Dave Koz Albums (7)
What The Critics Say
This likeable, ultra funky, and melodic saxman is one of the few smooth jazz performers whose consistent gold sales status, and omnipresence in the genre (including DJ'ing a morning show at one of the country's top stations, and two annual tours) makes him a crossover superstar. But his breakneck multi-media schedule is only part of the reason he can get away with only recording a new studio album every three or four years; his discs are usually so deep in picture perfect potential hit singles that Capitol can milk the album for that long with constant radio play. He has a tough act to follow here after 1999's magnificent The Dance spawned no less than five Top Five contemporary jazz singles. He doesn't disappoint for a second, packing this sax-intensive collection with hook after hook amidst a mix of edgy funk, mid-tempo chill vibes, and some unique sonic experiments, including sampling old jazz tracks on the crazy-making, hip-hop scratcher "Sound of the Underground," featuring some nifty harmonies from trumpeter Chris Botti, and a colorful move into house music with "Only Tomorrow Knows," that may surprise those who always expect him to stay in the mainstream. Whereas The Dance was cover-happy, Saxophonic stands strong on all original tunes, broken up four at a time by Acts One, Two, and Three, which are defined by the overall vibe of the section. Act One is funkified, slickly produced (Jeff Lorber and Brian Culbertson had a hand), heavy on the horn doubling and soul, (represented by the irresistible opener "Honey-dipped"). Act Two has more ambience, and fresh, mid-tempo attitude, a balance of the feisty electronic hip-hop crackle of the title track, and the lush romance of "Definition of Beautiful," featuring vocals by labelmate Javier. Act Three offers the aforementioned experiments, plus a torchy ballad and a colorful thumping duet with Marc Antoine. The Curtain Call ballad, "One Last Thing," is a sweet, gospel-flavored sax-piano duet produced by Brian McKnight. One curious disappointment flutters amidst all the success here; the tracks that advertise contributions by McKnight and Bobby Caldwell only use them in a minor backing capacity. Yes, this makes things more "saxophonic," but why bring such talent on the journey if they're hardly present in the mix? That gripe aside, with the abundance of future hits here, Koz can probably hold off till 2006 at least. ~ Jonathan Widran, All Music Guide
'A Smooth Jazz Christmas'
Release Date 9/25/2001
Tracks 14
Label Capitol
See Album Tracklist and Review
What The Critics Say
Since 1997, the Dave Koz & Friends Christmas Tour has evolved from a handful of concerts by the beloved saxman and pianist David Benoit to a 30-plus-city national phenomenon also featuring fellow genre all-stars Peter White and Rick Braun and singer Brenda Russell. The original tour came in support of his popular 1997 seasonal offering December Makes Me Feel This Way, but the show has taken on an incredibly joyful creative life of its own, prompting Koz and his cohorts to create an exciting studio recording which captures the powerful emotion, warmth, and special familial spirit of these shows. Featuring unique ensemble arrangements of timeless classics, a handful of several Koz originals (including the brand new Koz/Benoit collaboration "Beneath the Moonlit Sky"), and musical surprises by the sleigh-load, A Smooth Jazz Christmas By Dave Koz & Friends is contemporary music's premier event for Christmas 2001. The experience begins the same way as the live performance, with a lengthy medley ("The Overture") introducing each artist one by one; in a complete blend of styles, the songs include "Let It Snow," "Winter Wonderland," "What Child Is This?," "Angels We Have Heard on High," "Jingle Bells," and "Santa Claus Is Coming to Town," the latter segment featuring Brenda Russell. Russell also adds her lush vocal presence to "The Christmas Song," while the medley of "O Tannenbaum/Sleigh Ride" moves from a playful Vince Guaraldi-like groove to a feisty Latin explosion. The gang creates a gentle, moody atmosphere for "Silent Night," while "Beneath the Moonlit Sky" features a wild moodswing from smoky soprano sax/piano duet to guitar, trumpet, and sax jam. "The Little Drummer Boy" is an exciting showcase for Braun's trumpet over a marching drum beat, while "Hark the Herald Angels Sing" features a bluesy solo improvisation by Benoit. Koz sang on the original recording of the title track to December Makes Me Feel This Way, and gives the reins here to the incomparable voice of pop superstar Kenny Loggins. Russell found the intensely energetic '40s big-band gem "Boogie Woogie Santa Claus," and it's since become a showstopper live; Koz and Braun create a potent horn section here as well. Cozy readings of "Have Yourself a Merry Little Christmas" and "White Christmas" are followed by a festive and folksy Koz original for Hanukah, "Eight Candles" (featuring Peter White on accordion), and a passionate new recording of Russell's classic "Get Here." Here as in the show, the encore/grand finale is "It Was the Night Before Christmas," featuring each member of the band reciting a verse of the famous poem over a bouncy, finger-snap-driven groove. One of the most diverse and original smooth jazz Christmas CDs ever. ~ Jonathan Widran, All Music Guide
What The Critics Say
Since his self-titled 1990 smash debut, Dave Koz has been one of smooth jazz's greatest musicians. The saxman scored big on the radio and in retail even when he turned away from his established R&B/pop sound on 1996's Off the Beaten Path, which was done with more acoustic instruments. The Dance brings him back to the hard-hitting R&B funk sounds of that first album and its follow-up, 1993's Lucky Man. Aside from reuniting him with some of the producers who worked on his debut -- Jeff Lorber, Carl Sturken, Evan Rogers, and his brother Jeff Koz -- The Dance is a true testament to the art of collaboration. He surrounds himself with some of pop, R&B, gospel, and his own genre's greatest performers, but never lets you forget that this is a sax player's album. The swinging retro-funk/hip-hop of "Can't Let You Go (The Sha La Song)" features Luther Vandross. Modern R&B star Montell Jordan co-produces and takes lead vocal on a cover of Wham!'s "Careless Whisper" that is perhaps a bit too faithful to the original. Several members of Take 6 help Koz achieve a much more original effect on "I'll Be There." He also works with personal hero Burt Bacharach, who co-wrote and plays piano on the lovely soprano ballad "Don't Give Up." Koz ventures into Latin territory on "You Are Me, I Am You," which features a sizzling flamenco guitar solo by Marc Antoine, while another top smooth jazz guitarist, Jonathan Butler, scats and plays a vibrant acoustic harmony on "The Bright Side." Lest Koz get lost among all the partying with his pals, he does everything himself on the album's most exciting but possibly least commercial track, "Cuban Hideaway." This cut is a Tito Puente-type Latin jazz big band explosion on which he plays all the horn instruments, alto, tenor, soprano, and baritone -- 50 sax tracks in all. This disc is easily one of smooth jazz's finest moments of 1999, but imagine the possibilities had Koz put this sort of thought into creating more tracks so off the beaten path. ~ Jonathan Widran, All Music Guide
'December Makes Me Feel This Way'
Release Date 9/23/1997
Tracks 13
Label Capitol
See Album Tracklist and Review
What The Critics Say
Koz's holiday effort December Makes Me Feel This Way is highlighted by a pair of original compositions, the title track (co-authored by Alan Rich and Judd Friedman) and a celebration of Channukah titled "Eight Candles." In addition to traditional fare like "Sleigh Ride," "Winter Wonderland" and "The Little Drummer Boy," the collection also includes a tongue-in-cheek, coffeehouse-styled rendition of "Twas the Night Before Christmas" performed with the great comedian Phil Hartman (of Saturday Night Live and NewsRadio fame). ~ Jason Ankeny, All Music Guide
What The Critics Say
Dave Koz's complete 180 twist Off the Beaten Path is full-fledged musical proof that digging deep and exposing certain vulnerabilities can yield dead-on results. The saxman's first two hits (including the gold "Lucky Man") were solid pop/funk gems, but heavy on the slick, urban-tinged production machinery. If it ain't broke, don't fix it? How droll and uninspiring. Instead, Koz has chosen to veer slightly off the smooth and onto a rockier, less certain road for a more organic, acoustic-oriented experience, all of which reflects the sweeping changes in his life these past few years. A combination of high energy and tight synergy with his supporting players shines through from the raw, fast, and furious folk-to-rock fusion drive-time cut "Don't Look Back" to a wild, brassy, and bluesy "Wake Up Call" and on through the polyrhythmic alto jam "Follow Me Home" (featuring violin and Irish pennywhistle). Hootie & the Blowfish would envy the Jeff Lorber-tinged Southern rocker "Flat Feet," a true barn burner that features call and response between Koz and Greg Leisz's pedal steel guitar. The trappings may have changed, but the sweetheart in Koz's soul isn't far away melodically, judging by the silky "Lullaby for a Rainy Night" and "I'm Ready." Hard to say where Sausalito meets the Southern porch swings, but there's a definite John Grisham film score feel on many of the cuts. Guest wise, it might be more fun to mention Stevie Nicks asking Koz to "Let Me Count the Ways," but Brian Mann's accordion actually makes more impact. ~ Jonathan Widran, All Music Guide
What The Critics Say
Saxophonist Dave Koz has become one of the most successful and beloved instrumentalists of his time, and helped establish smooth jazz as a musical force to be reckoned with. His career catapulted with 1993's Lucky Man, one of Koz' slickest and most commercial releases (which is not a bad thing by any means) to date. The album has an undeniably crisp and clean feel, akin to the color schemes used in the artwork. The musical styles range from funky and peppy, as in the opening "Shakin' the Shack," "Silverlining," and the evergreen "You Make Me Smile," to tender and sweet, as in "Faces of the Heart," "Lucky Man," and "Tender Is the Night," which features hypnotic vocals courtesy of Phil Perry. A definite highlight is the unstoppable and downright electrifying "Saxman," which features an A list who's who of influential saxophonists jamming along with Koz. The album also utilizes hip-hop scratches and beats on his wonderfully soulful cover of "Don't Look Any Further" (which features former C+C Music Factory belter Zelma Davis) and a gospel choir on "Show Me the Way." Closing with his wonderful and touching rendition of "Misty," Lucky Man is a must for any fan of contemporary and smooth jazz, and ranks as an absolute highlight in Dave Koz' enduring catalog. ~ Jose F. Promis, All Music Guide
What The Critics Say
Fans of saxophonist Dave Koz from either his days playing EWI with the Rippingtons or his tours with lookalike pop star Richard Marx waited a long few years for this explosive debut, and Koz certainly delivers the goods with an absolutely smashing Sanborn-esque display of chops and seduction. The Marx effect is a definite plus, as Koz does wonders with a cover of the singer's "Endless Summer Nights" and he co-wrote one of the disc's best originals: "Give It Up" with Marx and Jeff Lorber (who is one of the album's handful of producers). As in his previous work as a sideman, Koz proves an innovative player throughout. This project not only launched one of the great smooth jazz sax careers of the '90s, but it was one of the first genre albums to spawn hit singles (the ballads "Emily" and "Castle of Dreams") and VH1 videos. Pure dynamite, but Koz would later top even himself. ~ Jonathan Widran, All Music Guide
