Kold9.com - Music for your soul

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

To say that saxophonist and composer Dave Koz knows his audience and how the music business works would be an understatement, and this greatest-hits set is a case in point. Koz has been wildly successful since the very beginning. Strong evidence is that he has been with Capitol Records since his 1990 debut album. Another case in point is that he followed his 2007 best-selling At the Movies collection with a long tour and three more editions of the album, including the Double Feature CD/DVD set. Given how many new fans he acquired during that run, it made more sense to offer this Greatest Hits with some new tracks (for old fans) rather than an entirely new studio set. Why not interest the newcomers in your back catalog? It's smart business. Koz picked tracks from five of his studio records for this set and arranged them aesthetically around new selections rather than chronologically and left the At the Movies album wholly unrepresented here -- another smart move. As a player he has a very distinct sound on the horn, and his method sticks somewhat close to a formula -- synthetic and natural rhythms lay out a well-pronounced beat on the mid- and uptempo numbers as well as on the ballads. His playing walks closely along a set melodic path, with little to no improvising. His tone is closest to David Sanborn's without the edges, leaving his slick, sheeny productions with their soulful elements intact.

All of these cuts are arranged to showcase the strengths in that approach: there are a pair from both his self-titled debut and his 1993 sophomore set, Lucky Man (including "Faces of the Heart," his theme from General Hospital); three each from 1999's The Dance and 2003's Saxophonic; and one from 1996's Off the Beaten Path. Some of the bigger singles include "Emily," "You Make Me Smile," and "Love Is on the Way" with trumpeter Chris Botti. Some of Koz's notable all-star vocal collaborations are included as well, such as "Can't Let You Go (The Sha La Song)" with the late Luther Vandross and "Loves Changes Everything" with Brian McKnight. Koz's instincts are also keen even on the hits package: "Life in the Fast Lane" (no relation to the Eagles tune of the same name) was issued as a single. Other new tunes include the polyrhythmic dance track "Bada Bing" (co-written with Rick Braun and based on their mutual love of The Sopranos television series), as well as "And Then I Knew," produced by Rob Cavallo of Dave Matthews Band and Green Day fame. "I Can," with gospel star BeBe Winans, is a new vocal jam that is likely destined to be licensed by Hollywood as an inspirational anthem for a transitional scene in a future film. In fact, this collection is put together so seamlessly and cleverly, look for Koz to score singles with at least two if not all of the recent cuts. If you first encountered Koz on At the Movies, this collection will delight you by taking you deeper into his melodic world. If you are a seasoned fan, you can take comfort in the four previously unreleased tunes while waiting for a new full-length.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

From trends visible in the 2000s, smooth jazz fans couldn't get enough of three things: all-star cruises, all-star summer tours, and big holiday tour extravaganzas. In 2006, the only year since 1997 that genre superstar Dave Koz didn't traverse the country for Christmas, there were three other tours out there. As if to say, "I'm back, now deck those halls," he celebrated the "Dave Koz and Friends" Smooth Jazz Christmas tenth anniversary in 2007 with not only another great touring show but his third Christmas CD in ten years. For fans who missed 1997's underrated December Makes Me Feel This Way and 2001's Smooth Jazz Christmas, Memories of a Winter's Night is a good way to catch up with the best of those discs and hang out by the fire with some exciting new tracks (seven in all). There are three songs from December, two from Smooth Jazz Christmas (including the high-spirited, big-band flavored Brenda Russell led jam "Boogie Woogie Santa Claus"), and a nice mix of classics Koz hadn't previously tackled, from "Deck the Halls" to a jamming blues version of "Winter Wonderland." The real highlights, however, are the new tracks by young vocalists Kelly Sweet (an ethereal voiced singer who toured with Koz in 2007), who creates a lovely chill take on "White Christmas," and former American Idol finalist Kimberley Locke, who rocks steady on "Please Come Home for Christmas." Koz pays homage to his own tradition with the beautiful, lyrical Hanukkah-inspired title track.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

Lush, heartfelt, and elegant, At the Movies finds smooth jazz saxophonist Dave Koz celebrating his favorite movie themes. Featured here are such classic movie melodies as "Over the Rainbow," "The Shadow of Your Smile," and "The Pink Panther" as well as more contemporary songs like "A Whole New World" and the main theme from Schindler's List. Showcased beautifully throughout At the Movies is Koz's deftly melodic and supple saxophone sound, which truly evinces his obvious love of film and film music. It also doesn't hurt that he's often backed by a full orchestra and big band here, adding to the widescreen, cinematic sound he's going for. Also engaging are Koz's guest artist choices, including trumpeter Chris Botti, vocalists Johnny Mathis, Barry Manilow, Donna Summer, and others.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

Presumably every culture has its way of serenading infants into a blissful stupor when naptime rolls around. In this part of the world the technique apparently involves mixing Broadway and kid-vid hits with more established tunes, all of it at a slow, free tempo with no rhythm track, lots of happy major thirds, and spacious echo enveloping each note like an angel's embrace. So it goes throughout Golden Slumbers, with a few more modern twists, such as vocals on several tracks and saxophone contributions, largely from project supervisor Dave Koz, that will likely nudge little sleepyheads toward a diet of gauzy R&B balladry sweetened by sprinkles of Kenny G.. Acoustic timbres dominate (gently) the foreground, with synths relegated to pad duty; electricity is, after all, dangerous. Given the audience, or at least prevailing assumptions about it, everyone here tiptoes very close to this formula. In the end, this leaves little to say about Golden Slumbers, other than it seems to work on stressed-out music reviewers too.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

The latest contender for the instrumental pop saxophone throne, Dave Koz came out of nowhere after his self-titled 1990 release made it onto the Billboard contemporary jazz charts and stayed there several weeks. He has more fire and intensity in his work than Kenny G, and often sounds like a reworked David Sanborn. Koz also played on Arsenio Hall's show, which increased his popularity among the urban contemporary, light jazz, and pop audiences. Koz plays instrumental pop covers, some upbeat tunes, and generally sticks to the fusion production formula: background vocalists, synthesizers, and drum machines, a minimum amount of solo space, and so on. His sessions are available on CD and have been regularly released since his first appearance on the scene. Highlights include 1993's peppy Lucky Man, 1999's collaboration-heavy Dance, 2001's holiday treat A Smooth Jazz Christmas, and 2007's film music-themed At the Movies.

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.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

After years of performing solo, with string quartets and with orchestras, Brian has distilled the beauty of his melodies into his new duet album. With many new titles and some of his most requested melodies, this album is a beautiful dance between piano and cello. Brian is honored to work with Conservatoire National Superieur de Paris and Julliard trained Cellist, YuJeong Lee.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Composer and pianist, Brian Crain’s latest CD Spring Symphonies is an inspiring evolution for one of the areas most popular and prolific rising stars. Spring Symphonies contains two separate symphonies (four movements each) with a piano solo between, simply entitled “Piano Solo”. This CD (Brian’s 10th) was recorded this spring at CNSO Hostivar Studio in Prague, Czech Republic, with the Czech Philharmonic Chamber Orchestra, one of the finest, and busiest orchestras in E. Europe.

Brian’s Spring Symphonies remind us what we love most about orchestral music. If you are a current fan, you will love this natural evolution of Brian’s impassioned music. If you are not familiar with Brian Crain, you’re about to discover a true gem right here in the Inland Northwest, who is already internationally popular.

Spring Symphonies has the intensity of Barber’s Adagio, the wit of Gershwin’s Rhapsody, the harmony of Beethoven and Brahms the space and reflection of Faure and Debussy. In the full experience of being human in a changing, busy, and conflicted world, what is it that connects us and offers us hope for our individual and collective survival? Brian’s music joins those few artists, musicians, and writers who dare to resonate the empathy and vision we all desperately need and seek. This CD is a heart-opening affirmation of our “humanness”, touching those special places in our private hearts and memories generally reserved for our dreams, prayers, and life’s transcending experiences.

Like Ennio Morricone, Brian’s motifs paint larger than life - human images in this new musical genre. His harmonies are constructed with lush melodic layers. Brian’s provocative, delicate touch on the piano - his restraint - is a virtuosic style unique in the instrumental music world. You will find a near perfect balance between orchestra and piano on this CD, and the Czech performers each offers the best in their instrumental field.

To many of Brian’s fans, his music is a necessary staple - like bread, or rice. Spring Symphonies offers a satisfying fullness - for the heart of the listener. Brian’s music is destined to become a modern musical staple for us all.

Human history is rich with incredible musical works from, now deceased, composers. Do yourself a big favor and listen to Brian Crain’s Spring Symphonies CD while Brian is alive, and while you can enjoy getting to know him and his music.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Original piano music with orchestration background. Uplifting and emotional, melody based music in a filmic style

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Brian was born in Hollywood, California. He has been composing music as long as he can remember. Family members tell him that when he was very young he began whistling nearly all the time. When someone would ask what he was whistling, Brian would usually answer something like, "I don't know. I just made it up."

He was only six years old when his parents bought a baby grand piano, thinking that Brian's musical talents could use a more polished medium. But Brian continued to whistle his songs. He was not drawn to the keyboard.

When he was ten years old, Brian began taking piano lessons, but he soon became bored with the lessons. Besides, the piano took time away from his new passion, baseball. So he gave up the piano. His need to compose, however, would not be stopped. His friends would often hear him whistling his newest compositions during practice or games on the baseball diamond. At this young age, Brian was dreaming of becoming a professional baseball player while whistling his own songs.

When Brian was fifteen years old he began editing award-winning educational films. While he was still a teenager, he began doing sound on Hollywood films. At nineteen years of age, he built his own sound studio to complete the first feature-length film in Hollywood to be finished in R-DAT digital audio. Some of his technical innovations in post-production sound became standard Hollywood practice.

During this time Brian would occasionally sit down at that nearly forgotten piano. He would improvise at the keyboard, just as he had always improvised with his whistling, playing with the notes until something started sounding just right. He was, without realizing it, teaching himself to play the piano.

Also without intending to do it, Brian was training himself to compose at the piano. By his early twenties, he was composing songs for award-winning children's films. He was also still nurturing his dream of playing professional baseball, but after unsuccessful tryouts with professional teams, he sadly let that dream slip away.
It was during this time that his family suggested he record his personal piano works and release them on CD. He had never seriously considered recording for CD release, but when he recorded the first album, it was so well received that he now spends all his time composing and recording his own works. He continues to be encouraged by loyal fans who frequently tell him that his music has changed their lives. Now he jokes that the best thing that ever happened to him was not becoming a professional baseball player.

Brian's compositions Butterfly Waltz, Northern Lights, A Walk in the Forest and Lavender Hills are used as theme music and background music for television dramas and commercials in Asia. The use of Brian's music in this fashion has made him very popular in all of Asia.

In 2005 Brian composed his first two symphonies, entitled Spring Symphonies, which were recorded with the Czech Philharmonic Chamber Orchestra. Brian debuted these symphonies with the Dakota Symphony Orchestra on Oct 8th 2005. He also performs regular piano concerts in Asia and the U.S. and is currently working on his eleventh album.

Light and peaceful piano music. Many of the songs on this album are used in movies, tv and as cell phone ringers in Asia.