Dave Koz

Dave Koz

DAVE KOZ
LORD OF THE DANCE
As one of today's most successful instrumental pop artists, saxophonist Dave Koz can surely stand on his own when it comes to recording. Nonetheless, he's gotten extra help on his new album, THE DANCE, from some exceptional guests including Burt Bacharach, BeBe Winans, Luther Vandross, Montell Jordan, Chris Botti, and Jonathan Butler. Speaking to the affable and unpretentious but thoroughly focused Koz, it's obvious why these high- profile musical artists would have wanted to hook up with him, and why they were inspired to give top-notch performances. Barnesandnoble.com caught up with Koz shortly before the release of THE DANCE.

barnesandnoble.com: Are you happy with THE DANCE?

Dave Koz: For me, an album's level of success is how accurately it represents who I am at a given time. While I was getting the recording together I moved back to Los Angeles from where I was living in the Bay area. I was getting back to my roots. The same with my music -- THE DANCE is a return to what I'm best at: using the R&B/pop roots of instrumental music.

bn.com: How did you hook up with so many prestigious guests?

DK: Mostly it was serendipity. It wasn't preplanned: You're working on a song and thinking, "Wouldn't it be nice if we got so-and-so to sing on this." Then you see if it's possible. I'm just thankful that everything fell into place.

bn.com: Why is the album called THE DANCE?

DK: When you work with great collaborators, each one allows you to enter a different world. In that way it's like a dance, each song having a different partner.

bn.com: You cover the Wham! hit "Careless Whisper." What attracted you to it?

DK: I was drawn to the song because it's one of the few contemporary pop hits to feature a distinctive saxophone line, like Foreigner's "Urgent" and Gerry Rafferty's "Baker Street." Montell Jordan's vocal on that track is so stunningly simple, and so adult.

bn.com: What was it like working with Burt Bacharach?

DK: It was great. He's an amazing person -- he's living so in-the-moment. Music is just gushing from his persona. I only hope that I have that much passion when I'm 70.

bn.com: Did the songwriting between you two go smoothly?

DK: Yes, and a funny thing happened when we got together to write. I was so nervous -- he's one of my heroes. I had to sit in my car outside his house before going in just to psyche myself up. But when I finally went in, Burt was in a great mood. An open copy of People magazine was on a table, and there was a picture of Burt. He was picked as one of the 50 most beautiful people in the world. Later as we were writing, I had a musical suggestion. I mentioned it to Burt, but he disagreed. "Besides," he said, "We have to use my idea -- I'm one of the 50 most beautiful people in the world!" [Laughs]

bn.com: How would you define yourself as a musican?

DK: I would never classify myself as a jazz musician. Although I studied the masters -- John Coltrane, Charlie Parker, Sonny Stitt, and Dexter Gordon --- It just didn't fit me. I was raised on pop and R&B. I responded to players like Tom Scott and David Sanborn. Their notes had such economy. Their music was so listenable, so immediate -- they played for the people. Because without words an instrumentalist has to work doubly hard to convey emotion. Each note has to stand for something. I make instrumental pop music. It's what I love, and I feel blessed that I have a sound that touches people. My path is clear.