Eric Knight, a highly skilled saxophonist, brings a unique And Innovative Approach To instrumental Pop/R&B Music Through His Latest Album, Cover 2 Cover - Vol. 1  

 Interview by: Gina Sedman

Eric Knight is an internationally acclaimed saxophonist with a distinguished career, having collaborated, played, and traveled extensively with renowned artists, including The Rolling Stones, Prince, J. Lo, Etta James, Hiram Bullock, Randy Brecker, and many more.  

It was such a delightful experience to engage in a truly remarkable and enlightening conversation with the exceptionally gifted Eric Knight. I was truly impressed by his kindness, confidence, and honesty when he shared his musical journey. The authenticity and rawness of his character resonated deeply with me. He was incredibly relatable.  

As someone who adores the 70s and values genuine and kind-hearted individuals, Eric definitely made an impression on me. What truly stood out to me about this talented saxophonist was his courage and unwavering dedication to his family's well-being. We delved into various topics during our interview, and here's what he graciously shared. 

It's an honor to meet you, Eric. Thank you for your time. Thanks, Gina. 

May I ask where you're located? I am currently in Goshen, NY. 

So, Eric, what ignited your enthusiasm for music and motivated you to pursue it as a profession? I have been playing the saxophone since I was ten years old. My father, who is originally from Germany, played the accordion. Growing up, I was exposed to beautiful European music that I fell in love with. I fell in love with the melody and music. My dad, who played clarinet in grade school, suggested I play the saxophone. So, I started playing the sax at ten, and by the time I was in the 6th grade, I was already playing in the 8th grade band. When I got to the 8th grade, I joined the high school band and continued playing in college bands. I'm not sure why, but I felt an urgent need to learn music and share it with the world immediately. 

When God has blessed you with the gift of music, you understand your true purpose. It becomes an inseparable part of your being, flowing through your veins. Although it may sometimes feel like a complicated relationship intertwined with the demands of the industry, you can't help but develop a deep affection for it. It becomes an integral part of your identity, and if you were ever to abandon it, a vital piece of your soul would wither away. It's as if losing music would be akin to losing a limb. It defines who you are at your core. It's my whole being; it defines me on a cellular level. Everyone has their own interpretation of what this means to them. For me, it's about healing, which is why I became a licensed massage therapist. Although I don't practice as much anymore, I still enjoy helping people and talking to them about their issues. Sharing music that can be healing is also a passion of mine. This aspect of myself is deeply ingrained in who I am, and even though there are times when I want to throw it all away, it's also my therapy. 

Absolutely, I understand what you mean. The music itself is not the problem; instead, the frustrations frequently linked to the music industry give rise to mixed emotions of love and hate. Now, Eric, you play the Alto saxophone. Yeah. I'm mainly an Alto player. I grew up listening to great players who influenced me, like Grover Washington, Charlie Parker, and Cannonball" Adderley. I was young, and smooth jazz was huge then, so I loved Grover and David Sanborn, my favorites.   

In a way, I modeled myself around those two guys. Then, I discovered Kirk Whalum and Gerald Albright. To me, Gerald sounded like Cannonball. He's done phenomenal work! Out of all the fantastic players, Kirk inspired me the most because he can make his saxophone sing like no one else. As soon as he plays one note, you know it's Kirk Whalum. He doesn't have to play many notes to make you feel it.   

So that's my next aim now. It's not just about learning all these scales and playing fast runs to show off. Instead, I'm trying to convey more with fewer notes, making each note sing and genuinely connecting with the listener. That's the path I'm taking. 

Eric, you're a great horn player. How many hours do you practice each day to play at your level? Thanks! In my teenage years and twenties, I dedicated 6 to 8 hours daily to practice, especially during college. It was a time when I was constantly striving to be the best because there were these talented kids around me who were surpassing me due to the intense competition. However, my practice routine changed as I grew older and started playing professionally.  

Now, I spend about an hour practicing scales and long tones, but most of my practice time is focused on preparing for upcoming performances. I have to memorize music either for someone else's show or for my own new performance.  

So, my practice sessions are more geared towards the actual performance rather than solely focusing on technique and scales. Currently, I practice for one or two hours a day, but if I have an important gig coming up, I might increase it to around 4 hours a day to ensure I'm fully prepared.  

I can't help but constantly have music on my mind. Even when relaxing on the couch, dialoguing with my wife, I'm humming tunes in the back of my head. And even when I go to bed, I'm still writing songs in my mind. It's like the music never stops playing in my head. 

I believe that when people are forcing themselves to do something, they should ask themselves if it's really what they're supposed to do. Those who excel at what they do are passionate about it, and they can't get enough of it. So, if someone is trying to force themselves to do something they don't love, maybe they need to reassess their path. It's great that you found your passion. You mentioned that you play R&B, soul music, and smooth jazz. Are there any other genres that you're interested in exploring? I consider myself to be an instrumental pop and R&B artist. Pop R&B is my favorite genre. There's nothing like it. My version of "The Christmas Song" was #1 on the charts for two weeks in a row last year. Even though the song has been covered over a million times, we made it unique by incorporating a gospel choir in it, which sounds beautiful.   

To me, being a pop artist isn't just about playing a bunch of notes in front of a band. It's about delivering a message with a clear and beautiful tone. I see myself as a lead singer, not someone who's going to showcase their instrumental skills. Although, I do love doing that, too. However, playing above the audience's understanding can make them lose interest. To bring everyone together, you have to deliver a simple message. 

Yes. That's great. So, Eric, how do you prepare yourself mentally when you are about to perform live? I want to understand how you handle the varied responses from different audiences across cultures. Some audiences, though they may be enjoying your performance, may not be as vocal or expressive as others. 

Additionally, people may react differently to your performance in certain cultures due to cultural differences. Some may remain quiet throughout the performance and give you a standing ovation at the end, while others may be more vocal and respond throughout. For instance, in the Black Gospel Church, people may show their appreciation by shutting you down. So, how do you prepare yourself to handle such responses and perceptions from the audience? I am an empath, and it can be difficult for me to do what I am about to say, but it is important to completely disconnect. When you approach a situation with a sense of detachment, it allows for a more authentic connection to happen. If you go in thinking you have everything under control, it will never work out that way in the world of art.   

I have a set list, and the band knows what they're going to do, but how the energy flows during the performance is something that you have to allow to happen naturally. You have to be able to improvise in the moment. It's a deep process, but it's necessary for a great performance. 

Assessing the audience can be difficult in certain places like Japan because they tend to hold their applause until the end. I remember going to the movie theater after performing there and watching Austin Powers with the band. It was a funny movie, but there was no laughter from the audience throughout the entire two-hour film. They held their reaction until the end.  

Cultural differences can have a significant impact on how people react to performances. I've been to parts of Thailand and Hong Kong as well, but Japan was the scariest experience for me on stage because I didn't know if I was doing anything for them. (laughs) 

Right! I can only imagine how that can feel. Like I just played a beautiful thing where people usually give me something, but I get nothing. I'm like, “Should I just go home?” 

Yeah. (laughs) That's extreme, but I'm sure you understand what I'm saying. No matter what, I do meditation before I perform live because I still get nervous. The nerves are high because there's a part of me that wants everything to be perfect. So, I've learned to meditate, let go, and not have any expectations. If you can really achieve that state of mind, I believe you can have one of those unforgettable performances that people will always remember. 

It's important to keep in mind that if someone invites you to perform on a stage, it means they already have a high opinion of you and believe in your abilities. Your talent is in demand, and people are willing to pay for your presence. As an independent artist, it's crucial to familiarize yourself with the culture and understand the environment before you venture into new places. However, the most crucial aspect is to have confidence and embrace your identity. Don't worry about whether others will accept you or not. Give it your all and strive to be the best version of yourself. Remember that you were created by God with a purpose and have something unique to offer. So go out there and showcase your talents to the world! Especially in today's society, cultural sensitivity is an important issue. As a white man of German-Irish descent playing R&B and 90s soul music, I understand that some people may question my involvement in this genre. However, I do not see any difference and have no problem with it. Nevertheless, I am aware that some individuals may not want to see me doing certain things, and they may make negative comments. Despite this, I always approach my work with love and positivity, ignoring any negativity around me.   

This year, I planned to release a Christmas song called "Soul Holiday" by Sounds of Blackness. However, someone advised me that due to the current climate, I should wait until Sounds of Blackness is available to sing the song with me. It's unfortunate that I have to consider such things, but I have experienced this kind of situation before. For me, at the end of the day, we are all people.  

I want to tell you that if there's a song that you want to perform, don't let other people's opinions stop you. Let your love for the song and for what you do be the driving force behind your decision. It's about doing what you love, and if people don't like it, that's their problem. Kick down those doors and do it because it's your passion. I think it's an honor for you to want to play and honor black music in this way. I'm really proud of you and Eric, and I know you'll do great. I'll be cheering you on online, so go out there and do it! 

Now, Eric, who are some of the other notable artists that you have had the opportunity to play with? Sure, in my professional career, I've subbed for the sax player that was in The Rolling Stones band. That was an amazing experience. I played two shows with them. Bobby Keys is the saxophonist for The Rolling Stones. Sir Tim Rice is also in the section, and when he's unavailable, Andy Snitzer subs. So, I got the call to play. 

I have had some incredible experiences throughout my career as a musician. One of the most memorable was playing with Candy Dulfer and Maceo Parker at Prince's House at Paisley Park Studios during his "One Night Alone" tour in 2002. A dear friend of mine, Mark Ledford, who passed away 20 years ago, was part of Pat Metheny's band and introduced me to the Prince crew. He knew them all since he lived in Minneapolis. He called me when I was on tour, and I showed up. It was Maceo Parker's birthday, and we were on stage jamming out. The jams would last for hours, and you never knew who would show up. It was a fantastic experience.  

Although I have had the opportunity to play with some incredible artists, I didn't tour much because I wanted to be there for my family. I have a daughter who will be 15 and two sons, one who is nine and the other who is 10. I am excited to record my daughter's first original single. She is a singer and songwriter, and her music is beautiful.   

After COVID, my life changed, and I started recording. I was featured on the "Too Funky 2 Ignore" album with guitarist Hiram Bullock and trumpeter Randy Brecker. It was the last album he made, and I played all the horn lines on tracks 1, 6, and 10. There are many famous people on the album, including Will Lee, the bass player of the David Letterman band. 

Whenever people ask me how I come across such amazing opportunities, I tell them it's all about building relationships and demonstrating humility. When you become an integral part of a community, people will eventually recognize your talent and want to involve you in their projects. That's when they will offer you opportunities. 

Eric, I must say, you did a fantastic job covering Can We Talk, The Christmas Song, Weak, and Crazy. I thoroughly enjoyed listening to your renditions! I'm curious to know more about your previous releases and your latest original single, "Cash In." I recently released a new cover song titled "Can We Talk." It's a contemporary version of the classic hit by Tevin Campbell. The production features Bobby Sparks (Snarky Puppy) and Marcus Machado (Jon Batiste). This was the third single from my upcoming debut album, "Cover to Cover - Vol.1". My previous singles were a funky version of Gnarls Barkley's "Crazy" and an updated take on SWV's iconic ballad "Weak." The vocals are done by Brian Alexander Morgan, who is not only the original writer but also the creative force behind all SWV's hit songs.  

I aimed to connect with listeners through my covers, which are beautiful renditions of popular songs. They have a current spin on them because I like changing things up and making people a little uncomfortable in the smooth jazz world. I sing through the horn with a pop mentality, humbly delivering the music.   

My new original single, "Cash In," drops on all digital platforms on March 8. It goes for radio ads on April 1. "Cash In" is a sincere "smooth jazz" style original single that I wrote. Cover 2 Cover - Vol. 1 will be released in its entirety before the end of this year. I am still working on finishing the last two tracks. 

My heartfelt congratulations to you, Eric! As with your previous singles, I'm sure this one will also be a success. The way you play is genuinely extraordinary. What advice or words of inspiration would you give upcoming musicians like yourself? I have noticed that many people in the music industry struggle with imposter syndrome. Even the most talented individuals can hinder their own success by overthinking and doubting themselves. On the other hand, some less gifted people may achieve success simply because they have a carefree attitude that people find appealing.  

Instead of worrying about how things should be, focus on doing what you love. Don't force things to happen a certain way; just let go and radiate love for your craft. You may not achieve your desired outcome, but if you come from a place of authenticity, you will still have an amazing experience. It's important to remember that success in the music industry is not easy, and learning and growing takes time and patience. Keep an open mind, stay true to your beliefs, and success will follow. 

That's beautiful, Eric, and thank you for that! It brings so much joy to my heart. Once again, I feel incredibly privileged to have the opportunity to talk with you. My prayers are with you that God will shower His blessings upon the work you do, be it done according to His divine plan for your life. May the Lord protect you and your loved ones during these challenging times. Furthermore, I pray that God will surround you with genuine, kind-hearted individuals who will support you without any ulterior motives. I want you to know that I am truly impressed by your bravery and all the accomplishments you have achieved. I am eagerly anticipating the incredible things that lie ahead for you in the future. Eric, it is an absolute honor. I am grateful for the chance to be a part of your journey. God bless you, Eric. Thank you, Gina.  

My pleasure. Bye. Bye. 

www.ericknightsax.com 

All photos of Eric Knight are by Chris Herder. The Cover Graphic artwork except for the photo itself is by Gina Sedman

END OF INTERVIEW