Now Available: Radiance by Lonnie Plaxico

Immerse yourself in Radiance, the brilliant new release from Lonnie Plaxico—a soul-jazz masterclass featuring the luminous Camille Thurman, rhythmic heartbeat of Douglas Plaxico, and the rich piano textures of Lafayette Harris Jr. This reimagined collection of classics, including “Don’t Know Why,” “The Closer I Get to You,” and “All This Love,” showcases Camille Thurman’s expressive vocals and saxophone, Douglas Plaxico’s driving drums and vocals, and Lafayette Harris Jr.’s elegant piano and Rhodes grooves—together crafting a deeply emotional and groove-forward journey.

From tender balladry to up‑tempo soul, each track on Radiance delivers warmth, sophistication, and musical virtuosity. Whether you’re a longtime jazz aficionado or newly exploring soulful interpretations of beloved songs, this album extends a heartfelt invitation to experience something timeless and fresh. Rich in arrangement and intimate in spirit, Radiance resonates with depth and vibrancy.

Catch Radiance now on your favorite platforms: listen on Bandcamp (with high‑resolution 24‑bit/96 kHz downloads) Spotify, Apple Music, Amazon Music, and on Night is Alive. Radiance is available now—stream it, download it, and let its luminous sound move you.

5 Jazz Songs for Christmas in July

Who says you have to wait until it’s snowy and cold in December to “jingle all the way”? Why not have some fun and celebrate Christmas now while the sun is a-blazing? Barbeques and pool parties are how the Australians usually celebrate the Yuletide, so why shouldn’t we give Christmas in the summer a try in the northern hemisphere too!? Grab a cold beverage or an ice cream sundae with red and green sprinkles and let these jazz tunes inspire your festivities.

Teddy Horangic, Frank Lacy & others – Have Yourself a Merry Little Christmas

Who needs Mariah Carey when you have this lovely new rendition of one of the most beloved Christmas songs from Night is Alive? Whenever I hear this song start coming on the radio, it always puts me into the jolliest spirit! Enjoy Frank Lacy’s baritone and, like he sings, let your heart be light as you bask in the sun or float in the pool.

John Di Martino, Willie Jones III & others – Christmas Ain’t Like It Used to Be

The titular song of the Night is Alive album, this groovy tune adds some spice to the typical holiday music playlist, which is perfect for a Christmas in July celebration! Christmas sure ain’t like it used to be, it’s sweaty and slick and daylight is much longer now, so why not stay up late twistin’ and jivin’ to this stellar saxophone solo?

Bill Cunliffe Trio – Linus and Lucy

This playful song is perfect for a summer holiday party! From the Night is Alive album Christmas in the Dog House, this upbeat tune captures the childlike wonder of the holiday season. It’ll bring back memories of watching A Charlie Brown Christmas, and, perhaps, eating one too many gingerbread cookies…don’t forget to leave some for Santa!

Bill Cunliffe – Dance of the Sugar Plum Fairy

Christmas in July is the time for the fun and fast-paced tunes, like this one from Night is Alive’s album That Time of Year. Maybe you’re lucky enough to have seen the beloved musical, The Nutcracker? If so, you’ll recognize this lovely, whimsical song, which really captures the magical spirit of the Yuletide season. Watch out, the sugar plum fairy might even leave some sparkly fairy dust on your pillow!

Teddy Horangic, Frank Lacy & others – O Holy Night

To round out this playlist, we’d like to finish with a classic from This Christmas With Night is Alive that you can all sing along to! By this point, you’ve probably had a few spirited drinks and are hopefully feeling quite jolly, so gather round, maybe arm-in-arm, and sing together! Maybe you can even make it into a carol for the neighbors?

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Q&A with David Basse from Kansas City Radio

Here we wrap up our conversation with the acclaimed David Basse, a living legend in today’s jazz world. Stay tuned for more interviews with your favorite artists!

NiA: Your singing has been compared to Mel Tormé, Jon Hendricks and Al Jarreau. Are these the musicians you look up to the most? Which musicians do you most admire and why?

DB: I think what that comparison speaks to is that I don’t really copy anybody. There’s also another article that compared me to Dr. John. But I really actually patterned myself after Tom Waits for quite a while, and Joe Williams who sang with Count Basie Orchestra. And each time that somebody would say, oh you sound like that guy, and if I was trying to sound like that person, I would try to sound like someone else. I didn’t really start singing, really singing until I was 19, when I came to Kansas City. When I got to Kansas City it was like I had a new life. I could try anything, dress however I wanted to dress, be whoever I wanted to be, so I felt comfortable singing. But I’ve changed a lot over the years and I don’t pattern myself after anyone anymore and I don’t really hear that anymore. I’m just doing what I do.

NiA: Which musicians are you most jazzed to be listening to at the moment?

DB: I like to explore music and I guess that’s why I started doing radio, which was in 1998. Recently, I went to the last two Sarah Vaughan music competitions in Newark, New Jersey. And Tyreke McDole, he won in 2023, and the next winner was April May Webb. In 2023, I picked Tyreke and my wife and I went to dinner and he won, so we went back the next year and I picked April May and she won! I’ve kept in touch with both of them. They’re really great; they’re really saying something with their music. And then there’s a young trombonist, Altin Sencalar, he’s Turkish and Mexican, and he’s a terrific trombonist. So those are my three favorite people right now in jazz. And it’s not like my opinion means anything, it’s just something I like. I’m not listening to any particular kind of jazz–I just love music. So, on my radio show we play a wide range–blues, smooth jazz, classic jazz, whatever it is, I make a case for it.

NiA: Could you talk a bit about your transition from performing to the radio?

DB: I don’t really make a differentiation–in both, I play the music I want to play. As I’ve gotten older I want to play my original music more and play less of the standards and things I used to play although I do play a lot of those songs because people want to hear them and they come into my head. With radio, I try to make it like a symphony, so there’s the first movement of the symphony and then it has to lead into the next movement. Even if I’m going to talk in between the songs and explain things–which I don’t always do–I want the key, the tempo, and the feel of the music to bleed into the next piece of music. So curating the jazz for the radio is the most fun and the most challenging; it takes the most time.

NiA: Could you talk about how exactly you decide which songs to play on the radio? What is the selection process?

DB: Record companies and artists work with radio promoters and they send an awful lot of music. I get maybe 30 or 40 CDs a month and 10-20 downloads a day from various places and artists from all over the world. So, I’m able to have a good amount of music and it’s really run me out of a couple studios so far and I’m currently looking for a place to house my collection of recordings–my albums and CDs, drives with shows. I’ve done about 8,000 hours of jazz at this point, and I was involved in a syndicated radio show before this for a decade and that show is no longer–it’s housed in a library now–it’s no longer on the air. That’s a lot of music! And I pick a Top 10 every year. You can look on my website from 2015 to 2023 to see the Top 10s. So if you think of all the albums, I’m distilling them down to 10 top songs of 10 top albums. I’ve been curating 15 hours of jazz per week and there’s 9-10 songs in an hour–that’s 150 albums a week! And I put a post-in note in every CD or album that says when I played it and the track that I played. The only way that the album can be in the Top 10 is if I play every track in the album and so at the end of the year I have a tabletop full of stacks of CDs and I start to rethink and play those great songs again. Then I can say over the air that this is one of my Top 10 picks for the year.

NiA: What do you think about NiA’s music?

DB: Well as someone who has had their own record label for quite a while, I think it’s a good endeavour. I think she’s doing good things with it. I think she’s making nice, really good albums with influential musicians. You know, it’s a hard thing to do. It’s a labor of love and a lot of jazz labels don’t last for a long, long time. But she has some very good music, so…it’ll probably be something very special as time goes on.

Since I’m a radio person, I receive stacks of CDs from everywhere, and downloads come in all the time, so there’s a lot of competition. But she has a style that’s specific and it’s a wide genre, it’s not just jazz, it’s Night is Alive! The way that she puts these albums together is very personal, so I usually play all the songs, which is my criteria for a good album.

NiA: Yeah, I know what you mean. With a really good album you listen to every single song, no skips.

DB: Yeah, sometimes there’s just one good song, and sometimes there’s no good song. And it depends on a lot of aspects, and it’s really hard. I’m making my own recording right now and sometimes I really like it, and other times, I’m like “am I doing the right thing? Is this going to be successful in any way?” It has to be something that you really choose to do, and that seems like what Kathy does–she really chooses what she wants it to sound like, which I think is the best course of action.

NiA: Which Night is Alive album of ours is your favorite?

DB: Call Me Irresponsible is my favorite because it really captures an excellent singer in the beginning of her career, and it’s off-handed in a way. I love John Di Martino–the pianist–too. He was the director of the band. But I remember all the albums as joyful to open up. They always come in the mail and I like everything about them. I like the way Kathy presents the albums, so I always play them.

Learn more about David Basse at davidbasse.com

written by Jacqueline Knirnschild

photo from facebook.com/davidbassejazz/

Q&A with David Basse from Kansas City Radio

Welcome to part two of Night is Alive’s interview with the legendary David Basse!

NiA: How did you get into singing?

DB: I graduated from high school when I was 17 and two weeks later, a band came through town and they happened to need a drummer and they were going on to Colorado and other places. So, I joined the band and left, and as we were driving away, the bandleader asked if I could sing and I said no. The band leader said, well that’s too bad because I would give you more money if you sang. He suggested I sing without a microphone and see if I could find a part to sing harmony and just get comfortable singing from the drums. So, I’m more comfortable singing from the drums than without the drums. I guess I’m equally comfortable now, after many, many years.

NiA: When did you decide to become a bandleader?

DB: I decided to be a bandleader in 1980. So I stopped playing what somebody else wanted to play and I started playing the music I loved, which was a mixture of jazz and blues–the music of Kansas City is what really drew me in. In the first two years I was on the road I went to all the places I wanted to go and I hadn’t found one that stuck–I went to Nashville, New Orleans, LA, New York–and I didn’t know about Kansas City. Then somebody in Iowa said, “you know, you ought to go to Kansas City, here’s the number of an agent.” And when I came here, I found that you can make a living on music in Kansas City and there are a lot of people doing it and it’s not that difficult. So, I was playing as many as nine gigs a week, playing seven nights and taking a couple of matinees and going to jam sessions and it was just great.

NiA: Wow, that’s incredible–it sounds like you really found where you belong, found your home.

DB: Yeah, I think I did. You know, about ten years ago I was talking to John Clayton–the bassist with Diana Krall and the Hollywood Bowl, a prominent musician–and I was having dinner with him, and I told him I was so impressed by his career and all the things he’s done, and he said, “you know, you have a place too–you’re our guy in Kansas City, so don’t be too impressed with me, just be you.” And I was very taken by that.

NiA: What was it like being a part of the City Light Orchestra?

DB: In 1980 when I became a bandleader there was a vocalist named Priscilla Bowman and she had a hit record called “Keep Your Hands Off Him, He Don’t Belong To You,” so it’s blues and it was a million-seller hit. I was going to my tenth high school reunion and a trumpeter said, we got this gig tonight–you should come and play drums with Priscilla Bowman, and I did. Then towards the end of the second set, she said she was going to go home, she was tired, so the club owner said to me, I heard you’re a vocalist, can you sing in the last set? And I said sure, so I sang some songs and after the set, he asked, what would you call this band? And I said I’d call it the City Light Orchestra. He asked, why orchestra? Why not the City Light Band because we’re the City Light Jazz Club. I said no, ‘orchestra’ sounds better, so that’s what we named it. And one thing led to another and we played there for seven nights, five nights a week.

NiA: What are some of your most memorable moments and experiences from being the bandleader of the City Light Orchestra?

DB: We got to go to New York. The editor of the newspaper here had been married in a nightclub on Upper East Side, 91st and 2nd avenue, and the club had just piano players, some of the exceptional piano players there, and this editor got us a gig for two weeks. So, the first time we went to New York we played for two weeks in a nightclub and that was phenomenal. We got to meet a lot of cool people, like Benny Goodman, Southside Johnny. To think of it now–to go to New York and play two weeks in a nightclub, twelve nights in a row with a Sunday off. That’s not really possible anymore unless you’re somebody of great stature. We were just a bar band.

NiA: It sounds like a dream!

DB: Yeah, it seems like a dream to me too.

To be continued in part three… In the meantime, check out Night is Alive’s albums page for the very best in jazz.

Learn more about David Basse at davidbasse.com

written by Jacqueline Knirnschild

photo from facebook.com/davidbassejazz/

Q&A with David Basse from Kansas City Radio

Part One of Night is Alive’s exclusive interview with David Basse

This week we were lucky enough to speak with David Basse, who you may recognize from his very own radio show Jazz with David Basse, which explores the depth and breadth of jazz through fifteen hours of curated songs per week. And not only is David the host of this nationally syndicated show, but he also has an impressive musical career spanning fifty years. David has played the drums and sang since the 1970s, and was the leader of The City Light Orchestra, which played at the 1997 Inaugural Gala for President Clinton. Before Jazz with David Basse, David also hosted The Jazz Scene, and he instructed jazz at Lincoln Center’s Swing University in 2022 and 2023. Now let’s hear from David…

Night is Alive: You’ve been playing music, and have been a part of the jazz music scene, since the 70s. How have you seen jazz change throughout the decades? How do you see the current state of jazz music today?

David Basse: You know I love all kinds of jazz–I’ve never met jazz I didn’t like, even the kind that drives people crazy, I still like it. I think jazz is really thriving because there’s so many young people involved in jazz these days. These young musicians have a very interesting take on the music and they’re not afraid to jump in and do what they gotta do. I’ve always loved the fact that jazz is passed down from the elders to the young people and I really think that’s the best of all jazz education–just standing next to someone fifty years older than you and trying to play music with them.

NiA: I’m curious, what kind of jazz music do you think “drives people crazy”?

DB: Well, it’s such a free-form music that if you have a strong opinion of what the music should be, there’s a good chance that you’re driving somebody crazy. I mean Kenny G didn’t set out to drive people nuts with his music and neither did Ornette Coleman; they’re just playing what’s in their heart–I would think–because that’s what most jazz musicians do.

NiA: Is that what you were doing–playing what’s in your heart–when you were playing the drums and singing?

DB: I started out playing the drums when I was 11. I lived in a very small town in Nebraska–I went to a two-room schoolhouse with an outhouse, out in the country. I had no exposure to jazz except for what I heard on a station called KAAY in Little Rock, Arkansas. After 11 o’clock at night I could pick up on a transistor radio, so I would listen with one headphone, and listen to Miles Davis and Ornette Coleman, mixed in with Jimi Hendrix and Janis Joplin. The song “Mellow Yellow” by Donovan is what drove me to the drums; I loved the drumbeat. I thought, “man I gotta do that! I gotta play the drums! I love the drums!” I was ten going on eleven and I talked my mother into paying for a drum lesson. I told her when I left the lesson that I found my career. She laughed, of course, and people still laugh, which is just fine because I play what I like to play and do what I want to do, which is why I like being a jazz musician.

Look for the second part of this compelling interview, coming soon! In the meantime, check out Night is Alive’s albums page for the very best in jazz.

Learn more about David Basse at davidbasse.com

written by Jacqueline Knirnschild

photo from facebook.com/davidbassejazz/

How to Make Weeding Your Garden More Fun

Photo by Ben Collins on Unsplash

The perfect playlist for your outdoor summer chores!

No one really enjoys weeding, but, unfortunately, it’s necessary for a garden to flourish. Each little green flower bud needs space to breathe around it, and plenty of nutritious soil to grow. So, you might as well grab your trowel, gloves, sunhat, and a nice speaker and get started. And don’t worry, of course you know that Night is Alive has got you covered with a playlist to make weeding your garden more fun!

Harry Allen Trio – I Can’t Get Started

Like with any challenging or tedious task, it may be difficult to get started. You might just feel like you can’t get started no matter how hard you try to stop scrolling on your phone or sipping from your water bottle. But the more time you tarry away, the longer it’ll take you to finish! So, go ahead and ease into your weeding with this soft song from Night is Alive’s newest album It Takes 3. I think the interplay of the piano and saxophone will be sure to motivate and encourage you.

Lorca Hart Trio – Like This

Weeding sure is a lot more fun when you have an upbeat jazzy tune like this one from Night is Alive’s album Inspiration and Gratitude. Just like this you will be pulling out all of those pesky dandelions, creeping Charlie and knotweed in no time! Let the fast beat guide your movements and it’ll feel less like a chore and more like a synchronised dance.

The Lorca Hart Trio – Blues Alliance

From one of our older beloved albums Colors of Jazz, this playful and fun tune will help to make the time spent outside weeding feel like a real treat. Try to enjoy the dappling sunshine on the green leaves, the smell of the fresh overturned dirt, and the cute little critters–ants, worms, caterpillars–crawling about. We’re all in this together–in this Blues Alliance!

WJ3 All-Stars – I Should Care

After that weeding frenzy you may be beginning to feel a little tired! You may start to wonder if this is even all worth it . . . should I even care about this garden? The weeding is so much work! But let this song, from Night is Alive’s album My Ship remind you that yes, yes you should share! Let the blooming of the trumpet in this song help you to visualize all the daffodils, crocuses and snowdrops that will be emerging soon enough.

WJ3 All Stars – I’m an Old Cow Hand

After all that work in the garden, I bet you’re starting to feel like an old cow hand working hard out in the sun all day! Why not celebrate your hard work with this snazzy tune from Night is Alive’s album Lovers & Love Songs. Then go and grab yourself a nice ice cold glass of sweet tea and sit back and relax. You earned it!

Check out this music and more on Night is Alive’s albums page!

written by Jacqueline Knirnschild

Photo by Ben Collins on Unsplash