Award-winning saxophonist/artist Dave Koz has taken The Comet readers through emotional journey into the making of his new album “Hello Tomorrow,” released Oct. 12. In the fourth of a four-part blog series, Koz talks about his guest artists and the excitement of album release day.

Well, here it is – the release day of “Hello Tomorrow.” Always a funny feeling, this day. I’ve had it 11 times before, and with every album it’s the same – a combination of excitement and uneasiness that’s associated with birthing something so near and dear and important and special. Of course, every artist hopes the world likes their baby, but today I am writing this with a new sense of confidence about this particular album that I don’t recall having quite in the same way before with other projects. As it was with every aspect of this one – from the very beginning, everything seems new and fresh.

Perhaps it’s because I’ve felt extremely guided on this album. I almost feel like something was working through me to bring this out into the world because it wasn’t necessarily the thing I would choose to do naturally. But now that it’s here, and I see the way that early believers are reacting to the music – I am very, very happy I went down this path.

Maybe it has to do with some of the things I wrote about earlier in this blog series ¬– a new home at Concord which provided a freedom to create something different, to push my own internal boundaries. Perhaps it was my producers Marcus Miller and John Burk, who inspired me to stretch on this project, yet gave me the security of a safety net should I ever venture too far off the cliff. Maybe it is a bit of divine choreography with all the right co-writers showing up and the songs that came forth in that all-too-quick writing period last summer. Or the stellar performances of the musicians who made those songs come alive playing the music in the studio all together.

Or maybe it was all of it.

I took a look the other day at the artwork for the album. The back cover lists the guest artists on this project. Seeing all the names side by side and all together in one group – well, it stopped me in my tracks.

Lee Ritenour – one of the world’s true guitar heroes guested on the opener, “Put The Top Down.” I’ve always wanted to work with Lee, and now 20 years in to my career, it finally happened. He added such a fire to that track with his searing guitar licks and hooks.

Boney James and I did a duet on a tune called “When Will I Know For Sure.”  Boney has carved such a great niche out for himself as one of the main voices of contemporary saxophone – and I am a huge fan. “When Will I Know” is mainly a tenor sax feature – and has a soprano sax duet part. Well, at first we had Boney playing soprano and me on tenor. And we got a take in the studio that we were all happy with. As he was leaving I asked Boney if he would grace us with one more take, but this time he would play his trademark tenor and I would play the soprano. Well, we went back in one more time – and I must say, immediate magic happened. What you hear on that track is basically the take that we played that first time after switching horns.

My touring buddies from Summer 2010, Jonathan Butler and Sheila E. came in to add a whole lot of authenticity to our little reggae jam, “Getaway.” Everything Jonathan adds his flavor to just seems to come to life. Singing, playing, whatever, he is just a genius. And don’t get me started about Sheila E., who played on a few tracks and sang on this one.

This woman is one of the most purely gifted human beings on the planet.

“The Glamorous Life” is one thing, and playing drums with Prince, another. But this woman on her own as a musician is unreal. One of my favorite memories of the album was when she came to the studio and we worked on tracks til 4am. Drinking wine between takes, hysterically laughing ¬– and then she’d go in and just kill it. I love me some Sheila E.

I’ve always connected to the Bacharach/David song, “This Guy’s In Love” and included on this album as the one cover. It is a simple and poignant message about love.The original was done in 1968, made famous by my mentor and friend Herb Alpert. Well, I wanted to get Herb’s blessing (as I was singing this as well – and admittedly rather nervous about putting my voice out in to world!) So I sent the track for him to hear. He called me back almost immediately and said, “Not only do you have my blessing, but I’d like to see if I can add something on it.” I just about died. Sure enough, Herb played his iconic trumpet towards the end of the track. I am so in awe of this man – at 75 he continues to put so much art and beauty to the world – and is one of our greatest and most active philanthropists.

The incredible blues artistry of Keb’ Mo’ shows up on two track, and I am so grateful to Keb’ for his generosity. On “There’s a Better Way,” his spoken introduction perfectly sets up the reflective yet hopeful mood of the song, while his dobro on “Think Big” added that just-perfect rawness. The man can’t be insincere, even if he tried.

I spoke in earlier posts about Dana Glover and “Start All Over Again,” but must add now that lately Dana has been kind enough to help me out with promotion of the album, singing the song on the radio and at events.

I have always loved and admired this woman for her sheer talent, but man, singing the song live, she is so emotionally present. People at one radio station were stunned in disbelief. AND early in the morning, no less!

I can’t say enough about longtime collaborators Jeff Lorber and Brian Culbertson for adding their own unique musicality as well. And hearing Marcus Miller go to town on the clarinet as he did so fittingly on “Think Big,” along with young trumpet sensation Christian Scott. That kid has been working his ass off and is fast becoming a real heavyweight in the modern jazz movement. He’s one of the most purely musical individuals I’ve come across in a long time. He picks up that trumpet and just effortlessly is able to fit into any musical landscape and find his lane. I was blown away – and expect not just big, but HUGE things from Christian in the future.

You can have all the star power, the heavy hitter producers, the most clever songs and record company ammunition behind you. You can have a solid sales history and an airtight marketing plan. You can have a great, timely idea and radio airplay to match.

But in the end, and this is one of the main reasons why the music business remains so fascinating, you just have no way of knowing what’s going to happen.

The best any artist can do is say that an album is an accurate and authentic musical representation of who they are at a given point in time. On this, the day my most personal, introspective yet energetically hopeful album gets released into the world, I can honestly say, that is the case and back it up 100%.

Beyond that, it’s anyone’s guess. Timing, luck, a couple of strategic breaks.

If someone could’ve figured out the formula, we’d all be doing it. But with art, who knows?

All I can say is that I enjoyed the journey of getting to this point so very much. And I’ve already learned more on this project than I have on any other album. A transformation in me took place and I am grateful for it. Using that as a gauge for success, I would have to say I am already quite pleased. If it continues after it comes out, to aid in some transformative experiences for others, all the better. I have a good feeling it will do just that.

For today however, I am happy. I am confident. I am hopeful. I am relieved. And I am excited. Literally, this new chapter begins on October 12, 2010. Indeed…Hello, Tomorrow.

DK