he's not really a student anymore. Um, you know, and maybe that was his moment like that. But for me, it was just a great camaraderie with him, and he

was super encouraging. So he was a big part of me continuing to play because, um, he always made me feel like I was a pro. Oh well, I mean that's when you're first starting out on any instrument. I mean, you need to feel like you're actually going somewhere. And that's a crucial thing. I think teachers to give them a sense of confidence that you know you're getting somewhere. That's a beautiful gift. I agree, I agree. And then he did. He gave that to me and and I

just can't. I took it and ran, is it true you still use the same same taxophone. Yeah, yeah, same one, same exact one. Yeah. I mean this is my you know, my Indiana Jones brain is kicking in. I mean, I feel like that prolongs and the MU see him. I mean, do you have it an a vault? Like? Wow, that's unbelievable that that's still I mean, aside from Paul McCartney's Hoffner, I can't think of a more you know, iconic instrument

that's linked to somebody. Wow. Yeah, that's yeah, it's it's it's the same one I use all all um, every gig, I play everything, I records all the same sacks. Wow. That isn't credible. Oh man. I mean I love I mean, the film shows off your your your sense of humor, and I really love and admire the way that that you handle your critics because it doesn't impact your love of playing one iota. And I just think that is

the coolest thing. There was an interview you gave recently, I think it was with The Daily Beast for your actually complimenting the writing of a of a critical review, which I just think is some is like Buddha level equanimity and compassion there. And I just think it's so important to put this out there because you know, there are so many people who talk themselves out of doing pursuing any creative avenue for fear of you know, critics,

what people might say, whatever. And I just think, you know, it's so important for someone like you to to I just want to know where how did you achieve that level of composure and self self assurance. I just think that's that's like more people should see that and just

you know, do their thing. Well. Thank you. You know, I do believe that's a really good message, because you're right, a lot of people stop the whole process because either because they are criticized or their fear of being criticized, and it stops a lot of really great ideas from getting farther along, great ideas, great music, whatever you want

to say. But um, you know, I've always had the feeling inside of me that when I play my sacks, I just know what I want it to sound like, and if I accomplish that, whatever anybody says really doesn't mean anything to me. Because fortunately for me, when I've done that, I've gotten I've gotten a lot of feedback positive around the world by millions and millions of people. So when when that happens, that's a really good that's

a really that's really good feedback for trusting yourself. I mean, look, if I did that and everybody hated everything I did, it would be a lot harder. Maybe too. We have that confidence that I still want to do what I'm doing, but it's probably would still I have it because when I'm in my studio right now, and when i come out of the studio with some piece of music recorded that I think is good, that's that's it, man, That's just it goes out there and whatever happens, I still

love it. I'm so whenever I talk to people who are blessed with the ability to to write music, I'm so curious of what compels them to do it. Is it a desire to connect with other people or is it to just get something out of yourself. If you were on a desert island, would you, you know, be playing and just as much I would be playing just as much. Yeah. For me, it's comes from inside. Yeah, Um, what is the desire to write a piece of music.

It's really um one of those things. It's uh, it's almost like um so almost like if you were like if you opened a box and then you you go, Okay, well I wonder what's inside? You just kind of curious. So that's kind of what is. I'm curious how I hear a couple of notes and go, WHOA, I'm really curious about these notes? Can these notes turn into a

beautiful melody the way that I think they can? And for me, it's all about the discovery and the challenge of trying to make it work and the mystery of whether it will work or not, and then when it when it when you play it back. When I play it back and I listen, I'm almost like a third person listening and going, that's a really beautiful piece of music without it being me stroking my own ego. And that's something that I think maybe it may be unique, but that's how that's how I do it. I'm really

able to separate myself from myself when I listen back. Yeah, I wanted to ask you more about your your composition progress process new standards is is originals? Do you do you hear the tune in your head? And put it down. Or do you solo and maybe pick a phrase or two that you think, Oh, that's really beautiful. I'm gonna develop a little more. Or is it a combination. It's a lot of factors. It's not it's not any one thing.

Sometimes I have a melody that's just I've got it in my head and I know it's gonna be right, and then I just need to find the chords that go along with that melody. Sometimes I'm just playing with a keyboard player and we're just noodling and then he plays a chord. I go play that chord again, and then I okay from there, and then we just start from there. And it's a lot of ways. It could be just could just be humming something and I just

hear something. It could be it could just be some music that I hear that go oh, I'd like to play something like that. I hear a certain chord changes, I'm gonna come up with something that goes along with something like that. And so there's I wish there was only one way, and I wish I could just model it and then it would be a lot easier. I mean, this is this is a question that's going to give away the fact that I as much as I love music and my job allows me to speak to fantastically

talented people like you who can write. I've never written a song in my life. I play a number of instruments. I can't. I can't do it. I don't know if it's in my head or just something I guess. The question is is being a musician so or a composer I should say, is that's something that you're born with or can you learn to do it? Oh? I think you can absolutely learn to do it. I think it's pretty easy. But here's how. Here's how I would vise anybody that this has trouble doing it or just doesn't

understand the process. Okay, if you if some of us are born with with that those melodies inside of us, some of us are, But if you're not, it's really easy. Find songs that you like, figure out how they were composed, like get the chord changes, play them, and then just kind of get used to that and then say, Okay, I want to write something like that, So change the chords, change everything, but try to find some similarities where it's not too similar, because you obviously don't want to have

any copyright infringement. But that's how you do it. You kind of emulate, and then you'll find your own voice because you may go, wow, I really like this, but I wish it would go here, and then you find that you're creating a brand new song. Was there a turning point for you when when you went from being somebody who was i'll use the phrase an apprentice musician to really knowing that you discovered your own voice in your own sounds. I think it was probably when I

did my album Duo Tones in eighties. Six was when what happened was Okay, it's eighty six is like thirty five years ago. They the technology just came out with what we would call a synthesizer. Now it's just like whatever, that's like old school. Like now we're talking about all these you know, um computer based things and you can trigger sounds with your the keys on your laptop or we're just talking about like a piano looking device that had sounds in it. It wasn't a piano. It was

a synthesizer electronic. You could play something on it and then hit a button. It would play back when you played. That's pretty That was. That was innovative back then, it's not innovative now now it's now that's that's like like kindergarten stuff. But back then, So what happened was that I got my hands on one of these things, and since I'm not a piano player, I can noodle, So then I started noodling, and then you can fix notes,

so I would fix. I go, hey, I just created a piano track that I've always wanted to play on that I could never explain to somebody, and it wouldn't. It didn't sound right on a piano, but it sounded right on this synthesizer. A sequencer. That's the that's what I'm a sequencer. So I played this thing and then I hit my button and it's like, whoa, I really like this back backing track that I just made. That make a melody to it, And that's when I found

my voice. In the film, they there's a lot of attention paid to your your your practice regimen, which is formidable three hours a day for approximately fifty years something like that. Yeah. Yeah, I mean, by Malcolm Gladwell's tenours rule, you're a master five times over. And as a lay person, I would imagine that that that there must be very little for you left to learn. I mean, you're Kenny g Why do you practice? Is it to keep limber

or you still discovering and finding new things? Well, the analogy I would use would be somebody like um, you know, like a great golfer. Let's say, let's take Tiger Woods. So why would Tiger would ever have to go to the driving range? Doesn't he have it? I think, doesn't he have it? Good point? You know, why would anybody go practice? Because practice is what maintains your skill level at something that you maybe, let's say you are a master at it. Although I'm not saying I'm a master

with the sacks. I'm trying to master the sacks. And I would say that anybody that's playing an instrument or golf or any of those things, we all say our goal is to keep trying to master something that can never be mastered. So it's just the it's the quest

to keep learning. I mean, I practiced this morning. I did my three hours already, and you know, I was working on trying to use my phrasing in a different way than I than I've done in the past, and challenging because I'm so used to doing in a certain way. So I thought, let me try to do things a

different way here, and I'm working on that. I figured, you know, maybe a couple more years of doing that and I'll probably be pretty good at that particular little thing, and then I'll be another couple of years for something else, and then I'll be in my nineties and I'll just keep doing the same thing. I mean, that is an inspiration. I mean, you really are. I mean, and they go you go through this in the film as well. I mean,

you're a pilot, you're a golfer, you're a baker. I mean, they're all all these things that that you do that you commit a thousand percent to, which is really, you know, the way you should do anything. Uh. Is there anything that you're sort of at the beginning of your journey on hobbies wise or you know, interest wise that you just started to learn that you're first now getting into. Yeah,

I'm trying. I'm trying to learn how to be French. Really, I already know how that's gonna be, already know how much that's gonna take, and I am not putting in the right kind of time. I just don't have it. So I'm trying to figure out how I might be able to sneak in the right amount of time, and I just don't know how to do that yet because my life is pretty full. I mean, I I do my pray, just saying I got my exercising I like to do. I still have to maintain my skill level

as a pilot. Obviously, we want that because that's your life depends on that. I love golf, so I I want to dedicate some time to golf. I have a family, you know, I have people in my life that I want to spend time with. And there's also I'd like to do things like nothing like sit around and just contemplate things and spend time just being instead of doing. So I have all those things, but I still want to speak French, so I'm trying to figure out how

to make that happen. I'm not sure if it's gonna happen, and I may be one of the things that I might have to just go. I'm going to be satisfied with a less than stellar skill level at that. But maybe if I have just a working French vocabulary and dialogue, maybe I'll be happy with it. I'm not sure I will be because I'm not wired to be happy with anything that's not really great? Are you judging from your track record? I have a funny feeling you'll be fluent

very very shortly. What's that great? You know the painter Bob Ross, the you know, the guy on PBS, and he would all he'd always say, you know, I hope you're plagued with dissatisfaction because that will keep you coming back and keep you, you know, wanting to keep on painting another and another. And I I you know, it seems sounds counterintuitive, It almost sounds negative when you hear it.

But I think of that a lot, and you know, hearing what you just said, it makes me think of of you being plagued with dissatisfaction, but in a good way to keep moving forward. Yeah, it's almost like that movie, um, Whiplash. I don't know if you saw the movie Whiplash. By the way, I never had a teacher like that, not like that. He's awful, but he his whole thing was he never wanted to tell somebody good job. I remember he was saying, because he thought those were the worst

two words you could ever tell somebody good job. Because he felt like if you did that then it would stop them from trying harder to get better. I completely don't agree with that. I do not agree with it. I think you can say good job and still if a person is really interested in becoming better and better just because body's I mean, I hear it all the time. How hey that was a great show. Well, in my mind, I know that I missed a note that I wanted to hit the way I wanted to hit it, or

blah blah blah. But I don't mind hearing a good job. I appreciate that, and that doesn't take any motivation away from me to try harder to be better the next the next night, at my next gig, no matter even if I'm think even if I think, hey, that was a really good gig, great, but I'm still motivated to

do even better tomorrow, isn't it. I So I disagree with that, But I get the the velocity of being dissatisfied does gives you always trying to be better, but hopefully you're not beating yourself up during the process, right, That's a delicate balance. I mean, speaking of moving forward, your your new album, tell me a little bit about the theme behind it. It sounds like you. It's steeped in you know, old masters like Coltrane and Miles Davis. Like,

tell me a little more about the thinking behind the record. Well, I love the balance of those uh of the era of those those jazz grades. So this is we're talking about the fifties and sixties. So you've got your Miles Davis and John Bultrain. Those are pretty household names. I think even people that aren't into jazz kind of know those names. But they're stand Gatz and there's Paul Desmond, and there's cannonball Adderly and Sonny Rawlins. Those names are

probably not so upfront with people. But I love all those ballots. And the thing I love about those ballots is that they're not, uh, they're not simple. They're complicated. And I say complicated in the sense that the composition are chords like they're complicated jazz chords, and and it gives the player a chance to nuance through the solo section of a song and really kind of find a

way to bring all those complicated chords together. Um. And so I wanted to do that, but I also wanted the melodies to be my melodies, So I didn't want to just go ahead and play the old standards. So I wanted to write new songs in that style, but make them the melodies that that sing sing to my heart. And that's what I did. So that's why it's called

new standards because they're not the old standards. There are new, brand new songs, and I'm hoping that they would be considered standards at some point because of the way that they're constructed. I mean, that's what I love about those those tracks. I mean they are they're complicated when you sit down and try and play them, but they they don't sound that way. They they cover their tracks, They cover the joints and make it seem so seamless and

make it seem so easy. What is for you? I mean the title is so great because to me, the thing that makes a standard really is just the passage of time. Uh, And so that the the idea of a news standard is is it's like jumbo shrimp. It's almost it's almost counterintuitive. What is it to you that that makes And maybe this is a you know, a I the Beholder type question, what is it that makes a timeless melody to you? Well, that's a good question, and that's what I try to do with every song

that I record. Um, it's it's a melody that makes sense, and it's and played in just the right way that the emotion of the melody there. Uh, it's not a it's not like a one time take. See that's what I That's why I love doing it in my studio because I have a chance to tweak things. Because you're talking about a timeless melody. You're not talking about Hey, Tuesday night I had that was a good take. Okay,

that was a good take on Tuesday Night. But but if that's the take that's going to be around for fifty years, I mean maybe. But in a perfect world, I think even the jazz grads, Um, now this is very presumptuous, but even some of the beautiful ballots of the fifties and sixties, if the jazz grads had the technology that we have today and they had the knowledge of how to do it, which is what I do. I have in my studio. I know how to use all this gear, so I can take a melody and go,

you know, I love it. But there's three notes I don't like. I can fix those three notes and make them exactly the way I want they'll fit in seamlessly. Would the jazz grades go back and tweak some of their performances just because they had the chance to. I would day that maybe some of them would, maybe some of them wouldn't. But for me, it's it's about putting out a masterpiece that I can listen to forever and know that there's It's just I don't know how to

say it in words. It's like, I like my Christmas album. You know, that's how I said about to do Miracles, and it was. And so we're gonna do an arrangement of White Christmas. It's been done a million times. Okay, how why is my arrangement going to be something that's gonna stand the test of time? Because it's gonna be a classic arrangement. It's not gonna have any funny business in it in the sense that it's going to be so nuanced that it would only be only be applicable

for the nineties. Now, this is gonna be something that you could listen to if you were in the eighteen hundreds or now in two thousand. You know thirty, Okay, what's that melody? So I gotta play it in just the right way, right nuances, and that's kind of what

I did with new standards, same same, same intention. It's really fascinating how in the last hundred eighty years or so the meaning of a song went from being a set of notes and chords that was sort of living and evolving depend on who is playing it to the record is the song? I mean you know that. I mean it's a silly example, but something like Sweet Home Alabama by Leonard Skinner when they say turn it up

at the beginning. They have to say that in concert now because for most listeners that's become part of the song. The accidents are part of the song. Every little you know, noe band in the solo, it's become about that recording and not sort of the song as a living, breathing standard. I guess is probably the term. It's interesting to see that evolution over the over the century or twentieth century,

I suppose. Yeah. So it's a it's a delicate balance when you play live, because you don't you do want to emulate what you've recorded because people are used to it, but then hopefully you give it something special in the live performance. So we do our best. I mean, I don't play every single note exactly the same as I

did on the recording. During a live performance, I get close enough, But then when I'm playing live, there's the nuances that just make it special for that for that Tuesday night, for the recording, leave it right where it is. By performance, I'm probably gonna throw in some a few more fancier things that would be exciting for that moment, but maybe not something I want to hear every single whole time I hear something. I wanted to ask you about your your virtual duet. I guess it's probably the

best way to phrase it with uh, stand dance. How did that come to be? What was the process of doing that? Because this wasn't like Natalie Cole singing with with her father on Unforgettable. This is something totally new that I've really never heard of being done. Can you tell me more about it? Yes, it's actually more like a posthumous duet than than virtual, because you know, Stand's not around anymore, and it's um in a way. It's

it's I think. I don't no, I don't know if anyone's ever done this before me, and I didn't even know anybody. I didn't know it could be done. I decided I wanted to write a song, and I wanted stand Gets to play my melody. Of course, of course, he never would have ever played it because it didn't exist while he was alive. So how am I going

to get stand Gets to play my melody? Well, I'm gonna have to use our fabulous technology that we have in two thousand twenty one, and I'm gonna have to grab notes and I'm gonna have to take those notes that he plays with his sound, and I'm gonna have to change the notes. I'm gonna to change the notes and change the phrasing and put notes together that were never put together and make him basically play a melody that he's never played. And is it gonna sound good?

Or is it gonna sound like a robotic, choppy thing? And it turned out that it worked out really, really well, and I'm super proud of it, and I think that it's I think it's innovative. I think it's his family loves and I played it for the Gets family. They love it. They all signed off on this literally and figuratively that love this thing. All the money that will be generated from this song is going to the stand

Gets a state. So I would never profit from any of this, but I just think it's and also it's nice for me to be able to share my fan base with somebody's at state that a lot of people don't know stand Gets, but hopefully they will and they'll like it enough, and and maybe they'll go and support the whole thing by buying some of the stands guess his records, which would be great. So it's kind of cool, it's a it's innovative. I'm sure the jazz critics are

gonna absolutely hate it. I'm sure they will because it's, uh, it's very presumptuous of me to take stand Gets and basically bring him into my world, and they're going to think that that was probably very, very uncool, And I think it's just the opposite of that. I'm sure if you could go to his world you would. But I

think it's so innovative and so interesting. And as you said, I hadn't even thought of that about about, you know, turning people who are maybe dipping their toe into jazz but don't really know where to start to turn them onto to some great names like that. Who are some other people that you would recommend that maybe you don't want to get into jazz but don't really know where to start. Who should they check out? Well, sand Gets for for sure. There's a there's a record called Gets

for Lovers. You get that book, that's that record, Gets for Lovers. And even if you're not a stand Gets fan and you don't know much about it, if you like a beautiful saxophone, because he had a sound that was different than anybody other, anybody else's sack sound. His nickname was the sound you know. And there's a quote from John Coltrane that says something like about Stan Gets. He says something like if we uh, we'd all play like that if we could. That's you're on Coltrane talking

about stand Yets. So Stan is just beautiful in his uh and it's just his phrasing and everything. It's just as a unique sound. He's great. Paul Desmond is great. He's got a beautiful light touch. Um Cannonball Adderley is one of my favorite. He can get busy. He's probably my favorite an alto sacks player. But uh he plays a bossa nova called Quiet Nights that I think is just one of the greatest greatest performances I've ever heard. It's complicated and fast, but you don't feel it. You

just feel it being awesome. And so yeah, there's a good start right there. Those three would be great. Dexter Gordon has some beautiful jazz ballads out there. Um, you can also just listen some piano jazz from Bill Evans. He's great, So that would be a good start. I love the stuff Gets did with Gilberto because Guest is the one that made the Bossonova world famous and he

brought Bosanova to the world stage. What happened was that Uh I was talking to Stand's widow, Monica, and she was telling me how it all happened, that that the government, the US government had brought these Brazilian musicians into the United States who I don't know. It's like some sort of a I don't know, sharing program. Had nothing to

do with Stand Gets it brought him in. And then I guess his wife Monica heard this and said, you know, you should do something with these Brazilian players, and I guess they got together and Stand wasn't all that that uh excited about it. She convinced him that this was good to do, and she spearheaded the whole record. That one record of the Year and Song of the Year in nineteen sixty four the Grammys, and I understand that stands contemporaries, people like Miles. I'm not sure if it

was actually Miles, but people like that, the contemporaries. We're giving stand Aback a really bad time about doing this Bosston Nova's like you've got commercial when you've turned your back on jazz geez some of the things that I hear today about my music. So that's why it doesn't bother me anyway. But um so, Stan did not go to the Grammys to accept the Grammy, and his wife accepted it on his behalf, and it was his most famous record. It really spearheaded his career into a new stratosphere.

And it was all because his wife really saw the vision and said, you know, no, this is really gonna be okay, and she convinced him to do it. And and again he was fighting the jazz purists that we're saying, this really isn't a good thing to do. And obviously, in hindsight, as we look back, some of those ballots jazz ballads, I mean, the Boston Nova's that Stan gets it. There's some of the most beloved jazz songs, and now I think all there's not one jazz purist that's probably

would criticize that. So there you go. Oh my god, I didn't know that. That's an incredible story for and incredible for anyone hasn't heard that. Please check that record out. It is unbelievable. I mean, Stan gets he's the sound

brings me to a question about your sound. I mean, I've been heard your sound referred to with so many things are and B adult contemporary, the famous smooth jazz tag, which seems like if it was invented for you, if not for Grover Washington Jr. How do you categorize your sound? What do you call it? Or do you not even think of those terms? No, no, no, there, I don't categorize it at all. I mean it's I'm lucky that um,

you know, and people say this to me. You know, I just hear a few notes and they know it's my saxophone sound. I mean, that's that's a that's a blessing, that's a gift, that's a phenomenon. I don't know, you know, it just is. It's one of those things wherever happens when I put that sacks in my mouth. However, however, the air flows out of my body, however my mouth is on there, there's a sound that comes out of my sacks that sounds different, and that's that's it. That's

the sound. I mean, it's one of the most identifiable sounds in music. I mean, you've been successful and pretty much every metrical musician could be successful, which is astonishing because I mean, jazz isn't traditionally seen as a mainstream genre. I mean, I wish it was, but I feel like that's it's that's probably the case. It's not. I feel like your career couldn't be something that could be cooked up in you know, with a bunch of industry suits.

Like it's just so, it's just such a truly occurring phenomenon. What is it about your music that that resonates with people across the globe? Well, that's that's how would I answer that question question? But I mean, you know, it's Uh. When you when people watch the documentary, you'll see how all this kind of happened with with a very important performance on Johnny Carson Show in the mid eighties where people heard my sound for the first time on a say,

on a national level. Uh. And so that was a big deal back then. You know how why does my music resonate with people? I don't know. I just well, it's it's it's one of those things. It's like, why do you fall in love with somebody? Why does one person think that somebody is beautiful and somebody else looks think that somebody else is beautiful. It's just one of

those things. It's a heart touches a heart in a certain way, and I'm very lucky that what comes out of my heart, which is sincere and organic and natural and beloved to me, seems to touch other's hearts in that same way. And it's one of those beautiful things that that makes life really exciting because it's it's an unknown that can't be quantified. Yeah, oh my goodness, Kenny, I would I would talk to you all day. I don't want to take up too much more of your time,

but it has been an absolute joy speaking you. Thank you so much for your time today, and more importantly, thank you for your your music. Has been really such a pleasure. Thank you, my pleasure. I appreciate everything. Thanks for the kind words at the beginning. Oh my goodness, of course, we hope you enjoyed this episode of Inside

the Studio, a production of I Heart Radio. For more episodes of Inside the Studio or other fantastic shows, check out the I heart Radio app, Apple podcast, or wherever you listen to your favorite podcast.