Best of DAVE Ker.Best of Dero ea) Creme ten cay DeMatha Y Peer tre Secon scat Ce ee et eed Cer gaclinepemcetaiierset ate ht eogi teeters pee ee anes ier ean ry Cee eaeDAVE KOZ t's been over 17 years since Kaz exploded onto the Los Angeles music soene as an in-demand touring saxophonist with Richard Marx, Jeff Lorber, and Bobby Caldwell Since then, Koz nas established himself as ‘ world-renowned saxophone player, a mult-milion-seling solo recording artist, humanitarian, syndicated radio host, and instrumental music advocate. The groning ist of artists he has played with bears testament to his talent—a list including such musical luminaries as Burt Bacharach, Ray Charis, Natale Cole, Celine Dion, Kenny Loggins, U2 Luther Vandross, Vanessa Willams, BeBe Winans, and others, He isthe ecipient of numerous nominations and honors from such prestigious organizations as the Recording Academy (Grammy Awards) the NAACP {mage Awards) and Casis (Smooth Jazz Awards) Koz has adied yet another distinction to his résumé—that of entrepreneur. He recently co-founded Rendezvous Entertainment, an independent record company headquartered in Los Angeles. Adtitonaly the saxophonist hosts @ waekiy syndicated radio show, “The Dave Koz Radio Showy,” that features artist intervie currently runs in approximately 120 markets). He also anchors “Dave Koz in the Moming,” a daily moming radio show on KTWWV, the Sth anked station in the Los Angeles market. Kor serves as Global Ambassador forthe Starlight Children’s Foundation. He recently completed a four-year term withthe Grammy ‘oundation Artists Committee, a non-proit arm of the National Academy of Recording Arts & Sciences, dedicated to reserving America’s rch cultural legacy and bringing music into schools, Born and raised in LA's San Fernando Valley, Kaz intially picked up the saxophone as a means of gaining entry into his big brother's band. But what began as a ploy became @ lifelong obsession. Years later, after earning his major in mass communications from UCLA, Koz decided to make a go of becoming 2 professional musician, Within weeks ofthat decision, he wi recruited as a touting member of Bobby Caldwell’s band. It was during this time that Kor befriended keyboardist Jeff Lorber, who invited Kaz to come play on one of his tours. That stint was followed by a 14-month tour with op singer Richard Mank. Signed to Capitol Records on the strength ofa Loiber produced demo recording, Koz eleasad his selt-tlad solo debut album in 1990—the first in a continuing body of bestseting works, including Lucky Man (1993); Off the Beaten Pa (1996); two holiday-themed aloums, December Makes | Foe! This Way (1997) and Dave Koz & Friends—Smooth laze Christmas (2001); and a various artists compilation, Golden Siumbers: A Father's Lulaby eleased on Rendezvous Entertainment, 2002). His gold-certfied fit album, The Dance (1999), spawned no less than five Top 6 contemporary jezz hits. With 2003's ‘Savophonic, Koz created the most adventurous and sax-intensive recording of his career—a scintilting fusion of RB, funk, jazz, and pop, with well-conceived detours into hip-hop instrumentals, bebop, electronica, and Atican fok, Wit a triumphant performing career, an independent record company, a radio show, and the respect ofan increasingly jaded and complicated record industry, Dave Koz's artistry, commitment, and influence continue to growTHE DAVE KOZ INTERVIEW By John Stix CCan you give us an overview of your history withthe instrument? | was rele in LA, and picked up the saxophone by aocident. My mam basicaly forced my sister and me to pay piano rom when we were toddlers. hate piano, was never ary god at But have to thank her now for making me dot ‘cause rte mst of my songs onthe piano. et it wes more ke a chore than the discovery ofthe instrument. here was a plano teacher there every week uo rade us practi scales. ts more work an fun | baled when | Was eight | rine nd si | wanted to play drums took crums lessor and made my parents ‘uy a Gretsch drum st. | can se right in front of me. Iwas an orange speckle thing, | am the wort's worst drummer. | cold not keep time to save mye was 0 bad. prety much though I relly cnt have any musta tnt. But then nthe seventh grade was 13 a the time—my older brother Jeff nada bard. He played the guitar stil does. He ands fends were plying al Kinds of wedcings, ‘ar mitzvahs, raterty paris, and society funciens. Nave ofthese Ks in the band, wo were 16 and 17 years old, ha to havea job because they would werk every weekend, |just saw how eat that was. | wanted tobe in that band. My brother seid, Theres no way you can bein the band” After weasing him dou, he ceventualy sai, "The only way you can get nis if you can play the sax because we n't hav sax pay Talia al | needed to ear. That’ wry picked up the 2x Playing the sox was an accent, because I wel have never thought of itt re had said that, twas realy interesting because the minute picked up, was tke intng someting tat nad est Unik the oer instruments that rid, ‘twas avery natural t and | got good att very quo. Tw yeas later | was in that band, ws doing gos at 15. id you lear by playing along with records? ‘Oh yea that exactly what | i. woukd buy records and play long wih Tom Seat and David Sanborn | copped al thse things The fst record ever bought was Tower of Power's ack Qakand| memorized al those hom nes andthe ‘soos Len Poet was plang Before | was playing wth my brother's band | as playing along wth records. My brother was also listening to some hip stuf at the time, ke Mize! Franks and Gno Verne. was sphistcated haonic ‘tu that | would pa long vith, So my ear got aduste. | vas abys paying ‘89s with people four five, si years older than me an mies blr han me. But because | was his rote, was inthe ban, ‘Would you play the horn parts from the songs or make them up at the gig? | ould make them up, there was a sax soon particular song, | would play that sax solo ora reasonable facsiile At the tne there were songs ike "Just the ‘ay You Ar,” by Bly Joel, with a Phil Woods sax so}. | copped that or "We in ‘This Love Together, by Al Jarreau There wes once a time when pop music had sx soos, but not so much anymore ‘Was music your thing the way sports were for other kids in schoo? twas a hobby and | treated it as such. | enjoyed it very much and | put mysetf out ‘there with friends and people in junior high and high school. | was playing here as nested somenady needed a sax soo on clr, ul 0 Sometimes it was a show. | played in the high school jazz band, which met at 7,00 in the moming, which was painful. | was there an hour early before school, | was also the guy who did the report on the loudspeaker to the whole school, “which is funny because | spend a lot of my ime now doing radio. | was a pretty ‘que, very nerd and geek, especaly in juirhigh school, Saxcphone isan “amazing vehicle. it helped me gain confidence. There’s such incredible ‘socialization that comes when you play in a band or a concert band, where you are with other people. You get to know them and they challenge you to get up to first chair, That's what | really recommend for young people coming up. Get ined musicaly because you can find out lot bo youre. Yu can eam ‘about life by being involved in that system. It's a tragedy, however, that @ lot of publ schol systms cont have what we had graing wo. Did you go to college for music? | went to UOLA 2s a mass communications major | knew that could play and | vas not half bad. But | just cit see how to create a career in music. knew it was possible somewhere in some ved paral! universe, but just cd't know haw to dt | was kind of falling my gut. | sad, m going to goto schoo! and lear something, | was interested in the entertainment busines. | was going to do ‘hatin communications. During lage | uid continue to play all ofthe side stuf, he weddings onthe weekend, and | would do some recording sessions. | ‘would play and practice tke a fend, | met a lot of other musicans on gigs, Ine stows, and stuff ae thal, | didn't know how to make it living | wasnt making ‘much money att, except forthe weddings. wasnt such a bad thing, because ever had another jb. | graduated in June 1986, and remember my parents sayin, "So now what?" | said | would ke six rants where | am going to sae about music. After sx months Il figure it out and getajod or go back to school ‘and get a master’. To weeks later | gt a cll fram Bobby Caldwell. He was puting together a band fr his comeback and needed a saxonhone player. | ‘auctioned for him and goin the ban. Interestingly enough, that was the ting that got me onthe path that 've been on evr since. How did he hear about you? He heard about me through ated of is who had seen me play witha guy ‘named Gregg Karukas, wo fs piano player | did some club dates with him, He heard about you and you got the gig. ‘Then we id gigs in LA, and those shows were well tended by mus industry people. Somebody saw me atone of those shows and knew that Jt Lorber wes jutng together a new band and was looking fora sax player He referred ma. ‘auctioned for Jef Lorber, and he was one of the guys whose record | used to ‘ply alongwith, Hee lam at his house. The guy an instrumental legend. | ‘auctioned for him and atthe auton he sad, “You got the gig, and aso tink you shoud get a record deal. can help you get @ record deal." thought the guy \was absolutly out of his min, remember leaving there and thinking that guy is smoking something, But you kno what? He lived up to his end ofthe bargain ‘Wie da dames, we wrote songs tgeter, and he got me my deal a Cail Fecords. | got signed in 87. My fst record came out in 1990, Lorber was a big ‘ar in that. ve bean on Capitol for 15 years. ‘Why do you think you got the Bobby Caldwell gig? | think you have to be able to play. When peaple talk about having a big break, it's ‘ppatniy intersecting wth the goods You hae tobe able to pla and sound oad and walkin wit confidence tthe whole package was nous; remember that really well. ft was at S.LR. in Hollywood. | was nervous but he ‘made me feel comfortable. | just went in there and played the saxophone. | put as much heart and soul as | could into it. That's what I've always tried to do with the ay that approach the hon | nave alvays known ther are people who can ‘ow cles arcund me. They nave technique and abies way beyend mie; ‘they're technicians on the saxophone. The instrument has never been about that ‘for me. It's always been a vehicle for more of a raw emotion. Every time | pick it up, want fo pul as mach emotion hough is! can. I's not as ruc about how fast | can play or the dagree of dificulty of what I'm playing. I's more about what itis tha fm tying to cormuricae ‘What's your basic saxophone setup? 1am endorsed by Yamaha and I primarily play Yamaha hors. | record ‘exclusively with the Yamaha alto Siver 62 series and the Yamaha straight soprano Siver 62. ve never been able to match the sound of my Selmer Marc 6 made the year | was bor, in 1963. t's a fantastic instrument. | have not been abe to beat that one. | play a Conn curved soprano which was made in the 1920s. I's very cficut to play but it has such a sweet tone. Typically have only played that lve“Castle of Dreams” was an important song for you. It was te fist single of my career. it was not oly hit atthe radio format that later became known as Smooth Jazz (tthe time tlt have that moniker) t was also an AC ht. got on pop radio stations. We actualy shot a video for that song, a song | wrote wih my brother—one of many songs that we have viten together. When | hear that song, itis in a way a snp of he way | fee ‘about my career Wor, how did ths happen to me? just played the saxophone in junior high schoo! band, and now Ive made @ lot of records and I've traveled the ‘word t's al de to this piece of metal. ve bul this sort of castle along these ‘teams. I's a triumphant kind of melody and perfect forte ato saxophone—at least the way | ke to aparcach that instrument's for those soaring melodies ‘and for when you can tnd on a note and stay there and milk that note, That ‘melody against that chorus is al about strength and power. Hopeful, t's 2 song ‘hat holes up. ‘You wrote it with your brother Jeff. Did it come from a cassette notebook cof riffs or from live jamming or from waitin for inspiration? It haapens in every which way. This goes back so long; its 20 yeas of ‘remember the litle studlo my brother had inthe house atthe time. | remember ‘the room We wrote that song in don't remember exactly how the song came tobe, We probably hada ite cassete recorder; | was playing sax and he was playing keyboards. We had the general cutine of the type of song we were ‘ging for He might have hada ite drum loop going. We might have talked bout doing a power-type ballad. He might hae alle chord progression going ‘and we were trying to find something. Is weld, Sometimes they ace jst there. ‘You soratch your head after the fact and go, How id that happen? You can't jut your finger on where it came from, Those melodies are just there; they just ‘rive from somewhere. | bet most songwrters agree on that concept. Many times you struggle and vork hard, and sometimes the best stu just comes out cof nowhere. Its dine interyention, Wherever it came from, thankyou; appreciate it Is there anything about playing in a band with a vocalist that influences how you phrase something? ‘You've got orememibor I have been paying wih vocals my whole He. | grew up playing in a band, end | was the sax player, tthe soa | was not the only ‘uy; waa background musician I never urderstocd the concep of how could be a soldstor an art wise name is on the marquee. stil geting used to ‘hat concept have always loved colaboraton,Trat's what | eno in every aspect cof my if, The tour on right row is @colaboration we put together vith Joey Osbourne 2s our featured vocalist love making music wth him, We toured with Michael McDonald one year, James Inoram another year I's a thread that runs ‘trough everyting that | do, ve writen songs by mysef but | don't rely enoy it keto bounce things of people. When | go on tur, | can do shows en my ‘oun, but | realy enjoy having other instrumentalists or vocalists around, m appiest hen im oolaborating, It alws met tke my voice and go into new eas. it ws just me in everyting that | di, | weud probably end up doing the same thing oe a | dont want abe that Knd of arti. You've got to ge seoole a reason to buy the next CD. n each prec that Ive done td o gn Slightly dierent avenues and explore new aspects of my perscnalty musically nd sonal ry new things 0 tht gives the pecole who bought my lest am a chance to grow too. From my experience, the best way 've fund to do thats to align wth other people and to contin to werk wit my longtime colaboralrs, empoecng them to at do the same thing oer and er “Emily"is a beautiful ballad on soprano sax. When | hear you play the ‘soprano I hear it s clean and clear, and maybe abit more feminine. tink your ds are very good in cescrting it. The ato ste instrument | stated on, 0 | vw mysel primary as an alto saxophone play. ove Dang cpr and er sa fn a oferert par of me comes ou on tase instumnts. The soprano side of me Ite more playful anda itl ess serious, it ess weigh For the son "Emi" cre Bobby Cala with he majoiy oft We wrt tat song togetie, and Jel Lorber wrote pat. That was vwiten fo my fist bum, That son realy does stan up close othe best song Ive ever wten or hada part in writing | hink melodica t's got a timeless (uals song | stil lve to play after ll these years. was writen for my (goclaughter, who is now 18. There's an emotonal aspect, and it was-a very pure kknd ofa thing when we wrote tat sona—even the arrangement. 's using some ‘od sounds, but it doas't sound so dated to me. “Emiy" is a melody that kind of lays is. ts got great intervals, You look atthe classic melodies of al time—it's al about intervals and where those intervals fallin the ac of the melody. That's where Bobby Caldwell vrter chops really come in. There are al these titone steps. When you play and you hear itt just makes perfect sense, but you don't ‘knows how and why you go there. That song is constantly talked about by my fans a one of ther votes. Tell me about the recording, That was recorded at Jef Lorber’s home studio. One thing | can tell you about ‘tat is that atthe tme | hac’ figured out how to record my soprano. | was playing an old Selmer seprano atthe time | int have ft very much longer ater that one record. My soprano ater that ime sounded diferent. | developed a way of miking itso that it had this beaut, warm, big sound. Soi you isten to songs lke "You Make Me Smile” or anything on Lacky Manor The Qanceor Sewqatoné, there is a much broader sound, | hadn't que figured that ot for the frst recording. Maybe that’s wy "Emily" has that qualty tit and people respond to it The mikng was not muci on the bel, so you hear alot more ar and lt more spit and i's @ much beghter sound, “You Make Me Sil" isa buoyant song It sounds ike you're smiling. There tsin het, Thatis the mast poplar song Ive evr rekasd, got the ‘most airplay and it's one of those songs that if| don’t play it in a live show, the ‘people are going to be upsat. That's how you know it has an impact. | stil like playing that sng My tote and tated wting it when ous wes gong imoleor vith ar fstriece. We ished tthe dy air se was bom. On he Dit wes dicate to Tayler Wiso, uno snow 13 yas ts @ space Sng, an tras where ite, You Make Me Sm," carefrom—ths whole new fresh emerone of hang ane. Where “Castle of Dreams" is reminiscent of that raspy Dave ‘Sanbor-like sound on alto, this soprano sound is much more pure and clear. Going back to my playing tthe time, or what was gong on around me atthe time, the overbioun alto, the buzz—that was a popular sound. Now| try to get a big, fal, warm sound out of my alto. 'm proud ofthe sax performance and the sound on “You Make Me iil.” As | mentioned before, te straight soprano isan interesting instrument because is hard to mike in the stu. playa curved soprano Ive because it's much easier to mke. You ear ala of sonrano recordings that ae bile and stil and too bright wanted to ree! agains that sound and tr to create a sound that was real leasing to the ea. With "You ‘Make Me Smile,” we nao it. ‘When you compose a song, do you know which sax you will go for? | exoerment, butt reveals ise orety quicdy. Songs are of eiferent natures and feels, and they may be in diferent keys. Te tempo sometimes wil say that tis s dtnitty an alto song, Very rarely will suiich once I've decide tis s going to ‘bea soprano song, or an alto, oF whatever. ““Faces of the Heart” is again vocalizing on the alto. I's an important ‘song for you historically. For about 13 years "Faces of the Hear” was the theme song to the ABC soap opera Genera tsp What happened str wih a stry about Emi." That \Was heard by a musi director at ABC. Heflin ove wih the song He said it was ‘going tobe the theme sang fr certain characters. He contacted my manager and said he wantec!me to come onthe show ard play mysal. The song “Emily was ‘played non-stoa for six months onthe shaw, everytime these characters were on screen. That was my song playing twas a beautfl thing. | was on the show a ‘couple of times. t got me on the radar screen ofthe executive produce Right around the time | was fishing up the Lacy Afar album, they were doing the30th anniversary of Gena! Masa and they were going to revamp their opening and chosing credits. They needed a theme that was nota wholly brand-new theme, They \wanted to take the fst three notes trom the eign theme ‘and go from there. The executive produce, who | knew from being onthe show a couple of times, called me and sai, “We've ut this out to couple of composers and not happy Can you do something?” said yes, and my brother and | came up wth "Faces ofthe Hear” The executive producer loved it and it became the theme song. Probably ‘more people in the world have heard my music asa result of that one song than any other thing I've ever done, How would you approach the performance? The noes are there to be a guide, but this isthe kind of song that realy comes of with the ematon ofthe person wna is ang It. That’ the vercng feng that | wart to convey to any saxphene player who picks up this book, First of al, 0 appreciate an instrumentalist saying, “lke your musi; I want to play these songs" | dn’ take that for grated ove won | meet other saxophone players, whether they are young ls ‘my favorite, gays who are nel on inter lives and married vith gro Kc, who always wanted to play sax—or maybe payed sax when they wren junior hgh ute ito Something has alvays ragged them to take itback up, and ‘they inal ota sax, and they inal took lessons, Tat to me is reat ve that whole concent of never saying that it's oo late. when its purty just fr you, then i's a fantasti ‘connection. ve met lt of people wo use the saxophone, ‘and nobody ever hea them pay Not even ther wie orks oF partners. spurl a wey for them to relax and forget about ‘thei if fora mint; ogo find tht solace somewhere. That beng sid, these melodies are here for yout take where you ‘want to take them 2s a player Where I've played them i just ‘one ite ofthese melodies. That's the whole purpose of his took —so they can have multiple ves by beng played by ‘ters consider it great honor that someone might want to flay my melodies on his ham ‘And speaking of great honors, recording “Saxman” with ‘Maceo Parker, Clarence Clemons, and “Doc” Kupka must have been a thrill ‘That's purely it—a jam song that we wrote asa tute tothe instrument, primey because | istened to so many types of saxophone players growing up. A lot of people, non-musiians ‘and musicans ale, say saxophone is their favre instrument is primary because it's a personality instrument. You can fet the kind of person the players just by eating him pay, how he ‘approaches i You can take the same saxoohone, same ‘mautpiece, and same red, and puttin cferent people's hands, ‘and you would havea aferent sound. t's so personal. The sound ‘comes from such aninteral place. Tere ino instrument ke ‘and this song is realy a celebration of that, Unfortunatly, twas al ‘verdibbed. We cout’ get everybody in the same room atthe same time, but it wes fun for me because I got to hang wih all the ‘Uys. We do ply this song lve its rauenus “Lullaby fora Rainy Night” is more acoustic and organic ‘sounding. This is a song where | ventured into a new direction, primary influenced by the fact that Iwas living in nrthem California, After Lucky Man went gold, | raved al over the word. was amazing, the whole experience behind it, But was one tired puppy after those two years of traveling. had never moved away from Los 6 Know You By Heart (Dave Koz/Skip Ewins) Vremember (oving you From somewhere (ons ago We've been separated But we've never been apart Like an old familiar friend (ve always never known You've finally returned to me My one my trac I'd know you by heart (BRIDGE) Timelessly together Entwining destinies Brand new but then We've alvays been And will be endlessly Found but never really (ost Held but ever free My halt made whole My other soul { aliags knew! Ud know you by heart (REPEAT BRIDGE) (remember (oving you From somenhere (ong as0 You've finally returned to me My one my trve 'dknow gou My hal¢ made whole My other soul 1 alviags knew I'd know you by heart Angels, s0 | decided to mave upto nother Caifornia. lved in Sausalito and tok a ite sabbatical. When | picked up the music again, the songs had a dferent feel to them. decided to experiment with new sonic landscapes, attaching the sound ofthe saxophone to ‘more of an organic feel, as opposed to an urban or RB. B feel. tas coming from an almost rock, bluegrass, country mix—a real organic kind of instrumentation, Did you write this on the piano by yourself? | cid write this song on piano in Sausalto. The album it came trom was caled Of the Baatar Pat as recorded ive inthe studio witha rock producer: was very gutar rented. tt was my least successful abu, and yet wnen look back at my whole recoded past, it one ofthe albums 'm most proud of because, ‘wile poopie around me sai | shoud do this tat just went completey fom my gut. This Song was nat a Fit, but more than any song on that album it was a musical snapshot of who | was in 1996. “Wake Up Call” tured me around and demanded my attention twas ike @ Robben Ford kind of song. Ye3's got that woe and kind of souna ts got te sauce. |i tat with two of my long-ime colaboretors, Eien Rogers and Car Stuken, rom Bronnil, NY. They havea studio there calle the Loft | have recorded a at of muse thare ver the years We wrote that sorg together. sang the lines of "Saxman." There ae diferent types of muse that come ot n my vring—he seni side: the more power-balad, triumphant side; and ths funky kind of bal-t-the-wal party side. “Wake Up Call fits into that category, On the recoring we tad the Tower of Per hen sexton. Tat was Coming fl ce | could not believe I had the Tower ‘of Power guys on my record. | remember that day was 50 icreibly id. Tose guys have c=taily made a cantrbaton, “Together Again" has a great hook. Iwas a number one it.’ another song | wrote wth my brother We were actualy tryin to come up with another "You Meke Me Smile’—but is dangerous taitory when you try to repeat yourself ‘and try to come up with something that ts into a slot that you had sucoess with before. This cid ‘comme easy We came up with that Hook and sai (Okay, there's something we Koon | row when its right. | know tha I've found something when | Can't get tout of my head and can't ett out of ‘ny fingers. Even when | put the hom don, sil fingering the melody. That's when we have ‘something. We stl play that song every show, and Its probably one ofthe better-known melodies. Was it written on sax or piano? That was another one where Iwas playing the ‘saxophone. thnk the sax performance on that song was just the demo. We made a demo, and | was inthe room wth my brother while Ne was. ‘playing | payed Sax right there inthe room. it of times | ty to prepare or do beterperformances, but there is something about the immediacy ofthe st time you pay a melody You might nt play it perfect, but there is that thing that happens. That was frst pass, ‘Tell me about “Love ison the Way.” That's anther eolebeaton wih Jeff Lorber thas Chis Bot asa special quest. He sa good friend of mine, colaborator ona tof recor, and one ofthe reat trumpet layers of our ime As you can se, alt ofthe songs that | wanted to choose fortis bock were the best-known melee. you ook athe intel in that chor phase it's, EF coun forthe A, Bat, then tack up tthe A, You've gota major 7 jump i thre Youve got jump down an then a ump up.’ that lite area in tere where theresa rub, but i good kind of ub not ke think about tis stuf | don just paying | just remember when | was growing up and was paying inthe jazz band! coud sink my teeth into melodies; | could just foo. Meloces that ae perfact tne woul be here, bu they woul excite you Then there's somthing where its ike eating a stak or bting into juicy harburger ts 50 saisyng. Those ae the erect combination of stepwise and Right when you least expact there's ths jump, tis interval that kindof ges you that big te thats satisyng. “Know You by Heart” sounds lke it came from a soundtrack. | gat akin of Cs rom peone who have payed my songs. Tis the number one song of eveything that poope have ached onto, Ths isthe song that cnmects with people Mayoe i's becase its got sting orchestra on tts such a sirple melody, but very earfe. Mabe is because it sypercal People hae vton ys tit. Mary, ay tmes|raeie“Kraw You by Heats. Tiss very special song tome, too. Ris near and dea tomy hear. ptt ino it when | rote and played it. ginal wot ton ian, and for a whe there itcodd have ben a vocal sng to. wre the music, andthe ios were writen by a guy named Skip. We were gong to record it asa vocal. The mae Payed i the mor I rough keto be an nsruventa. ths a eto res that nobody has ever heard “Gant Let You Go" is hook after hook. That was a song | wrote in Broruvile with my buckles Sturken and Rogers. From the being, that melody had a vocal hook that we thought hd Luther Vandross ven all over Who would have thought that we would actualy get rim. Sure enough, after some creative caling, he Sad, “Send over a copy; lt me hear i.” ‘We did and he sad, “I'l do." That session was one of tha mast exciting days of life, He care up with dea after idea about the vocal passes on the song. He became a tend of min. As far as I'm concerned, as fa as that style of singing 00s, there wil never be anybody better than him. It was a cream come te 10 have him sing on one of my songs. “Honey-Dipped” is alet-loose, funky thing. ‘Mut-rackng is common wth a lot of sax players now. really works wl with aos and is something | stole from Davie Sanborn This i tle dt that {wrote with Jef Lorber. I's go that to hook and its gat multiple saxes on it. When it frst came of my fingers, | thought t vas kind of cool and twas fun to make that record. We cid i wit lve band, and i's really fun to play ve. t's ai ented song, There's ro soo in tral, unl the very end, Theresa rel high ote onthe ato thin t's high Bia. “A See Is You" is kind of in the footsteps of “Tequila” (ice that. "Al See Is You" isthe biggest it rom Saxofon It spent 11 weeks at number one, | wrote it wth Bran Culbertson, Brian & a keyboard payer, avery talented guy, and great songwiter; he produced and arranged it. thas avery fresh production qualty ot. He used sounds tat you don't normaly hear ‘This is the frst time inthe book you are on tenor sax. Tim not realy sur why. don't do a tof enor songs. Rees Ike more of a husky voice. On Ze 2ancrtere was a song cal “Surender” whch very sexy sorg, ast naught na smlr way, ‘Al See ts You" has that cut ot where t requires a ite extra he Ite more power Tenor for me is not about sereaing paying high—its about band with issues fling up that spec. love ten | doa Osta four every yea: play tener excusly onal my Christmas musi. Tomei about winters abot warm thes and real warm reside Kind of sound t's very oman, ton “Lett Free” reminds me of guitarist Dickey Betts in that you always know where you are in the song, He plays melodies then repeats them ‘and keeps you along on the melodic journey. That's one ofthe ner things you coud say to me. That's the way | approach -songyrtng too | rave never done a record with an gpen solo. We do tative, but thare are no extended blowing sactons, Usually a slo wil be 16 bars, and within those 16 bars we can tela story; it can have a beginning, middle, and end. | dont ke to roam aimiessy he peopl to foe comfortable with where they are in the song “Lett Fee” isa curposton | wrote vith my brother. Ison soprano ‘sx and isan easy, breezy kind of thing. A lot of times in instrumental music i's hard to choose a tile because you don't have vocal hook to get you there ‘remember we did this music class at my sistr’s kid's school. My bother and | Played the song, We had just ished recording it and dt havea til. We sad ‘a te cass, ‘Do you havea good tite for his?” Everybody's hands rose. Th Kids, ‘one ater another, came up with these wacty tiles that were hab, One fourt- ‘grade git stood up matter-of-fact and sai, “think you should cal it‘Lett Free." Iturnec to my brother Jett and said, "Thats nota bad song tte She'd probabiy never heard the Beatie] “Let Be,” but kind of thought its new ‘ake on that song. She probaly just ft “ree* wth the song F you look atthe ‘credits onthe album, this tle gr got the cect forthe tie. “Just to Be Noxt to You" is another soprano ballad. Ths song for mes about he felng of when you're siting next to the ight person inthe right stuatin; hat’ what hat song celebrates. W's very oman, ‘Yer ure The mead reminds me a tof the purty of “Emily” and the way "Emi" makes me fea. I's asiar typeof ve. The crigina A socton as ‘witlen on piano. came up wth eight or siteen bars and toot tomy broth. With crain ideas rat came up vith, he'd sa, don fel ha” So take it to Ler and he'd flesh it out. Cher mas, 1 tar with Lorber and he woulont her, 0 take omy bot t's about ning te ih co-wre, |What are your personal favorite recorded sounds on your CDs? Fer soprano | would say the song “After Dark” on Lucky tar To me, that tas the best-recrdad soprano sound. ke the way the tenor sx sounds on my Christmas alum, Dave hae Fisnas—Sroot az Onrstnas twas recorded and mived by a guy named I Schmit whois legendary. He has won cxer 15 Grammys, That es recoded at Capitol Stucos in Holywood, a prety legendary studio. twas a great perience, For ato [ater some contemplation ts “Know ‘You by Heart” ‘When are you at your best? layin thane ofr crstage inthe mice ota show in rot ofan auciencs— ‘when Ve got the auerce and there sa colective felng in the room and we're al together ken it to those diver’ education cars that have two seeing whos. | have my hands onthe wheal and the auciene tas thei ends onthe whee, and there's no puing and wooing fom both ents; the people onstage and the peopl in the auence are civing the ship together ts hart describe in vd, tut nen you're in the thick oft theres nethng that can touch the exhieaton of that moment ‘Why do you do what you do? tink that | was ven a ft to communicte through the vehicles that have. used to say the vehicle was the saxophone, but ve ventured off ito other things as wel. | dont want to squander tat or take it for granted eter. ts what gets ‘me up in the meoming. | don't know what ese | could do. t sort of anded on my lap and | doit because I derive great enjoyment rom i I's not aways fu. ‘There's hardship, too—and frustration snot abvays a prety pictur. Ive led a ‘vey charmed fe forthe most part. really enjoy work. enjoy the feting | get and enjoy knawing that what I'm doing is putting smiles on people's faces, 7All| See Is You By Dave Koz and Brian Culbertson Tenor Sax Moderately Am? Dm c ‘BP @ Bm? Em D c D Bb ec Gm7 Ci D Am? Bb Bb(bS) c Arc# Dm @ c cbs) D BDe Em D tettet\ Ge . ' Copyright © 2003 UNIVERSAL MUSIC CORP., CULBERTSON MUSIC and DKLA MUSIC ‘All Righis for CULBERTSON MUSIC Contoled and Administored by UNIVERSAL MUSIC CORP. 8 ‘AIFights Reserved Used by PermissionGm Am7 Dm c Gm7 Am7 Am? Bm7 Em D Am7 Bm7 2 7 am Gm? Am7 Dm i Gm? Am7 Am? Bm? Em D Am? Bm? Dm € Gm? Am? Dm Em D An Bm EmBb BbtbS) ic ace Dm 2. fs cibs) D B/Dt Em ° m7 Am? bm c Gm? Am? Amt But Em D Grrr 2 Ee tetdoalece tf = ee Dm c m7 Am? Dm c Em D Am? Bax? Em a »Gm? Am? Dm c Gm7 Am7 Am? Bm? Em D Am7 Bm? Dm c m7 Am? Dm c Gmt Am? D Am? Bm7 Dm c. Gm? Am? Em D Am? Bm? iw) Dm c Gn? Am? Em D Amt Bui? nd ‘ = = ante —< gee SSS SS Begin fade Dm c Gm? Am? Dm c Em D Am? Bm? Em D Fade out m7 Am? Dm c Gu Am7 Am? Bm? Em D Am7 Bm? "Can’t Let You Go (The Sha La Song) Alto Sax niaaatinay By Dave Koz, Carl Sturken and Evan Rogers Dadi? E Daado chaaas bb ‘chan Band —s Sha - la - la - la, sha - E add? E re D> Cada D> Eb la-la-la la, ___ Sha-la-la-la, sha = la=la-la la, ____ chm? Bm? Bbm7 Abm7 E re chm? Db Eb Bbm7 Bu? E re bm? =~ bb Eb chm Bom? = == — = ev — Copyright © 1999 UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC., JUST KOZ MUSIC, SONGS OF UNIVERSAL, INC. and BAYJUN BEAT MUSIC All Rights for JUST KOZ MUSIC Controlled and Administered by UNIVERSAL - SONGS OF POLYGRAM INTERNATIONAL, INC. ‘Al Rights for BAYJUN BEAT MUSIC Contoled and Administared by UNIVERSAL MUSIC CORP. 12 AAI Fights Reserved Used by PermissionBm? Esusd E Asust A Abm7 Dbsust Db Gbsust Gb Fan? Bu? act Dadd9 Bbm7 Abm? Gbyp> ‘Chadd D> Chadds ‘Sha-la - ta la, E Dado E Fe Db Chadd Db Eb <7 la-la-la la Sha-la- la - sha - chm? Bm? a Bbm Abm7 ad : E Fe chm? D> Bb Bom? 13Bm? D E Fe ‘Abm? a oe Bm? Bsus Abm7 Dbsus4 gn Asusd A Fm? Bm7 Gbsus4 Gb Ebm7 Abm7 Dadd9 re Chadd E> Bm? Esust E Asust A Abmt, Dbsus4 Db Gbsus, Gb Ary Fem? Bm? act Dada Ebm7 Abm7 Gb/Bb, Chadd9 E Dadd9 Db Chadé9Eat Asusd A D E ayct DbyF Gbsus4 @ cb p> Gbyp> D nat Aust A D ro Db/F Gbsust Gb cb fi fete ~, 44 24 E act D D> GbpB> cb Bm? Esust E Abm, Dbsus4 Db Asust A FAm7 Bm7 Gbsus4 Go Ebm? Abm7 act Dadd9 Fe Gbypb hada Bb 15Bu? Esusd E Abm7 Dsus Db Asus A Fam? Bn? Ghsust cb Ebm? Abm7 act Dada E Dado E GbyBb ‘Chaddo Db Chadao D> +o ee Dadd9 E Dadao E Chada9 Db Chagas. D> Dadé9 E Dadd9 hada D> Chaday Db ‘Chadao Db . Begin fade Dadao E adds E Chadd Db Chaddo Db = i + Fade ou Dadas EB Dadag E ‘Chaddo Db Chadd D> 16Castle of Dreams Alto Sax ‘Moderately, in 2 By Dave Koz and Jeff Koz Cadd2 Fadd9/a G Aadd2 Dadag/r# E Band £ as ° Fous2 Cadd2 Fada9ya F FE Dsus2 ‘Aad Dagar D pict Dm? Oe Fous2 Bm? ace Dsus? c He OC G 88 G G7sus4 © Cadayye E Etsust A Aadagic® G GG Fous2 E AE OE Dsus2 Eas i Copyright © 1900, 1982 Just Koz Musi (BMI) and Jeff Koz Music (ASCAP) Intemational Copyright Secured All Rights Reserved 7Fsus2 Dm? Dsus? Bm7 CE BF F OG G Cadd2 Fada9/a G ‘Aadd2 Dada/e® E Fous2 Cada Fadd/AF FE Dm? CE Fs Dsus2 Aadd2 Dadayre D Dyck Bm7 AC sus te f wele of 4 cadde Fada/a G Aadd2 Dadao/r# b . E A Fox cae ratty FE Due ens bare back 4, a 18Dm7— CE Fsus2 Bm? Act Dsus2, é We OC G OG A DA A E AE G Esus2 c CE G OG Ga Fous2 E NE E Dsus2 - a Dm? CE A Bm? Arce Fsus2 Dm? Dsus2 Bm? CE BLP ¥ eG arch Gp 9 3 m5 19Feus2 Cadd2 FaddyA FE FE Dsusd Aad DaddyF# =D pyck Dm? cz Fausd cads2 Bn? act Das? Aad? Fada9/A G Fous2 Dadd9/F# E Dsus rey 4 —— ToCoda cata Fadia re Op ce Foust Aad paar? =D pict am? c# Daz Dm? CE. Bb BC DnT CE Faus2 GA Bm? arch Dsus? 20Bm7 act = Dm? CE Fsus2 — Bm? ace Dsus2 Dm? CE Bb Bm? Act G Da? sud Bo? ct Daus2 Du? OE F Bm? ace D a Bhaday/D CoE E Gada9/B act Grsus4 ETsus4 G OG G E 212 c CE G oG E NEE Fous2 Dsus2 Bm7 1 te >a oe Fous2 ace Dsus2 oe G Cada2 AE, E Aadd2 = DS. al Coda Dm? CE Fous2 6 cada? coda Bm? ACE Dsus2 E Aadd2 a EWI overdub (Gounds an octave higher) 22Fada9/a, G Fous2 Dadag/r E Dsus? Begin fade Cada Fadd9/A F FE Dm CE Fsus2 Aad? Dasao/r# =D pct Bm7 ed Dsus2 Coad? FaaaoyA Anda? Dacaoyet G Fsus2 Fade out Cade Fadd9/ F FE Dm? CE Fsusd Aadd2 Daaaoyr® D pce Bm7AC# sus?Emily a——<€©€ By Jeffrey Lorber, Bobby Caldwell and Dave Koz Bhati9> Cadi9/E Gmrbsr F Cadd9/E paaaojr# Amb5/G Gc Gm7b5/E F Crust CVE Fsust F HA Amb5/G G Disusd Dare 3. Gust G op Gm? F CTsust Gi Fsust YA Am? G Disust D Gsust Gp. C7sus4 ppb Am7 Dm7 Disust pe Bm? Em7 Gm? Fsusd Cus c Gmbsyp FF Gm7bsyr F Am? Gsust Dsus4 D AmbSG G — AmIb5/G G CTsus4 CVE Fsusd F FA Gm? FF CTsust Disuss DIPS 3 ont G op Am? G Diss =D a 3 suse FA Gauss op Geass SE —— (© 1990 EMI BLACKWOOD MUSIC INC., KUZU MUSIC, BOBBY CALOWELL MUSIC, THE MUSIC FORCE LLC and JUST KOZ MUSIC {All Rights for KUZU MUSIC Contoled and Administered by EMi BLACKWOOD MUSIC INC. ‘Al Rights for BOBBY CALDWELL MUSIC Administered by THE MUSIC FORCE LLC ox ‘Al Rights Reserved. Intemational Copyright Secured Used by PermissionAm7 Dm? Gm7 Foust Csus4 e Gm7bsyF F Bm? Em7 Am7 Gost Dsus4 D Am7b5/G G Gmbsyp OF Bhada9/D Disus4 AmmbG G Cadao/E E7sust Gm? Fadd9/a Bb C/Bb Bb Bbadd9/D Am? Gada9/B c pec (Cadao/E Cadd9/E Gm7 Fsusd ic Gm7bs/F F Dadag/F® Am7 Gsus4 D AmTb5/G G Gm PSF F Bbada9/D_ Cadd9/E Gm7P5/F F Am7b5/G G Cadd9/E Dadag/F® Am7b5/G G Gmabsr F C7sust CHE Am7b5/G 1s pyre T G i Disust VF PA Gm? F CIsust c opFsusd FA CIsust 7 Gsust op sus pyc Am? Dm? Gm? Foust Csuss c BmT Em7 Am? Gout Dsus D Gm7bs/F FE GmIbsF F Bbadd9/D AmibsyG Am7b5/G G Caddo Disust Gm7 Fadd9/A Bb CyBb Bb E7sust Am? Gada9/8 cope c Bbadd9/D Caddy Cadd9/E, Daddo/F# a a Gitte wee ge Dre = —Seaee = Gm? Fsust c comb F Am? Gsust D AmTb5/G G Bbm9 Abada9/C EWE Fm7 Cm9 Bbadd9/D_ RG Gm7 y= Ss 26Bbm? on? Dbmaj7 m7 Dm? Ebmaj? Bhu? Abuse Ebr Fm? cm7 Bbacas/D F/G Gm7 Aebc ee a = Bhu? ous c Foust F ag cm? Dsus D Gust G Bre Bbsus2 Csus2 Bbada9/D Cada /E Csus? Dsus2 Cadd9/E Daddo/F® Gm7 Fadd YA Bb F/Bb Bb Am7 Gaddo/B Cc. Gc c whe eA Bbsus2/D. Cada yE Csus2/B Dadar? Gm? F cust oc Gmrbsr F Am? G Dust D Am7b5/G G arBhsus2 causa whadooyD cae cos2 Das? casa a, Daas? Gm? Fadd9/A Bb FyBb Bb Am? Gada c ge oc Bbsus2/D Cadd9/B Csus2/E, Dadar a535 c3nc3a Gut F Cousd c Gmabyr F Ani? G Dsus4 D Am7b5/G ¢ Begin fade Bbsus2 Cous2 Bbada9/D (Cadd9/E Csus2 Dsus? Caddo/E, Daddg/r® ea SE Gm? Fadad9/A Bb Fypb Bb Am? Gada9/B c oe c 3 oj Fade out Bbsus2/D CadayE Csusy/E DadarFaces of the Heart from GENERAL HOSPITAL By David Koz, Jeff Koz and Jack Urbont Alto Sax Slowly, rhythmic c De Dm7/c A BJA Bmq/A © DmyG Cc Dc A BmyE A BA e Dc A BA Dmyc Dm? Daya c OB Bm7/A Bm? Ba/E A EGE * te x - Dm? CE F pre Bm? act D Bot 3 Band Copyright © 1992 ABC Circe Mus, Inc. (BMI) Intemational Copyright Secured All Rights Reserved 29OG EG? Am Dm? DG AE cet rem Bm7 Bm7/E » c pc bmyc A BA Bmv/A fd 6 a a ao — =— = Se c be Dmc Dm? Dm7y/G tt op Bm7/A Bm? Bm7/E A Eat Dm7 CE F Dre Bm7 ace D Bot OG Ect Am? Ami/D D7 WE chee ent Fin7/B 87 Dm? Dm7/G Cc Dwc c Bm7 Bate A BnyA A 30OF CE OF ED wee ED bmi? Bhadd9/D DuyG cmij7 Gadeo/e Buf No Dm7c Bmi/A Dm7/C Bmni/A F DmyG D BME Dm7 Bm? DmyG BmI/E op B/G Berge ere 34