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LIMITED ENGAGEMENT!
“ Titanique is
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of theater I have
EVER
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GAYEST NEW
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BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
DAVID KOZ
WORLD RENOWNED SAX PLAYER
RELEASES CHRISTMAS BALLADS
(25TH ANNIVERSARY COLLECTION)
As a Christmas celebration, saxophone guru
David Koz and friends released his eighth
holiday album, which will be followed by a
tour for the season. The album features the
romantic tunes of the season and songs which
Koz has never recorded before. It features
pianist David Benoit, trumpeter Rick Braun and
guitarist Peter White. Dave’s music is defined
by virtue and integrity and is forged by the
force of the joy of the season.
The album includes classics such as “Ave
Maria”, “Happy Xmas (War is Over)”--once
recorded by John Lennon--and “Merry
Christmas, Darling,” known for the Carpenters’
version. Beyond all else Dave Koz’s music
is the magic of the holiday. Get Out spoke to
David regarding the season….
INTERVIEW >>>
Hello, Dave. What inspired you to do
the songs that you chose?
Well, I don’t know if you know this, but
I’ve had a lot of Christmas albums. This
is number eight. The biggest challenge
from this one was committing to recording
10 songs that I never played before and I
never recorded before. That was the lens
by which we started. We were able to find
10, and thanks to the producer Kalik, who
I worked very close with on this project,
we reflected kind of a nice part about
Christmas that we hadn’t yet worked on.
I recorded an album that kind of set the
tone for this particular moment, where this
is kind of like on a night where you have
a party and guests over. After they leave,
you put all the decorations away, clean the
dishes. And then you sit down in your living
room with a fireplace a nice cocktail and
maybe somebody special. That’s what this
album reflects--that more quiet, often more
romantic side of the holidays.
What inspired you to make Christmas
album since you’ve made so many of
them?
The funny thing is, I’m Jewish. How does
a nice Jewish boy from Los Angeles have
25 years of Christmas tours and eight
Christmas albums? The main thing, really,
is that I love the music. Even though I
didn’t grow up celebrating Christmas,
I used to go to my friend’s house and
decorate the tree. Music was such an
important part. There’s so much meat on
the bones of these songs.

That’s why you hear every year people
doing renditions of classic Christmas
songs in so many different ways. You can
kind of push and pull them in different
directions and they hold up. The other
main reason is because we started this
tour 25 years ago and we never imagined
that we would be doing this 25 years
later. Because of the audience and the
people that come and bring their kids,
and those kids grow up and bring their
kids, it’s become a family tradition in all
the cities that we go to. Oftentimes in
companionship with a tour, I like to put
certain music together.
Now you’re going on a tour, and you do
this every year?
Yes. This is our 25th annual. Although we
didn’t tour in 2020 because of the covid
situation, we did do a live stream. So we
kept consistent, and here we are at our
25th anniversary. Unbelievable.
Who’s your favorite saxophonist?
I grew up listening and idolizing a man
named David Sanborn. Another New
Yorker. He was kind of like my chief
saxophone mentor and then many years
later, we got to collaborate on my new
album, which came out in 2020. David
Sanborn and I wrote a song and performed
together. That was kind of a full circle
moment for me. To be able to collaborate
with the guy that I grew up listening to. It’s
just a weird thing, like a kid in a bedroom
playing albums of his favorite saxophone
player and then I’m standing next to him.
The reality of that hit me hard.
Have you had your ultimate stage
fantasy yet, and if not, what would it
be?
I’ll tell you what was great--getting to play
with one of my heroes, Dean Martin. That
sticks out. Capitol Records did a Dean
Martin tribute album, and I was signed to
Capitol at the time. I was asked to play a
duet with Dean Martin on an album. That
was really amazing because you could
hear his voice in the headphones and
it was almost as if he was in the room,
right next to me, singing. I don’t know
why that came to mind when you asked
the question. I had so many of that kind
of moment playing on the road with Barry
Manilow. I opened up tours for him and
then played his show. He and I have
been great friends for a long time. Also,
getting to work with Rod Stewart on stage
or Stevie Wonder. I played with him live.
Playing Madison Square Garden with a
young band called Wolfpack. They sold out
the Garden. I remember playing Carnegie
Hall with another artist, and my mom flew
all the way from Los Angeles to see me
be a support for another artist for a few
minutes on the Carnegie Hall stage. So,
there are a lot of those kind of moments,
tons of “Pinch me” moments. But I can’t
really say that I’m bereft of those moments
or need another one. But if another one
happened to happen, I welcome it, of
course.
Is there anything that you want to tell
me that I haven’t asked you?
The main thing is that we’re very excited
to bring our show out for our 25th
anniversary. It stars a trumpeter, Rick
Braun, and a guitarist by the name of
Peter White. They are sort of the earliest
cast members of this tour. So, for our 25th
anniversary, we wanted to have them be
part of the tour. This tour will also feature
Keiko Matsui on piano--a fantastic artist,
and she’s probably been on our tour
like four or five times. So she’s kind of
a veteran. And then we are featuring a
young vocalist named Rebecca Jade for
the second time. She was with us last
year and people fell in love with her, so we
invited her back. She is a fantastic singer
with an album of her own. The key to this
album has always been collaboration and
the core of how it all comes to be and have
it all sort of attract this audience that is
so supportive of us, especially for holiday
music. It’s about supporting each other,
for our artistry to thrive. And it’s a really
wonderful ride, and I look forward to it.

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BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
VINCENT PATERSON
ICONS AND INSTINCTS
PHOTO CREDIT: ©2022 SETHAFFOUMADO.COM
Legendary choreographer, director, producer
and a million other things Vincent Paterson
(with writer Amy Tofte) has unleashed his
inspiring new book, Icons and Instincts.
Globally acclaimed for being the choreographer
for artists including Michael Jackson, Madonna,
Björk, Lucille Ball, Liza Minnelli, Shirley
MacLaine, Elton John, Barbra Streisand and
a parade of at least 100 others, Paterson
celebrates his behind-the-scenes escapades
and anecdotes. His hope is that his stories are
entertaining and inspiring and in his own words
“a reminder of how we each choreograph the
steps to our individual dances in life.” He also
wishes that his recollections “might offer insight
into what it means to be a working artist in a
volatile industry.”
Paterson has choreographed, directed and produced for film, theater, Broadway,
concert tours, operas, television, music videos and commercials. His works
include Michael Jackson’s Smooth Criminal and Madonna’s Blonde Ambition
Tour, as well as Berlin’s first original production of Cabaret. He is now happy to
share his renowned experiences with the world.
INTERVIEW >>>
Hello, Vincent. You are a director and a
choreographer, which came first?
I directed first when I was in college, then
an actor, then after being a dancer for many
years, I became a choreographer and then
back to directing again.
What made you want to become a dancer?
It was kind of accidental. I was working in
Tucson for a while, I was walking back and
forth past the dance studio every day. I was
a theater person, not a dancer at all. I kept
hearing this music come out of the studio and
I stepped inside and asked if I can maybe
take a class. It was a ballet studio and the
woman that ran it said, “We don’t really have
adult classes, but you could take a class with
these young teenagers.“ That’s how I started.
Changed my whole life.
So how did you come to work with Michael
Jackson and Madonna and all those super
famous people that you worked with? How
did you get that reputation?
I did a lot of dancing once I moved back
down to Los Angeles. I traveled the world with
Shirley MacLaine. I was Barbara Mandrell’s
partner on her TV show for two years. I
auditioned for “Beat It”. Michael Peters, who
choreographed it, was a mentor of mine. I
auditioned for it and got it.

That was my beginning of knowing Michael
Jackson. The second thing I did with
him, I assisted Michael Peters and was
a dancing zombie on “Thriller”. After that,
I started almost creating everything for
Michael Jackson. I began with “Smooth
Criminal”, which I conceived and created and
choreographed. I did his first solo tour and
went on to do maybe four or five other short
films or videos with him. I choreographed
them as well as directed them. I did his
Super Bowl performance, Grammy Awards
and many, many other things. Through
Michael Jackson, I had met a commercial
director, Joe Pytka, who
directed “The Way You
Make Me Feel”--one of
Michael Jackson’s pieces
that I choreographed--and
Joe was directing a very
controversial commercial,
as it turned out, for
Madonna for Pepsi. He
called me and asked if
I would come down and
help. He said Madonna
didn’t want to sing and
dance, but he wanted
me to be there anyway.
She walked past with
her entourage and Joe
attempted to introduce me
as a choreographer and
she said, “I don’t need a
f****** choreographer”. That was my intro
to Madonna. I then went on to do the video
for “Express Yourself” and then “Vogue”.
I directed and choreographed the Blonde
Ambition tour. And many other things I did
for her, like the Marie Antoinette version
of “Vogue” for MTV, the film Evita. Once
it all began, it just kind of steamrolled. It
continues to this day, and I’m very grateful
for that.
Of all the people that you directed and
choreographed, who has been your
biggest challenge?
I think the biggest challenge as a
choreographer may have been Whitney
Houston. As sweet as she was, she was
really uncomfortable with moving. So that
was a little tough. Donna Summer was
the same way. She was happy to learn,
but she just wasn’t that comfortable with
moving. Those were the two trickiest, I
think. What I tried to do, Eileen, is I try to
look at a person’s body and see how they
move and then try to create movement
that I think makes their body look good. As
a choreographer, that’s the way I always
worked. Even Bjork, when I choreographed
Dancing in the Dark, I watched her a little bit
and used movements that I thought worked
well for her body and it did. I called her a
Teletubby because she was just so sweet
and kind of moved that way. So that’s the
way I try to work. I tried to
work my body into the way
their body moves, and if it
feels good on mine, I know it’ll
feel good on theirs.
I’ve interviewed a million
people on the planet, but
I never really interviewed
choreographer, so this
is really exciting to me.
I always ask musicians,
“How do you come up with
lyrics and what inspires
instrumentals?” so I want
to kind of ask you the same
thing. What inspires you to
come up with movements?
How do you think of them?
I followed something
that Michael Jackson once told me at
the very beginning, when I first started
choreographing for him. He gave me
“Smooth Criminal” and he said, “I want you
to take this music, don’t impose anything
on this music. Let the music tell you what it
wants to be. Listen to it again and again and
again and let it tell you what it wants to be.”
And that’s kind of how I choreographed my
whole life. I don’t impose an idea on a piece
of music. When I hear a piece of music, I
think, “Wow, I really like this” and then I listen
to it intensively for what could be 100 times
or more. Then, images start to come to my
head. They start off abstract and then I go
into a studio and ideas come.Like circles or
squares I see in my head when I get into a
studio. I start to put that feeling on my body
and move along with it.

who is also a playwright. She had gone to
see this documentary that was done about
me and came back and said, “That was
incredible”. She said, “Have you ever written
anything?” And I said, “Yeah, I’ve written a lot
of journals.” When I worked around the world
a lot, I never got to take somebody with me.
I would pick up an assistant wherever I was
working. So I gave her some of my journals.
Between the work that was in the journals and
the interviews that she did with me, that’s kind
of how we put the book together.
I learned a lot from Hermes Pan and what
he did with Fred Astaire when I was first
beginning to choreograph, to understand you
don’t have to choreograph to five, six, seven,
eight. I could follow a string line or a flute line
and be inspired that way. Having worked in
the theater, grown up in the theater, basically,
a lot of the choreography I’ve always created
has had a narrative theme or substance to
it. I like dancers being characters in a way,
expressing a story with movement.
So, with everything that you’ve done,
a book was inevitable. What made you
decide to write this book?
It actually was my co-writer who urged me.
There was a documentary about me called
The Man Behind the Throne. That’s kind of
how I lived my career, mostly. In the early
career, I was behind the scenes and didn’t
get much credit for what I did, although my
stuff was highly visible by billions of people
around the world. I thought, “Let me move
forward with this career. And let me see what
if it works for me.” I just kept following my
heart and found that by doing that, doors
were opening for me. One person would see
the work and give me a call and I’d work with
them and move on to something else. That’s
the way it kind of came about. It’s a beautiful
career. I directed a play for my co-author
I wanted to create a book that had a reason
to exist. To give people the insight behind
the process of how some of these major
entertainers actually work when they’re in
the rehearsal studio. I thought that would be
interesting for people. For young artists, it
was an important book because it talks about
being prepared, and that’s a really important
lesson. You never know when opportunity’s
going to afford itself to you and you want to be
ready. Take some classes, take some acting
classes, take some voice classes. If this is
really the career that you love, be prepared.
The third reason was people look at my
situation, and when you read the book, I think
you’ll understand this better. They look at the
successes that I’ve had and they think, “Oh,
my gosh, you’ve had it so easy.” Well, yes, on
one hand. We hear so many more nos than
we do yesses, so we have to be strong and
listen to that instinct that tells us that we’re on
the right path.
Have you had your ultimate stage fantasy
yet?
I think creating the blonde ambition tour for
Madonna and changing the base of Pop
tours. I think that was so fulfilling for me. To
be able to bring theatrical talent to the pop
arena, and now look and see that that’s the
course that everybody has taken. In terms of
that, I’m very happy. The Pope actually said,
“With the Blonde Ambition tour, Satan has
been rereleased into the world,” and I thought,
“Oh, my God, I did that.” So I guess you can
call that an ultimate stage fantasy.
So, is there anybody that you haven’t
worked with that you wish you did or that
you still want to?
In the music world, I’ve always wanted to
work with Lady Gaga.

I think that she is a really incredible talent
on many, many levels. I just sent a book
for her to read and I hope she enjoys it.
She is someone that I thought that we
would collaborate beautifully together. In
the acting world, a great actress that I’ve
never had an opportunity to work with and
whom I absolutely adore is Meryl Streep. I
got to work with Glenn Close and she was
brilliant. I’m a kid who came from very poor
area down south of Philadelphia; there
was no culture around there. But I always
knew I was destined for something else. I
didn’t know how and
I worked my butt off
because we were
very, very poor. I was
able to get some
scholarships to go
on to college. And
that changed my life.
And that’s another
important part of the
book, that we don’t all
have things handed to
us and we really have
to work hard to get
what we want.
Is there any question
on the planet that
you would want me
to ask you?
One thing that I’m
really concerned
about, and I write
a whole chapter
about it, is about
the lack of equality
for choreographers.
I’m not really
choreographing anymore, but I’m fighting,
fighting, fighting for choreographers to
get first of all credit for their work and
equality with pension health and welfare.
Some form of ownership because we kind
of work for hire, so we own nothing. And
the consequence of that is hundreds and
millions of people have seen my work,
but they don’t really know it’s my work. If I
was to try to put my work up at a concert,
I could be sued. I own absolutely nothing.
We’ve been advocating, and there is a
new group now called the Choreographer’s
Guild that has some very powerful players,
and it’s very exciting. We have bylaws,
we have a board and executive board,
executive directors, and now we’re pushing,
pushing, pushing for membership of
choreographers on the West Coast that
deal with the electronic industry film and
video, but also live theatrical. So, those
things are very important to me. I also want
to campaign the Academy to give an award
to choreographers. I have an agent here
and the two of us have been talking to the
CEO of the Academy and two women on
executive boards
to find out how
we can get more
choreographers in
as members first
so that eventually
choreographers will
have a voice. I’ve
read letters from
1962 questioning the
board on why they
don’t have awards
for choreographers.
That’s 60 years ago.
This has to change.
The thing that’s
disturbing to me is, I
am a member--Mike
Nichols supported me
and got me in when
I did The Birdcage
for him. This is what
I mean about credit.
Even though I had
the main title credit on
that film, a gentleman
named Mark Harris
wrote a biography
of Mike Nichols and in it he says one of
the greatest improvisations that Robin
Williams did was the eclectic celebration of
the dance, “Fosse, Fosse, Fosse, Michael
Kidd, Michael Kidd, Madonna, Madonna”.
Well, that was mine. I created all of that
from nothing. And because you were just
so overlooked because lack of education,
people don’t know what we do. They didn’t
step any further to find out if Robin had
actually done that or where it came from,
so he just took it upon himself to say Robin
did it.

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