JAZZ REVIEW : Koz, Benoit, Rippingtons: Too Few Sparks

Dave Koz, David Benoit and the Rippingtons--Saturday night’s bill at the Greek Theatre--seemed calculated to charm the ears off contemporary music fans. Unfortunately, the program turned out to have a lot of show and not nearly enough tell.

Koz made it clear that he prefers to be heard as an entertainer first and a musician second. So be it.

His horn-in-the-air, knee-to-the-ground, raised eyebrow, flashing smile poses were right out of the tradition of bar-walking saxophone playing. But the word that kept coming to mind while watching his oh-so-cute histrionics was not funky but adorable .

Benoit arrived with a stage full of musicians--12 strings, four horns and a rhythm section. Why were they there? Who knows? Except for several outbursts of 16th notes, the strings were relegated to producing soupy background textures, and the horns were only used for accents.

There’s no denying the perkiness of Benoit’s style nor the attractiveness of his melodies. But his rhythm playing needs an urgent energy fix. Saxophonist Eric Marienthal soloed in characteristically monochromatic fashion.

The Rippingtons have evolved into a slick, poised and polished act. Their packaging--complete with smoke machine, visual effects and a structured stage setting--would have done a pop group proud. And so would the music.

Eager to hype a new album, “Weekend in Monaco,” the band didn’t make a misstep, performing with all the power and precision--and all the lack of spontaneity and individualism--of an IBM computer.

For one brief moment, when leader Russ Freeman picked up his acoustic guitar, there was a reminder of the creative potential still simmering within the Rippingtons. After a few bars, however, it was back to programmed electronic business as usual. A pity.