Whaling City Sound Website WCS106
Publicity: ScoopEmpire, The Exponent Telegram, Jazz Journalists Association, Giancarlo Mei, The Daily Progress,LA Jazz Scene, McLean Virginia Patch, O’s Place (see below), All About Jazz CD Review, All About Jazz Interview, Herald Times, Indystar, Downbeat, Era Jazzu, JazzFlits, The Herald-Times, Audiophile Audition, Midwest Book Review, Nuvo,Cision/Casio, The Early Registration JazzWeek
Radio Promotion: New World ‘N Jazz
#31 on the year-end radio charts and so much more!
Mixed Media Client since: 2015
2018’s Wild Bunch: Music Of The Year
Physical CDs are still published, although nowadays methods of fruition of music tend to vanish the idea of a closed project to contain art and creativity. Just like romantic warriors, collectors of vinyls and compact discs continue to believe in an ancient way of producing and transmitting musical projects. And so do I. That’s why every year I put out a list of the most interesting Cds among quality productions in territories like adult contemporary, jazz, fusion and brazilian music.
A wide choice for 2018, fifteen cds, as usual each one included here with audioclip for a pre-listen. Music that really be worth a listen.
My “2018’s Wild Bunch” is all about women and I’d like it could be intended as a signal, a way to propose “women” as a symbol of intelligence and sensitivity, opposed to narrow lines of thinking traced by reactionary and religious governments throughout Islam, USA, Brazil, Italy, etc., etc.
“Music is culture” (música é cultura) was the slogan on the back cover of every published Lp in Brazil, during the horrible period of dictatorship between Sixties to Eighties. This time we could say even better “music is culture and woman is culture”. Listening to the right things could be like a first step of a good revolution. So, up against it!
Giancarlo Mei is an independent journalist and writer, host of radio and author for television. He is also the author of the critically acclaimed books “Canto Latino. Origine, evoluzione e protagonisti della Musica Popolare del Brasile” (Nuovi Equilibri, 2004) and “Spiriti Liberi – L’avventura brasiliana di Flora Purim & Airto Moreira (Arcana Jazz, 2017)
– 2018’s Wild bunch –Monika Herzig – “Sheroes” (Whaling City Sound, WCS106)
A good pianist with an all-female jazz band, eight originals and two covers: a fantastic album. German composer and arranger Monika Herzig create this ensemble to pay tribute to jazz women. An effort turned into a perfect goal putting together talents from all over the world: trombonist Reut Regen from Israel, canadian trumpeter Ingrid Jensen, deutch guitarist Leni Stern, cuban percussionist Mayra Casales and mexican drummer Rosa Avila, bassist Jennifer Vincent and flautist Jamie Baum from the U.S. A such powerful band offers to Herzig’s compositions dense quality and great energy. The language is complex but really exciting; a coral work with musicians always ready to start great solos and sheet music that covers the whole scale of jazz colors and moods. Herzig is a remarkable composer and pages like the “Nancy Wilson Portrait”, and “Time Again, D.B.” are very impressive. Other members contribute with quality creations too, just like it happens with Vincent’s “Song For C.C.” and Baum’s and “Wayning”. A jazzy “Ain’t No Mountain High Enough” and a soulful cover of The House of The Rising sun, complete this vary and inspiring work. Rich.
*”Time Again, D.B.”: https://www.youtube.
*”Nancy Wilson Portrait”: https://www.
CD Release Events
New York, NY • Wed Apr 4 The New School in the Jazz Performance Space, Arnhold Hall, 55 West 13th Street, 5th Floor. Panel discussion with SHEROES from 4:30 – 5:30. Concert 6:00 – 7:00. Free event but seating is limited, first come first served.
Newark, NJ • Thu Apr 5 Roundtable Presentation on Experiencing Chick Corea: A Listener’s Companion Rutgers University 7-9pm
Baltimore, MD • Fri Apr 6 SHEROES CD release An Die Musik live 409 North Charles Street Second Floor 6pm
Cleveland, OH • Sun Apr 8 SHEROES CD release Nighttown 7pm
to schedule clinics/ concerts
Endorsements: Casio Keyboards
June 10 2016
“The Whole World in Her Hands”
Radio Promotion:New World ‘N Jazz, Peaked at #20, on chart for 16 weeks
The new album of pianist and composer Monika Herzig for the Whaling City Sound label is a logical continuation of not only her previous work The Whole World in Her Hands (2016), but also the whole creation of this German-born Germany. Monica is making great efforts to expand the presence of women in instrumental jazz, which in this case is emphasized even by the name of the album for which she invented the punky neologism of Sheroes – a combination of the concepts she (she) and heroes (heroes). Thus, the title of the project can be read as “Heroines”.
Who are they, these heroines? As part of the ensemble of Monica, with whom she tours, with which she recorded Sheroes, you can see many participants and the aforementioned previous project. This is the guitarist Leni Stern, the German, like Herzig, and the American Jennifer Vincent, who has postponed the cello and acts only as a bass player, and the Israeli trombone player Reut Regev, and the famous American flutist Jamie Baum, and the percussionist with the Cuban roots of Myra Casales. There are also impressive new faces: a very creative performer on the pipe Ingrid Jensen from Canada, Mexican drummer Rosa Avila, Italian tenor saxophonist Ada Rovatti. All of them are purely geographically united by the presence on the jazz scene of the world capital of this music – New York. And the principle of composing an album, which included plays not only of Herzig herself, but her colleagues,
Herzig herself is represented here by four compositions and two arrangements, including the well-known theme House of the Rising Sun. The most interesting of them seemed to me the starting Time Again, DB, dedicated to the late teacher Monica David Baker, and filled with Caribbean intonations Cantos, writing which Herzig thought of the melodism peculiar to such an outstanding jazz pianist as Chick Corea. Jamie Baum dedicated her composition to another giant of modern jazz – Wayne Shorter, she is called: Waining. Leni Stern once had occasion to encounter African music, where the appropriate intonations in her play Bubbles came from. The drama of the plot of the song Vincent Song For CC is broadcasted by the music of this play.
Even on this short list, you can judge the musical diversity of the album. Add to this the high performance class, lots of bright solos and duets, the general spirit of creativity that reigns in the album – and you will understand that this work is worth listening to. Of course, the final statement of I Am A Superstar is somewhat ironic. But the fact that all the participants of the project headed by Monika Herzig are genuine Sheroes of modern jazz, I do not personally change myself!
Also highly recommended for jazz connoisseurs is the album “Swing That Music!” ($14.99, in which vocalist/soprano sax player Danny Bacher and associates pay tribute to the legendary jazz greats Louis Armstrong, Louis Prima, and Louis Jordan, with vibrant performances of some of their most widely beloved songs.
CD ReviewByNorman Vickers_______________________Monika Herzig:The Whole World In Her HandsWhaling City SoundRelease Date: June 10, 2016Monika Herzig is a performing pianist, educator and author. She has assembled a group of talented women musicians to perform on this recording. She brings guitarist Leni Stern (Germany/NYC), percussionist Mayra Casales (Cuba), Flutist/saxophonist Jane Bunnett (Canada), saxophonist Lakecia Benjamin( USA/NYC) and bassists Linda Oh (Malaysia/Australia) Anna Butterss(Australia) and cellist Jennifer Vincent(USA) and uses them in varying combinations. Ms. Herzig plays piano on all twelve tracks.There ís plenty of excellent piano on this recording but it ís the ensemble which is featured.One possible drawback for the average listener is that all twelve pieces are new except for a reworking of “The Whole World in Her Hands” (Get it?) It ís challenging to the average jazz listener to listen to new compositions. Ms. Herzig plays on all numbers but she assembles groups in varying combinations. One of my favorite cuts is “Peaceful Piece” featuring piano, bass, flute, alto sax and trombone. There ís much here to appreciate as Ms. Herzig has put the ensembles together with thoughtfulness. So, give this one a listen and stretch your “ears.”This was recorded at New York’s Avatar Studio May and August 2014 and produced by Suzi Reynolds. Ms. Reynolds spent a few years in Pensacola before launching her successful career as producer in New York. I’m pleased to see and hear this latest triumph from a longtime friend.–End–
‘Dave Bass’ playing “reflects his quiet virtuosity, his deeply emotional expression and flawless Dynamics.”‘ –Raul Da Gama Latin Jazz Network
Listen: Time of My Life
Mixed Media Client since: 2014
Some photos from the two sold-old shows at the Sequoia Room last Fri. and Sat. with the Dave Bass Afro-Cuban Jazz Quintet:
#13, 3 weeks
Dave Bass No Boundaries Amazon 5-Star Review!
Climbing the Jazz Week Charts
Composer * Pianist * Arranger
Ted Nash, Karrin Allyson,
Carlos Henriquez, Jerome Jennings
Release Date: August 2nd
The saying goes that everyone’s got a story to tell. But chances are good that few, if any, have the kind of story Dave Bass has. Without resorting to detail, Bass’s rebirth as a jazz musician after decades away from the art is nothing short of astonishing. Having retired from the Office of the Attorney General of California back in 2015, Bass is back at the piano, where he promises to keep the torch burning for classic songs, elegant bebop and beautiful performance. NO BOUNDARIES features two-time Grammy® winner Ted Nash (flute, alto flute, clarinet, bass clarinet, soprano sax, alto sax, tenor sax), five-time Grammy® nominee Karrin Allyson (vocals), and two-time Grammy® winner Carlos Henriquez (bass) and Jerome Jennings (drums). Three great Cuban musicians join Dave on selected tracks: Mauricio Herrera, Miguel Valdes, and two-time Latin Grammy winner, Carlos Caro adding bata, conga, guiro, bongo and timbales. Dave’s third album since his comeback, his second for the acclaimed Whaling City Sound label, is a celebration of gorgeous playing and lovely Latin influence. It’s also a dream come true, not only for Bass who is fulfilling his own lifelong dream, but also for his fans, who have waited a long time to hear this gifted musician-interrupted by injury and another incredibly successful but unrelated career – come into his own.
PERSONNELDave Bass – pianoTed Nash – flute, alto flute, clarinet, bass clarinet, soprano sax, alto sax,tenor sax (all tracks except 13)Karrin Allyson – vocals (tracks 4, 7)Carlos Henriquez – bassJerome Jennings – drums (all tracks except 5, 8, 10)
Carlos Caro – guiro, bongos, bell (tracks 2, 4, 5, 8, 10)Miguel Valdes – bata, conga (tracks 5, 8, 10)Mauricio Hernandez – timbales, maracas (tracks 4, 5, 8, 10)Produced by: Dave Bass and Ted NashRecording Engineer: Marc Urselli, Eastside SoundMixing Engineer and Associate Producer: Ben Allison, Allisonics StudioMastering Engineer: Alan Silverman, Arf! MasteringPhotography: Adrien H. Tillmann
Publicity & Media inquiries
Scott Thompson PR | www.scottthompsonpr.com
email@example.com | 203.400.181
Dave celebrates his new release NO BOUNDARIES, with a debut performance at the Auburn State Theatre (Auburn, CA) on August 10 with the Dave Bass Jazz Quartet featuring Jacam Manricks, (flutes, clarinet, saxes), Ben Kopf (bass) and Jim Frink (drums). Dave will be playing standards and originals from his new CD. The music ranges from swingin’ straight-ahead jazz and ballads to a taste of evocative Brazilian and Afro-Cuban music.
– 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 ExchangeCHECK OUT OUR NEW YOUTUBE VIDEO HERE
Dave Bass interviews with Fox 40 News in Sacramento!click above image to link to interviewDave Bass: THE SIXTIES with Phil Woods & Conrad Herwig https://www.youtube.
Dave Bass: LOST VALENTINE with Karrin Allyson
Dave Bass: LA COMPARSA/MI MONTUNO with Ignacio Berroa & Conrad Herwig https://www.youtube.
Click here to watch “Lennie’s Pennies” on YouTube!
Updated Lineup for upcoming release:
1. Lennie’s Pennies. (Lennie Tristano; arr. by Dave Bass) 5:32
2. Spy Movie End Credits (Dave Bass) 7:12
3. Agenbite of Inwit (Dave Bass) 4:39
4. If I Loved You (Rogers & Hammerstein; arr. by Dave Bass) 6:20
5. La Mulata Rumbera (Alejandro Rodriguez; arr. by Dave Bass) 6:04
6. Tango Adagio (Dave Bass; arr. by Ted Nash and Dave Bass) 4:27
7. Time of My Life (Dave Bass) 4:04
8. Siboney (Ernesto Lecuona; arr. by Dave Bass 5:23
9. Neither Have I Wings (Dave Bass) 5:43
10. Danzon #1 (Dave Bass) 7:02
11. Swing Theory (Dave Bass) 5:09
12. In The Rain (Dave Bass) 6:43
13. Hallucinations (Bud Powell; arr. by Dave Bass) 3:50
“a thoughtful and singing improviser and a composer with a rare gift for form and melody”
“growing conviction in Bass’ playing”
“The independence of his right and left hands is frequently impressive, but Bass is not about shining a light on his growing technique. What impresses most is his dramatic control, his new strength in telling stories and building climaxes.”
“A Dave Bass solo takes the listener on a journey, one made more fascinating by the terrain of his original compositions.”
“Dave Bass goes his own way, and as you will hear, his way is sweet.”
– Bob Blumenthal, 2 time Grammy winner
Publicity: Insight, 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
Radio promo by New World ‘n Jazz: 16 weeks on JazzWeek chart peaked#5 3/16/15Promo Photos: Dave Bass Promo photo1, photo2, BirdlandCDs: NYC Sessions Preview 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.
|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!”
The music in consideration is available on Dave’s Youtube page. Click the link below to enjoy!https://www.youtube.com/user/DaveBassMusic/videosImprovijazzation Nation Review
Jazz Life Review
7/31: CHECK OUT Dave Bass perform at Cabana Winery with Mat Marucci & Kerry Kashiwagi
(Click on image to read more)
With “NYC Sessions” about to release, amazing responds have already been noted!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.
CD release 2/10/15 “NYC Sessions” CD Release Party: Dave Bass Quartet w/ Karrin Allyson Thursday, February 12 TWO SHOWS: 8 PM & 10 PMKitano 66 Park Avenue (at E 38th St), New York City, NY 10016http://www.kitano.com/Jazz-Schedule212.885.7000$15 cover, $15 minimum drink and food per person, per setFeaturing: Dave Bass – Piano, Harvie S – Upright Bass, Chris Washburne – Trombone, Richie Morales – Drums, Special Guest: Karrin Allyson ###Featuring Dave Bass – PianoSaturday, February 14 8 PM & 10:00 PM Scullers Jazz Club at the DoubleTree Guest Suites Boston400 Soldiers Field Rd Allston, MA 02134617.562.4111Info@ScullersJazz.com$35 cover, Dinner & show $75 ###“NYC Sessions” CD Release Party: Dave Bass Quintet With Special Guests Greg Abate & Phil WoodsFriday, February 20 8 PM -11:00 PM Narrows Center for the Arts16 Anawan St. Fall River, MA 02721508.324.1926$35 cover, Dinner & show $75Featuring: Dave Bass – Piano, Harvie S – Upright Bass, Chris Washburne – Trombone, Richie Morales – Drums Opening: Vance Gilbert###DAVE BASS / NYC SESSIONS
Catalog # wcs071
UPC / 687606007123========================================TRACKS: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 4:38Total running time: 60:02========================================All Music & Lyrics and arrangements by Dave Bass; Dave Bass Music, BMI, except where notedDark 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.========================================MUSICIANS: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========================================CREDITS: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 SilvermanCD Design by David Arruda Jr
Photography by Scott FeldmanPrint publicity etc.
Twitter: @gomediapr106 Melbourne Park Circle, Unit C
Charlottesville, VA 22901Neal Sapper/radio promoScott Feldman/social media and bookings
P.O. Box 760817
Melrose MA 02176For 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.Bob Blumenthal========================================QUOTES:Ignacio Berroa:Dave Bass is “a beautiful person and great musician.”Phil Woods:“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!Karrin Allyson:”I’m really impressed with Dave’s compositions.”========================================ENDORSEMENTS:Phil Woods plays a Yamaha 82Z alto sax and uses Van Doren ZZ reeds, and a K & M sax standIgnacio Berroa plays: Yamaha Drums, Sabian Cymbals, Evans Drum Heads, Vic Firth Sticks and L.P. InstrumentsConrad Herwig plays Michael Rath Trombones, England, exclusivelyHarvie S uses the Acoustic Image amplifier========================================THANKS: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.