News from Elsewhere, Article VII

“Making a Recording: Mixing and Mastering This Christmas with Night Is Alive

Photo by Oleg Ivanov on Unsplash

It has been a very long time since our last News from Elsewhere. There are the usual excuses: I have Covid, I am busy with other musical responsibilities, I forgot about writing these (that’s the best one)…and anything else I forgot to use as an explanation. With all that in mind, I am going to start with today: August 11, 2023. Here I am in New York City one of my favorite places in the world and it is always a joy to record here and finish the product for your enjoyment.

Today I spent the day in Bass Hit Studios in New York, New York recording Night is Alive’s newest holiday album, This Christmas With Night is Alive. The studio is owned by Dave Darlington. He is the master and mixing expert and one of the best in the business.

Joining us in the studio was saxophonist Wayne Escoffery, who is producer of This Christmas with Night is Alive. Wayne can be heard on quite a few of Night is Alive’s other recordings, including Christmas Ain’t Like It Used To Be, Old, New, Borrowed, & Blue, and My Ship. You can learn more about him by visiting  http://www.wayneescoffery.com/

Recording an album is so much more involved than just showing up and playing into microphones. Our day began around 11:00 a.m. and finished up around 7:00 p.m. Hours are spent mixing and mastering the music for all of our listeners to enjoy the most perfect sound possible. This is a long day, as we listen to every note and take special care adjusting every song. This means paying attention to the smallest details, including:

  • Are individual instruments too loud? Too soft?
  • How is the balance with the rhythm section – especially the drums?
  • Is the vocalist in tune?
  • Where is the bass?
  • Okay, let’s listen to the entire CD again and make sure the sound is cohesive.

This continues until we are happy with the overall sound of each tune. After that, we need to decide on song order, especially the first and last tracks. The length of each tune is also important – we do our best to keep each track under 5 minutes 30 seconds. We managed to accomplish this goal today! Keeping the tracks from being too lengthy is good for DJs, who are always looking for that one tune to fill a certain play space.

One of the fun aspects of recording is working with the musicians and experiencing how much they care about every song they play. We at Night is Alive are very excited about this new Holiday music. As always, we are committed to bringing you the best and hottest musicians and providing the greatest listening experience possible.

Be sure to keep an eye out for future News from Elsewhere articles, which will focus on my memories of the past few years. Make sure you don’t miss an update: subscribe to News from Elsewhere so you can receive new articles as soon as they become available. Just send us a message with the comment text, “Sign me up for News from Elsewhere emails”.

For more information about This Christmas with Night is Alive and our world-class musicians, please visit our web page (https://nightisalive.com/) or contact directly via phone.

Article by Kathy Salem, Producer & Managing Director, Night is Alive

Revised and transcribed by Elizabeth Carney, Principal Editor, Night is Alive

Feature Friday Q&A with Steve Davis (Part III)

The conversation with trombonist Steve Davis continues! And this week, he’s giving us all the juicy, behind-the-scenes details about the recording of the new album, My Ship!

JK: What was it like recording the album My Ship?

Stevie-D: Like I mentioned about Willie—to work with him is always great. He always puts together all-star groups, dream bands. Everybody on the date is playing on such a high level, and we all go back and have history together. There’s always such a good camaraderie and collaborative spirit working together and it’s just so inspiring to hear everybody soloing on such a high level, playing the ensemble passages. We really got together on some nice arrangements. And Willie asked me to put together some particular arrangements and I was really honored to do that. At the same time, we wanted to keep the approach somewhat streamlined—not too much over arranging and super complex writing because it just wasn’t necessary. And hopefully, it leaves some space for everyone in the band to do their thing and shine and give their full expression and contributions. Hopefully we achieve that and the record’s really wining. Anytime it’s Gerald Cannon and Willie Jones playing bass and drums it’s going to be swinging, big time. Yeah, I’d just say we had a great time doing it. And playing with Jeremy and Wayne Escoffery, they’re both just A1, top shelf tenor sax—you can’t do any better than that. And Isiah is a wonderful young pianist whose got a very strong voice already. We just had a blast—it was fun.

JK: And you did the arranging for the album, correct?

Stevie-D: Now that I’m thinking back on it, yeah, I guess I did do most of it. I guess it could’ve been anyone of us who filled that role, but I guess I did. Everyone helped a great deal to work out any kinks and make the music as smooth and hip and swinging as possible, so I really appreciate everybody’s efforts in that regard, and of course just everyone’s tremendous playing. I can’t wait to really have a good listen.   

JK: Kathy said that a couple of the tracks were beloved songs from her childhood. It all seems very serendipitous—like the album is about accomplishing one’s childhood dreams.

Stevie-D: I’ve been privileged to be on a few of these projects with Kathy and Willie now and it’s always such a pleasure. I really appreciate her spirit for the music and musicians. It’s just really easy and fun to work with her. I would say that when she gives us a theme like this, it does provide us with some really nice inspiration and it’s very genuine. It’s not some kind of manufactured thing; she’s really speaking from her heart when she talks about these songs and gives us an idea of what she’s trying to get to, in an emotional way, through the music. Sometimes when you’ve been playing—just showing up and making records, you can forget about that a little bit. You just kinda play the part, and that’s it. My Ship, though, is personal and I love that. Actually, at this point in my career, I always wanted to be involved in projects that are meaningful like that. I’m happy that this one is what it is and to be on it and be a part of it and that it’s doing well—that people are hearing it and digging it. Kathy’s collaborations with Willie—there’s a solid reputation there now, people know oh man, this record’s going to be swinging! So, it’s a real honor to be a part of that.

JK: So, could you tell me more about the arranging process?

Stevie-D: You get a list of songs. I don’t know that I suggested any of the tunes but they’re all such good pieces that I just, uh, embraced the assignment if you will. And then when you know who’s on the date and who you’re writing for—the instrumentation obviously, but the personality—you have history with the musicians and you can picture everyone’s musical voices, so I kinda start there—who’s going to take the lead on this? What would be a nice way to voice the horns, and then of course Gerald is a good writer and Willie is too, so I always defer to musicians of their caliber and those two in particular, and I ask, what do you hear on this? Do you hear something a little different they might say no that’s cool, or they might say nah this is cool let’s do it like this or they might say, that’s cool but how about right here what about this. I love that—when we collaborate. I never want to overwrite so that everything is so precise that everyone is locked in—it kinda takes the fun and collaborative spirit out of the music, which is the essence of what jazz music is all about. Art Blakey used to say—he’d point to the jazz band and say ladies and gentlemen, “This here is democracy at work,” and that was pretty profound to me, so that’s a good lesson to remember and try to adhere here. So yeah, that’s kinda maybe the bset way to describe it—I try to offer an interpretation on some specific things but always with room for everyone to add their two cents in there or twenty bucks and make the music that much better and that much more personal so that it’s a group sound and I think we achieve that.

JK: What is your favorite song on the album?

Stevie-D: Oh man that’s hard. That’s really hard. I can honestly say there’s something about every one of these tunes that with the arrangement and the way they came together that I was so proud of and really felt great about. It’s hard for me to choose, I mean it. I think “Wave” was not my suggestion, but I wound up playing a little on it and thinking, I don’t know about this—it was toward the end of the session—so that was a pleasant surprise, or moment. But that “Taking a Chance on Love” is pretty swinging—I like that. And “Can’t Buy Me Love”—I’m a Beatles fan, so I love that song, we all do. But “Taking a Chance on Love” might be a sentimental favorite for me.

Are there any female jazz producers?

Although there are many famous female singers and performers, there are very few women behind the mixing console. According to BBC, more than 95% of record producers and sound engineers are men. This may be because the industry has a “boys club” atmosphere and many women are not inclined to pursue such a demanding career while also trying to raise a family. Yet, there are still some women who have risen to the challenge and succeed as jazz producers. Today we’re here to recognize these badass women who are making moves in today’s day and age!

Amy Denio – Seattle, WA 

Amy Denio is an award-winning composer and producer who was inducted into the Seattle Jazz Hall of Fame in March 2015. Not only has she produced over 50 releases, but she is also able to play the guitar, bass, alto sax, clarinet, accordion, and she can sing four octaves! In 1986, Denio founded her own record label and publishing company, Spoot Music, and has since collaborated with musicians from all over the world—Taiwan, Japan, Hong Kong, India, Brazil, Bolivia and Argentina just to name a few. During the COVID-19 pandemic, Denio has been working on her “Corona Sonora” series, which consists of a wide variety of compositions that musically interpret the death and infection tolls in cities where Denio has previously resided.  

Yoshie Nakayama – Los Angeles, CA

A graduate of the Kunitachi College of Music and the Berklee College of Music in Boston, Yoshie Nakayma is a producer, trombonist, arranger, composer, singer and educator who specializes in jazzy a-cappella productions. Her creative vision is wide-ranging, including traditional Japanese songs, jazz big band, orchestra, Motown and more. She has contributed to over 400 recordings, worked with great mentors like Billy Bob Thorton and Alejandro Sanz, and she is the official arranger of the UNIVOZ Vocal Ensemble. Currently, Nakayama is working as one of the founders of the global initiative, Songs for World Peace, which promotes peace through the power of music. 

Kristina Koller – New York City, NY

Kristina Koller was exposed to a vast array of music and dance during her childhood outside of New York City, which led her to pursue jazz music, solo performance and formal music education at The City College of New York. Using her four-octave vocals, Koller creates powerful songs that project empowerment through self-discovery and awareness. And not only is she a professional vocalist, but Koller is also currently producing a synth pop record. As a producer, she specializes in transforming jazz standards into contemporary arrangements by using elements of R&B, pop and rock. 

Suzana Laşcu – Rotterdam, Netherlands

A graduate of Prins Claus Conservatorium and Codarts University, Suzana Laşcu is a performer, poet and composer who specializes in producing and curating sonic content. Her work aims to address all that permeates culture and is thus very transdisciplinary in nature, weaving across multiple genres—jazz, experimental, acoustic and electronic. Laşcu takes a non-traditional approach to music by incorporating extended techniques, spoken word and non-temperate sound producing effects. Currently, in 2021, she has begun broadcasting her most recent works on Radio WORM in Rotterdam. 

Kathy Salem – Cleveland, Ohio

As the founder and managing director of the jazz booking agency Night is Alive, Kathy Salem produces classical and jazz concerts worldwide with the goal of widening the influence of jazz music. Music has always held a sacred place in Salem’s heart: she played piano as a child, taught herself to read music in church and studied classic music formally for five years. Now, with Night is Alive, Salem represents some of the most talented and distinguished artists in the industry, such as Willie Jones III, Bill Cunliffe, Jeff Rupert and Donald Vega. She also offers academic scholarships to emerging musicians who are still attending college, which will foster a. love for jazz music in the next generation. Most recently, Salem produced the 2021 album, Cryin’ In My Whiskey, which infuses classic country hits with a jazz twist and features the vocals of Janis Siegel and piano of John di Martino. 

Cryin’ In My Whiskey is available in our store now and on all major music platforms. 

This post was written by Blog Editor, Jacqueline Knirnschild.

Night is Alive’s own Kathy Salem is committed to supporting the future of jazz

Pictured from left to right:
Aaron Watson, Lead Alto Sax; Zachary Mighty, Lead Trumpet; Edwin Mompremier, Piano; Avion Wright, Drums.

When she isn’t managing some of the nation’s most inventive and respected jazz musicians, Kathy Salem, the Managing Director of Night is Alive, is helping to ensure that the aspirations of college musicians become a reality.

Last week, four young men at Florida A&M University became the inaugural recipients of the Kathy Salem Jazz Scholarship. These individuals were recognized for their merits on campus and on stage. The winners were Aaron Watson who plays lead alto sax, Zachary Mighty who is a lead trumpet player, Edwin Mompremier who plays piano and Avion Wright who is a drummer.

They all received a scholarship for (insert amount).

All four scholarship recipients are members of Florida A&M University’s Jazz Ensemble. This ensemble is ranked nationally among the top collegiate Jazz Ensembles and has been invited to participate at most Jazz Festivals across the country. It is composed of eighteen musicians selected from approximately four hundred musicians in the total university band program.  The Jazz Ensemble is noted for its diversity of styles and very capable jazz musicians.

Ms. Salem started the scholarship because she believes that it is important to foster the talents of the next generation of jazz musicians. This scholarship is a way for her to give back while supporting the genre of music that she loves so much.

Night is Alive is proud of these young men, and we can’t wait to see what the future holds for them musically.