‘Dave Bass’ playing “reflects his quiet virtuosity, his deeply emotional expression and flawless Dynamics.”‘
–Raul Da Gama Latin Jazz Network
Publicity: Upcoming 2016 Shows, Jazz-Quad Magazine, DownBeat, fox40news, Improvijazzation Nation, Jazz Life, Arts Journal Blog/ Rifftides Recent Listening, O’s Place Jazz Newsletter (4/15) , Celebrity Cafe, All About Jazz, Jazz Inside Review, Jazziz (featured track, next issue), DownBeat , Jazz Times (4/15), Critical Bop-N-Jazz, Buffalo News, Jazz-Quad Magazine, Jazz Notes, Jazz Examiner, Latin Jazz Network, Capital Public Radio (2/15), Jazz Society of Oregon, Chip Etier, Midwest Record, Jazz Weekly, Critical Jazz
Interview on WRIU:
Dave Bass Trio with vocalist Michelle Deveaux
May 19 Narrows Center / Fall River, MA
w/ Bill Goodwin and Steve Gilmore
May 20 Shapeshifter / Brooklyn, NY
w/ Harvie S and Paul Wells
May 21 Deer Head Inn / Delaware Water Gap, PA
w/ Bill Goodwin and Steve Gilmore
The great Count Basie said, “If you play a tune and a person don’t tap their feet, don’t play the tune.” He could have easily been referring to Dave Bass and David Basse. Each artist’s music causes countless toes to tap, and now, performing together, they present a night of the Count’s music, their own tunes … and beyond.
Composer, pianist, and arranger Dave Bass started his jazz career in the 1970s touring the world and performing with artists as diverse as Brenda Lee and Bobby McFerrin. After a 20-year break, and a successful legal career, he’s back with a vengeance. DownBeat gave Dave’s most recent recording, NYC Sessions, a coveted 4-star review and named it one of the “Best Albums of 2015.”
David Basse, much like Count Basie, has deep roots in Kansas City. His soulful vocals have drawn praise far and wide, and the great Maya Angelou exclaimed, “I love the soul that is your voice.”
Both artists recorded extensively with the late, great Phil Woods, and Bass & Basse are honored to include Phil’s long-time rhythm section, Bill Goodwin and Steve Gilmore, on their Narrows and Deer Head Inn gigs
|WHAT THEY SAY ABOUT DAVE BASS
“Man! This is a helluva recording. I love it and am very proud to be on it. It’s swingin’ all the way!”
– Phil Woods (RIP) on NYC Sessions
“NYC SESSIONS covers a broad range of material for a unified whole…due in part to Bass’ savvy as an arranger and programmer, and his top-notch crew, not to mention his own sparkling keyboard work.”
– Jon Garelick / DownBeat
“Bass writes and plays in a style that is easily identifiable and relatable, yet sophisticated and operates on a very high level. Dave Bass is back doing what he was born to do and, in doing so, is keeping the torch burning for elegant songwriting and classic bebop in the process.”- Eric Harabedian / Jazz Inside
“Not only is Mr. Bass in fine form…the music in all its diversity and passion [has] an unstoppable momentum under his leadership.”
– Raul Da Gama, Latin Jazz Network
WHAT THEY SAY ABOUT DAVID BASSE
“The soul of a bon vivant and the spirit of a hipster…Basse scats with insouciance, reels you into ballads with a raconteur’s charm.”
– George Kanzler / Hot House Magazine
“…the rich substance, clear intonation and sincerity of delivery that are all qualities of Basse’s style…shades of Eddie Jefferson all the way.”
– Scott Yanow / LA Jazz Scene
“A hip and swinging singer who digs into the lyrics that he sings.” – Scott Albin / Jazz Times
“David Basse is the working man’s hi-tone remedy to a week spent fighting the boss, busting the hump, and dialing back stress.”
– Mark S. Tucker / Acoustic Music Exchange
Dave Bass interviews with Fox 40 News in Sacramento!
Dave Bass: THE SIXTIES with Phil Woods & Conrad Herwig
Dave Bass: LA COMPARSA/MI MONTUNO with Ignacio Berroa & Conrad Herwig
The music in consideration is available on Dave’s Youtube page. Click the link below to enjoy!
Improvijazzation Nation Review
Jazz Life Review
7/31: CHECK OUT Dave Bass perform at Cabana Winery with Mat Marucci & Kerry Kashiwagi
Bass “writes and plays in a style that is easily identifiable and relatable, yet sophisticated and operates on a very high level.” Jazz Inside
“…a wonderfully swinging date…a killer, unexpected set that comes in from left field with all deliberate speed. Hot stuff.” midwestrecord.com
“The tunes are varied, eclectic yet with a smoldering soul all their own. The intimate interpretation of “My Foolish Heart” works well against the more European influenced “Dark Eyes” which is drawn from the Russian / Jewish background that is Dave Bass.
Thursday, February 12 TWO SHOWS: 8 PM & 10 PM
Kitano 66 Park Avenue (at E 38th St), New York City, NY 10016
$15 cover, $15 minimum drink and food per person, per set
Featuring: Dave Bass – Piano, Harvie S – Upright Bass, Chris Washburne – Trombone, Richie Morales – Drums, Special Guest: Karrin Allyson
Featuring Dave Bass – Piano
Saturday, February 14 8 PM & 10:00 PM Scullers Jazz Club at the DoubleTree Guest Suites Boston
400 Soldiers Field Rd Allston, MA 02134
$35 cover, Dinner & show $75
Friday, February 20 8 PM -11:00 PM Narrows Center for the Arts
16 Anawan St. Fall River, MA 02721
$35 cover, Dinner & show $75
Featuring: Dave Bass – Piano, Harvie S – Upright Bass, Chris Washburne – Trombone, Richie Morales – Drums
Opening: Vance Gilbert
DAVE BASS / NYC SESSIONS
Catalog # wcs071
UPC / 687606007123
1. The Sixties 6:02
2. Lost Mambo 4.55
3. Endless Waltz 5.05
4. La Comparsa/Mi Montuno 7:17
5. Lost Valentine 7:12
6. My Foolish Heart 5:32
7. Baltic Bolero 5:33
8. Since I Found You 4:56
9. Dark Eyes 6:12
10. Silence 3:46
11. Just A Fool 4:38
Total running time: 60:02
All Music & Lyrics and arrangements by Dave Bass; Dave Bass Music, BMI, except where noted
Dark Eyes (traditional)
La Comparsa (Ernesto Lecuona) Edward B. Marks Music Co.
My Foolish Heart (Victor Young & Ned Washington) Patti Washington Music/Chappel & Co./Shapiro Bernstein obo Catherine Hinen Music, ASCAP.
Dave Bass, piano
Harvie S, acoustic bass
Ignacio Berroa, drums
Karrin Allyson, vocals on Endless Waltz and Lost Valentine
Phil Woods, alto sax on The Sixties, Lost Mambo, Baltic Bolero, Since I Found You, Silence, and Just A Fool.
Conrad Herwig, trombone on The Sixties, Mi Montuno, Baltic Bolero, Silence
Chris Washburne, trombone on Lost Mambo, Lost Valentine, Dark Eyes
Enrique Fernandez, flute on Lost Mambo, Mi Montuno, Dark Eyes
Carlos Caro, conga & percussion on Lost Mambo, La Comparsa/Mi Montuno, Lost Valentine, Baltic Bolero, Dark Eyes
Paulette McWilliams, vocals on Since I Found You, Just A Fool
Produced by Dave Bass
Executive Producer: Neal Weiss
Recorded December 4 & 5 2012 at MSR Studios, New York, NY
Recording Engineer and mixing: Todd Whitelock
Re-mixing: Michael O’Reilly
Re-mixing consultant: Suzi Reynolds
Mastering: Alan Silverman
CD Design by David Arruda Jr
Photography by Scott Feldman
Print publicity etc.
106 Melbourne Park Circle, Unit C
Charlottesville, VA 22901
Neal Sapper/radio promo
Scott Feldman/social media and bookings
P.O. Box 760817
Melrose MA 02176
For Contact and Booking
Go to: www.DaveBassMusic.com
ABOUT DAVE BASS:
This Cincinnati kid attended Berklee, studied with Madame Chaloff gleaning an exquisite touch on piano and an appreciation for the spirituality of music, opened for Captain Beefheart, studied composition with George Russell and toured the world with Brenda Lee before hitting 26. After an injury took him out of the music world for decades, Dave is back. As Phil Woods says about NYC Sessions, “Man! This is a helluva recording. I love it and am very proud to be on it. It’s swinging all the way and the overall balance of material is exquisite. Let’s take this sucker on the road!”
BOB BLUMENTHAL NOTES:
The road leading Dave Bass to his New York City sessions was long and winding to say the least. It has taken him across the US and over the Pacific Ocean, through a variety of styles, a change of careers and two decades where he appeared to put music behind him. Along the way, Bass mastered the language of modern jazz improvisation, the rhythmic secrets of Afro-Latin idioms, and both the melodic and poetic auras of the Great American Songbook. No late bloomer, Bass should be considered a hardy perennial whose talents, once dormant, have finally emerged.
The jazz chops, heard on his hard-swinging “The Sixties” and delicate reading of “My Foolish Heart,” came first, and can be traced to the music he heard while growing up in Cincinnati. “A friend played John Coltrane’s Live at the Village Vanguard Again for me and it knocked me out,” Bass recalls. “I just went from there, with the goal of playing avant-garde jazz.” He enrolled at Boston’s Berklee College but dropped out after a few weeks, finding the curriculum of less interest than the contemporary music that had yet to reach the academy – the mix of freedom and intellect in Paul Bley’s music and the spontaneity of Keith Jarrett’s Facing You. Bass used his time in Boston to study with visionary tutors such as George Russell, who had begun teaching his Lydian Chromatic Concept at the New England Conservatory, and Madame Margaret Chaloff, the legendary piano teacher whose emphasis on sound can be heard in Bass’ beautiful keyboard touch.
While these lessons were sinking in, and while his love of adventurous music never waned, Bass began to find his avant-garde focus insular and limiting. Mastery of the musical basics he had previously shunned now became a goal. “I didn’t want to be on this island, isolated from the rest of the world, and I wanted to prove that I could survive as a working musician,” he explains, “so I began answering ads for any kind of band that had an opening – blues bands, rock bands, groups accompanying Sinatra-style singers. I got pretty good and began to tour, and while my jazz playing definitely took a back seat, I’d still play things like Chick Corea’s `Spain’ when the rhythm section would be given an opening number.” One of those opening features led to a yearlong gig touring internationally behind singer Brenda Lee.
By 1975 Bass was tired of the road and left Lee to settle in San Francisco. ”The scene was really vibrant,” he says, “with bebop, more contemporary jazz styles and the emerging salsa scene.” It was at this point that he gained the feeling for the various Latin rhythms that inform “Lost Mambo,” “La Comparsa/Mi Montuno,” “Baltic Bolero” and his arrangement of “Dark Eyes.” “I got some Latin gigs,” he explains, “and when I wasn’t playing well enough on the bandstand the cats would just sing the right feeling into my ear.”
San Francisco also gave Bass the chance to immerse himself in standards and try his hand at writing in that idiom. He accompanied the young Bobby McFerrin and developed a particularly close relationship with Jackie Ryan. “Jackie was in a band I formed called Ad Infinitum, which was named after the Carla Bley tune. When Jackie moved to Maui, she invited me over to accompany her and I ended up staying for four years. We became big local jazz stars over there, and I must have learned the changes to hundreds of tunes.”
Bass finally returned with his family to Southern California, with every intention of continuing his career as a pianist and composer. Then one night, in the parking lot at a gig, he slipped on a pool of oil and fractured his wrist in an attempt to break the fall. “I actually played the gig with just my left hand,” he recalls, “and went to see a doctor a couple of days later. The diagnosis was that there was no guarantee that I’d be able to play again once my wrist healed.” With a family to support, Bass decided to become a lawyer, which meant completing the Bachelor’s Degree he had never earned before entering Law School. Ultimately, the career change led Bass to Sacramento and a position as a California Deputy Attorney General, and his musical focus dimmed. “I liked what I was doing,” he says, “and there weren’t any old friends around calling up and saying `Hey, let’s go hang out and hear some music.’ So I didn’t really look back on my life as a working musician. I still had a piano, but I resisted most requests to play socially. My musical activities were basically limited to accompanying my lawyer friends when they sang show tunes at parties, and teaching basic musical concepts to my kids’ elementary school classes.”
All of this changed in 2005, after Bass shared his life story with a videographer he had employed for a legal deposition. The videographer invited him to a party where several bands played, and for once Bass did not decline the invitation to “play a couple of tunes” on the electric piano, which led one of the bass players to invite Bass to a jam session. “Jamming just felt so good,” he marvels, “and apparently I had a lot to say. I didn’t realize how much I had missed music; but once those stars had aligned, it just came pouring out.” While there was rust, Bass called upon one of his early teacher’s wisdom. “Madame Chaloff ‘s idea of playing from a deep place became my goal. I may have forgotten the changes to a lot of tunes, and my chops were down, but I realized that the content of what I could say in a solo does not depend on chops.”
By the time Bass recorded his debut disc Gone in 2008 and 2009, both his playing and writing showed no signs of rust. With the support of California stalwarts Babatunde Lea (an old friend who was part of Ad Infinitum), Gary Brown and Ernie Watts, and with Mary Stallings interpreting two of his songs, the album brought Bass to the attention of a national audience and gained prominent exposure on jazz radio. The next step is NYC Sessions, with its cast of East Coast giants, seven instrumentals and four vocals.
“The more that I got back into the music, the more I realized that the cats I wanted to play with were in New York,” Bass notes. “I liked the idea of musicians who could play all of the music I wanted to play, whether Latin or jazz,” a description that nails the multi-faceted skills of Conrad Herwig, Chris Washburne, Harvie S and Ignacio Berroa. “And having Phil Woods participate was astounding. He was so warm and easy to work with, and his mere presence upped my game.” Woods, who takes his usual burning turns on “The Sixties,” “Lost Mambo,” “Baltic Bolero” and “Since I Found You,” also delivers one of his classic ballad readings on Bass’ beautiful “Silence.”
The four vocal tracks confirm Bass’ claim that “my songs are different.” The melodies go to unexpected places, as do the changes, and the narrative tends to dictate form rather than vice versa. The songs also explore a range of feelings, which led Bass to call upon two distinctive vocal stylists. Karrin Allyson makes the heartbreak behind “Endless Waltz” and the bossa nova “Lost Valentine” all the more powerful through understatement, while Paulette McWilliams (like Bass a Californian) sinks deep into the Basie groove of “Since I Found You” and the soulful “Just a Fool.” Both “Lost Valentine” and “Since I Found You” can be heard in instrumental versions on Gone, where changes in tempo and mood yield different but equally compelling performances.
Dave Bass’ piano playing is as multi-faceted as his writing. Whether grooving straight-ahead on “The Sixties” and “Since I Found You,” emoting an authentic Cuban feel on “La Comparsa” and “Baltic Bolero” or turning introspective for “My Foolish Heart,” Bass’ solos display melodic clarity, rich sound and impressive chops. His accompaniments, for both vocal and instrumental soloists, add context and detail while always remaining in service. The deep place he has sought throughout his singular career has only grown deeper in the musical soil of NYC.
Dave Bass is “a beautiful person and great musician.”
“Man! This is a helluva recording. I love it and am very proud to be on it. It’s swinging all the way and the overall balance of material is exquisite. Let’s take this sucker on the road!”
“Obviously Dave is a well-trained composer and pianist. Sophisticated. This is street music taken up to 5th Ave. High art but it’s still got a street value. You can still feel the blood in the body. It’s not elitist music. It’s for the folks. It’s for everybody. If you can’t dance to this, sit down.“
“I think that David Bass has captured the final, beautiful fusion of some of the best Latino musicians and the best American jazz musicians and he’s blended it: ballads, classical, and it comes out to be a beautiful buffet of music. And I’m very proud, as an old veteran, to take part in this project because it was very exciting. And I think everyone’s gonna love it!
”I’m really impressed with Dave’s compositions.”
Phil Woods plays a Yamaha 82Z alto sax and uses Van Doren ZZ reeds, and a K & M sax stand
Ignacio Berroa plays: Yamaha Drums, Sabian Cymbals, Evans Drum Heads, Vic Firth Sticks and L.P. Instruments
Conrad Herwig plays Michael Rath Trombones, England, exclusively
Harvie S uses the Acoustic Image amplifier
First, I wish to thank the owner of Whaling City Sound, Neal Weiss, that rarity in the music biz: a true gentleman and a man of his word.
Second, thanks to my wonderful family, Nancy, Zoe and Carlin for supporting my re-entry into music.
Third, I wish to thank all the extraordinarily talented musicians who breathed life into my compositions and lyrics; Karrin Allyson, Phil Woods, Conrad Herwig, Harvie S, Ignacio Berroa, Chris Washburne, Enrique Fernandez, Carlos Caro and Paulette McWilliams.
Finally, thanks to Yas Rowan for his spot-on videos of the NYC recording session.