Q&A with David Basse from Kansas City Radio – Part 2

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 1

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/

What Does It Mean to Swing?

The Origins and Meaning of One of Jazz’s Most Iconic Terms

If jazz had a heartbeat, it would swing.
But what does that word actually mean—to “swing”? Is it a rhythm? A feeling? A genre? The answer is yes… and more.

Let’s break down the origins of the word, what it means musically, and how it became one of the most iconic ideas in all of jazz.

The Origins of the Term “Swing”

The word “swing” predates jazz, showing up in English in the 16th century to describe pendulum-like motion—back-and-forth, side-to-side. Think of a literal swing on a playground or the smooth arc of a dancer’s hips. The idea of rhythmic, loping movement was baked into the word from the start.

In the early 20th century, when jazz was still young and evolving in cities like New Orleans, Chicago, and New York, musicians began to apply “swing” informally to music that had a particular kind of bounce or groove. By the 1930s, the term had stuck—and “swing music” became a label for an entire big band era.

What Swing Means Musically

Swing isn’t just a vibe—it’s a specific rhythmic feel. Technically, swing refers to how eighth notes are played:

  • In straight time (like in pop or rock), eighth notes are evenly spaced:
    1 & 2 & 3 & 4 &
  • In swing time, those eighth notes are uneven, often interpreted as a triplet feel:
    1 (trip) let, 2 (trip) let, 3 (trip) let, 4 (trip) let

But instead of playing all three parts of the triplet, swing usually hits the first and the third:
DA — duh, DA — duh
That subtle delay on the second note is what gives swing its unique forward-rolling momentum.

This rhythmic shape creates a loping, infectious pulse that makes listeners want to tap their feet—or dance. It’s both loose and precise, relaxed yet driving.

What Swing Means in Jazz

In jazz, to swing goes way beyond note spacing. It’s about groove, timing, and expression. When someone says, “That band swings,” they don’t just mean the eighth notes are syncopated—they mean the music is alive. It’s locked in, flowing, and in the pocket.

Here’s what swinging really means to jazz musicians:

  • Rhythmic Drive: Everyone in the band plays in sync, creating a groove that propels the music forward like a train on a smooth track.
  • Feel Over Math: It’s not mechanically “tripletized”—great swing is flexible. Musicians subtly vary the swing ratio depending on tempo, context, and emotion.
  • Interaction: Jazz swing lives and dies on communication between players. The drummer might push the beat, the bassist might hold it back, and the soloist floats somewhere in between. That tension is magic.

Famously, Duke Ellington once said, “It don’t mean a thing if it ain’t got that swing.” He wasn’t just talking about rhythm—he was talking about soul.

Swing as a Genre

While swing is a rhythmic concept, it also names an era and a style of jazz. The Swing Era (roughly 1935–1945) was the age of big bands: Count Basie, Benny Goodman, Glenn Miller, and of course, Ellington himself.

These bands played intricate arrangements, featured virtuosic soloists, and—most importantly—made people dance. Swing music lit up ballrooms across America and brought jazz to the center of popular culture.

Even after the big bands faded and bebop took over, the essence of swing remained in jazz’s DNA. Miles Davis swung. Coltrane swung. Modern jazz trios still swing today—even when they’re experimenting with odd time signatures or electronic textures.

So… What Does It Mean to Swing?

It means more than just playing with a certain rhythm. To swing is to lean into the groove. To lift the music. To make it breathe, dance, and spark. It’s a handshake between players, a grin from the drums to the bass, a nod from the horn to the piano. It’s jazz at its most human.

And when it’s really working, you don’t have to define it.
You just feel it.

Night is Alive Productions is your source for modern & classic Jazz!

Songs for Calm Outdoor Yoga

Photo by kike vega on Unsplash

Celebrate International Yoga Day on June 21st

With muggy, humid weather like this, you can have a hot yoga class in your backyard! Just step outside with your yoga mat and I guarantee the temperatures and sweat will be as high as you’d be paying for in an infrared studio! It’ll also be nice to stretch out your body, breathe into your muscles and hear the birds chirping outside. Plus, did you know that June 21st is International Yoga Day? What better way to celebrate than with some calm outdoor yoga and smooth jazz tunes! We at Night is Alive have got you covered with a playlist that’ll help you unwind and unfold.

Lorca Hart Trio – Let Me in Your Life

I think yoga is best when it is done with a specific intention in mind. Whether it be to let go of the past, be in the present moment or allow yourself to make mistakes, it’s important to set a goal to work towards in your yoga practice, which is why I thought it’d be great to start our playlist with a song from Lorca Hart Trio’s album Inspiration and Gratitude. Maybe your intention could be to be grateful for all that you have, or to let some love into your life?

Harry Allen Trio – Each and Every Yesterday

This beautiful slow tune from Night is Alive’s newest album It Takes 3 really showcases the buttery brilliance of Harry Allen’s saxophone. Allow the mellow melody to smooth out all the kinks in your back and neck as you warm up and stretch out, maybe with some table-top positions and cat/cow. Let all the stress of each and every yesterday roll off your body like every music note rolls so effortlessly from the instruments.

Bill Cunliffe, Tim Horner & Martin Wind – Border Widow’s Lament

I think Wind’s bass really stands out in this track from the album of the same title, released by Night is Alive. And Cunliffe’s masterful piano is also incredibly peaceful, while Horner’s drums pull everything all together. A song like this makes me want to get into a child’s pose and allow the laments of the day to slip away, like the drops of sweat, onto my mat.

John Di Martino & Others – Only the Lonely

This song, from Night is Alive’s album Call Me Irresponsible, is hauntingly beautiful and I guarantee it will stick with you long after it’s over, much like your yoga practice. Maybe it feels a bit lonely to be outside practicing yoga by yourself, but you’re not alone–you have the music to keep you company. You have the arresting vocals, the piano, guitar, bass, drums to guide you as you unwind your body further and push it to the threshold where growth occurs.

The Lorca Hart Trio – Duke and Billy

As you finish up your half-pigeon pose and do your final pose, maybe it’s a wheel or full bridge, or even a shoulder stand, this snazzy tune will only serve to enhance your relaxation. Then, when you get into that final resting pose, flat on your back on the mat, allow the Colors of Jazz (the name of this album) to wash over you and spark your synapses with joy and accomplishment. You did it. You took this time for yourself today and your body greatly appreciates it.

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

written by Jacqueline Knirnschild

Photo by kike vega on Unsplash

Music for a Farmers Market

Photo by mk. s on Unsplash

Farmers Markets & Fun Jazz

Now that spring is here, and summer is right around the corner, I bet you’re thrilled about all the farmers markets and food festivals popping up in your community! I know that I sure am. There’s no better way to spend a Saturday morning than to grab your family and walk or bike to the local farmers market. I just love soaking up the wicker baskets and wooden crates full of fresh fruits and veggies, and hand-picked flowers. There are always so many tents to explore – homemade blackberry jams, shiny red cherry tomatoes, local clover honey, and goats milk soap. It’s all so wonderful!

Or maybe you’re responsible for one of those tents – maybe you’re a farmer, or a farmhand tasked to sell your goods at the local market. I bet you also love those brisk Saturday mornings loading up the truck with all your fresh produce and salted smoked meats. And then I bet it must be so much fun to greet the customers, chit-chat with the regulars and slowly get to know everyone in your community! But have you ever thought about bringing a speaker to your tent and playing some fun jazz tunes to enhance the mood? I’m sure your customers would love it, and research suggests that music can even make people more likely to buy something!

Louis Armstrong – What A Wonderful World

After extolling the many wonderful colors and textures of the farmers market, I couldn’t help but to kick off our playlist with this beloved classic, first released in 1967. Even though I’ve heard this song countless times, it never fails to move me and make me feel a deep sense of gratitude. The colors of the rainbow / so pretty in the sky / Are also on the faces / Of people going by / I see friends shaking hands, saying “How do you do?” / They’re really saying, “I love you.”

Harry Allen Trio – You’re My Everything

In this new rendition of the 1931 jazz standard, you can really hear the synergy among the three musicians: Harry Allen’s smooth tenor saxophone intertwining with Rossano Sportiello’s swinging piano, both of which build upon the strong foundation of Bryan Carter’s dynamic drumming. This beautiful collaboration from Night is Alive’s newest album, It Takes 3, captures the interconnectedness of the farmers market. Like the musicians, everyone at the market is working together to foster an atmosphere of love, health and community.

Janis Siegel, John Di Martino, Aaron Heick, Harry Allen & others – Don’t It Make My Brown Eyes Blue

Don’t you agree that a warm sunny day at the farmers market absolutely would not be complete without at least one country tune? Well lucky for you, Night is Alive has an excellent country jazz album, Cryin’ in My Whiskey! This rendition of Crystal Gayle’s lovely song captures the melancholy of an unrequited love, yet still manages to feel upbeat and light. You never know, maybe after losing a love, you might just bump into someone new, perhaps at your local farmers’ market? 

John DiMartino, Joe Magnarelli, Wayne Escoffery, Lonnie Plaxico & Willie Jones III – Tune for Mr T

Maybe by this point you’ve finished purchasing the essential ingredients and you’re perusing the jewellery and arts tents, and want a funkier tune to accompany your shopping! This groovy little song, from Night is Alive’s album Old New Borrowed and Blue will match the energy of the local artisans and might even convince you to finally buy that oil painting you’ve been eyeing for weeks. It’s going to look so good in that spot right above the mantel – you know just what I’m talking about!

The WJ3 All-Stars – Gee Baby Ain’t I Good To You

Well, all good things must come to an end, including the farmers’ market. But before you leave, make sure to listen to this lovely tune from Night is Alive’s album Lovers and Love Songs, and don’t forget to treat yourself to a sweet baked good from the tent near the exit! I’ve heard that their lavender banana bread is to die for, or you can’t go wrong with the classic blueberry muffin! Gee baby, ain’t the farmer’s market good to us? 

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

written by Jacqueline Knirnschild

Photo by mk. s on Unsplash

An Interview With Dave Darlington

In a career spanning over thirty years, GRAMMY award winner Dave Darlington can proudly attest to being a master of many varied musical styles. With over 1000 album credits to his name, Dave Darlington’s work has touched many lives and garnered much deserved praise in the process. His experience ranges from composing and producing the soundtrack to all six seasons of the groundbreaking HBO series, OZ; to being on the Sonic the Hedgehog production team; contributing to the Free Willy soundtrack; various J-Pop and rock albums; and, of course, jazz, with multiple awards to show for his incredible work and talents.

Now, after mixing & mastering Night is Alive’s newest album, It Takes 3, we were fortunate to be able to sit down with Dave and ask about his illustrious career…

Night is Alive: How did your childhood contribute to the music that you mix today?

Dave Darlington: I was 12 years old when the Beatles were on Ed Sullivan. Like every adult American male, I instantly fell in love. When I went to college, I discovered my passion for jazz music. However, I was a bass player, which was a different world than the music I fell in love with. I knew the symphonic orchestra was not the place for me. My love of jazz music guided the next steps of my musical endeavors, which led to what I do today as a mixer.

NiA: So you switched from a focus in symphonic orchestra to mixing and producing. What exactly contributed to that change?

DD: I got a little recording device and played around with it. I continued to improve with the equipment, so much so that I began working as a part-time programmer for some smaller recording companies. Then I met Jerry Ragavoy, who said he needed an in-house engineer at his recording studio. He took notice of my skills and offered me a job as a house engineer. I took the job from Jerry and began working at his studio. Jerry said that because of the time commitment, I had chosen between playing the bass or engineering. The choice was easy, given that I had contributed to various successful projects from the mixing side.

NiA: What is the difference between the producing side of records and the playing side?

DD: When you’re mixing, you must worry about balancing the elements of the whole song. You must make sure that each instrument is balanced with the other to make it a pleasant listening experience. Balancing all the elements of the piece out is the central part of my job as a mixer, as opposed to someone who is playing.

NiA: What was your favorite part about working on It Takes 3?

DD: Well, I love Harry Allen; he is one of the cats. It’s first-tier when you work with an artist of his caliber. I had never worked with Rossano before, but I had heard about his stunning reputation. That combination turned out to be really musical. My favorite part was just listening to the music come together by two remarkable, talented individuals. And Bryan [Carter] is a gem! He is the consummate pro and always asks my opinion before making adjustments. Musically, he is world-class.

NiA: What should listeners expect to hear from It Takes 3?

DD: There is a warm envelopment of sound, and Harry tells the story of the song. There are fireworks moments where you see how good these musicians are. However, the most crucial aspect for listeners is not necessarily how good the musicians are. The most critical element is having a beautiful melody. You want something that listeners want to listen to more of. To accomplish this, you need to have a melody that the listener can get lost in.

That is where my job as a mixer is important because I need to balance all the elements to create this melody. I think we did a good job on the ‘It Takes 3’ trio of balancing those elements to create a melody that leaves the listener wanting more.

It Takes 3 is available now! Be sure to order your copy today.

An Interview With Rossano Sportiello

We hope you’ve listened to a track or two of Night is Alive’s newest album, It Takes 3, and that you’ve checked out the other blog interviews with members of this unique trio. Continuing our conversations with these world-class musicians, we sat down with pianist Rossano Sportiello, a classically trained pianist who transitioned to jazz at very young age.

Night is Alive: Talk to me about your childhood. How did you come about playing the piano?

Rossano Sportiello: I did not come from a long lineage of musicians; in fact, nobody else in the family was particularly musically inclined. I took it upon myself to become the musically gifted member of the family. I began taking classical piano lessons around age 9. Around the age of 14, I discovered my love of jazz music.

I was particularly inspired by jazz of the 30s, 40s, and 50s, which featured a lot of improvisation. Be-bop jazz artists in particular really inspired me with their playing style. Once I graduated, I already began touring Europe, playing at different venues. So my upbringing was not the traditional route that most musicians take. However, it greatly contributed to the player I am today.

NiA: Are there any important individuals who helped you to become the musician you are today?

RS: The individuals that I met when I first started playing jazz had a profound impact on my career as a musician. However, there are a few notable players from America that helped me along the way. Dan Barrett, a trombone player from California, set me up with my first American record deal. He also introduced me to Harry Allen. Barry Harris was also another pianist that made an impact. According to Barry, “Rossano is one of the best piano players I have ever heard in my whole life.” One other player I should note is Harry Allen. He introduced me to a vast array of different players that helped move my career forward.

NiA: How did you feel playing such a vital role in the It Takes 3Trio?

RS: It is weird to have a jazz band playing without a bass today. However, if you go through the history of jazz music, there were some groups that played with no bass. The Coleman Hawkins trio was one example of a group that played without a bass. The style that piano players played back then involved more of your left hand. If the left hand of the piano player can play with a certain degree of accuracy, the bass component can be filled. I think that playing the piano like this can be extremely powerful and moving. Jazz bands today do not often have this bass-less element, which makes for a very unique sound. I enjoyed being able to add this element to the It Takes 3 Trio.

NiA: Talk to me about Harry Allen and Bryan Carter.

RS: I have to say both Harry and Bryan are two of my favorite musicians worldwide. I brought both of them to Switzerland with me because they are the absolute best to play with. Harry Allen is one of my mentors and is an incredible tenor saxophone player. Bryan is a world-class musician in his own right. He is an incredibly gifted musician with specialties ranging from drumming, composing, and vocals. He is truly in a league of his own.

NiA: What Should Listeners Expect from the It Takes 3 Trio

RS: A beautiful melody and harmonious playing!

It Takes 3 is available now! Be sure to order your copy today. 

An Interview With Bryan Carter

Did you know that Night is Alive’s newest album, It Takes 3, is available now? Showcasing showcases the exceptional talents of tenor saxophonist Harry Allen, pianist Rossano Sportiello, and drummer Bryan Carter, this album is a testament to the enduring appeal of jazz and the remarkable chemistry that can be achieved when masterful musicians come together.

To celebrate this new release, we decided to speak with each member of the dynamic trio for the inside scoop on recording and music in general. After hearing from Harry Allen, we decided to ask Bryan Carter (drums & vocals) the same questions…

Night is Alive: What was the inspiration behind the idea to record this unconventional jazz trio with Night is Alive?

Bryan Carter: It’s Harry’s and Rossano’s project, really. I meet Harry and Rossano about an hour before we started playing together. I thought it was a great opportunity to play with two incredible talented musicians on such a unique project. It’s very rare where you get an opportunity to play on bass-less trio now a days.

NiA: Looking back at recording and production process, what was your favorite part?

BC: The best part about playing with these guys was the amount of improvisation that went into the project. Everything you hear from the trio is in the moment. It’s quite a joy to be able to meet someone an hour before playing together and be able to create great music. Especially given that we do not have a bass playing on the piece.

NiA: What should listeners expect from the new album?

BC: Harry and Rossano are both champions of the great American song book. Mix that with the amount of improvisation and the bass-less trio you get a unique sound. I think listeners will get a taste of some American classics but also a new unique sound.

NiA: If you were to look back on your musical career, are there any moments that have had a lasting impact on it?

BC: My Dad was jazz musician. I grew up around a community of musicians. There is this kind of shared understanding between us that music has this almost spiritual power. This shared community I grew up with helps me to be able to work with various musicians. Music is one of the only languages that can be understood by different cultures around the world. It is really one giant shared community.

NiA: Were has been your favorite place to travel?

BC: I find its usually not about the place but rather the audience and people your playing with. The more receptive the audience and musicians are to your music, I find it’s a more enjoyable experience to play there. There have been so many different places I have played around the world, and I could not possibly name a favorite. Our music has been received positively in so many different places around the world.

It Takes 3 is available now! Be sure to order your copy today. 

An Interview With Bill Cunliffe

Grammy-award winning jazz pianist and composer Bill Cunliffe has collaborated with Night is Alive on multiple occasions. His most recent album, Border Widow’s Lament, is a powerful and moving tribute to the rich tradition of jazz music. He can also be heard on popular Night is Alive Christmas albums Christmas in the Dog House and That Time of Year. We sat down with Cunliffe to pick his brain about music and life in general…

Night is Alive: How did your family play a role in shaping the musician you are today?

Bill Cunliffe: Well, my mother was a pianist. My father is a musicaholic, He always had music playing in the house. So, I was exposed to music at a very early age.  My exposure to music at a very early age helped create my lifelong passion for music.

NiA: You have taught at several different schools across the country. What do you enjoy the most about teaching?

BC: Working with a student on a piece of music that they’re working on. Then referring to another piece of music. Our music is mostly by ear and not by sightseeing. So, the best way to learn it is by hearing a similar piece of music. Each time I work with a student on a piece of music I have heard I experience it in a different way.

NiA: What was your favorite part about working on Christmas In The Dog House with Night is Alive?

BC: Making music is my favorite part. The process of composing, arranging, and producing is always the best part about working on an album. Christmas music also can adapt easily to jazz. There seems to be more and more Christmas albums every year that are in jazz every year. People seem to respond well to jazz Christmas albums. People responded well to Christmas at the Doghouse. 

NiA: Do you have any fun family traditions for Christmas?

BC: No, I don’t. Of course I do similar stuff to other people like a Christmas tree. This year I’m shopping for a LED wreath for my beautiful 100-year-old Spanish house. My house is not quite as festive as some of the other houses in the neighborhood, so I want to spruce it up a bit for Holiday season. 

Check out this other interview we have with Bill Cunliffe, as well as his many albums with Night is Alive.

An Interview With Frank Lacy

Night is Alive is back with more from our world-class musicians! We sat down with Frank Lacy, whose talents are not limited to trombone, as he is a featured vocalist on Night is Alive’s most recent Christmas album, “This Christmas With Night is Alive.”

Night is Alive: Clearly, you grew up in a very musical family, and you played several instruments throughout your childhood. How did all these musical influences impact your successful career as a jazz artist?

Frank Lacy: It helped to diversify all that I could do artistically. It enhanced my ability to play different brass instruments. It also helped me with being a vocalist, being able to arrange and compose. So it has lead me to a mirage of different opportunities as a musician. 

I have recorded with people such as Kid Cudi. I played in the Mingus Big Band. I have recorded two records with Elvis Costello. I have won two Grammys with McCoy Tyner’s Big Band.

NiA: You have traveled around a great deal, playing in different jazz bands across the country. What is your favorite place to travel?

FL: I did dig being in Siberia for a month. I was performing, and often when people think of Siberia, they think “Oh, cold.” However, it’s very different than people would think. I enjoyed Iceland, too; I did some teaching and playing there and it was very interesting as well. These places are often not thought about because of their remoteness.

NiA: What made you decide to collaborate with Night is Alive Productions and vocalist Teddy Horangic on a Christmas album?

FL: It wasn’t my idea, it was the idea of the tenor saxophone Wayne Escoffey. Wayne teaches at Yale university and Teddy was going to school there. I had worked with Wayne before at Gizzi’s. Wayne thought it would be a great idea to collaborate on a Christmas Album. It really was Wayne Escoffey, he was the one who basically produced the record.

NiA: What was your favorite part of recording This Christmas With Night is Alive?

FL: I had never sung on a Christmas record like that, that’s number one. Number two: remembering and trying to recreate the Christmas songs that we did. Everyone knows these tunes, so we wanted to put our own spin on it but not let it get lost in putting our own spin on it. We wanted to let the Christmas carol really be sung and understood as a Christmas carol, not trying to change it up too much. Just so we could give the music to the people in a jazzier way.

NiA: This Christmas With Night is Alive is all about the spirit of Christmas and traditions of Christmas. Do you have any fun family traditions around the holidays?

FL: Not exactly, basically just the whole spirit of Christmas. All the things that people do for Christmas: the presents, the Christmas tree, the lights, the food. Just just for Christmas, but the whole period leading up to Christmas.

For more on Frank Lacy and This Christmas With Night is Alive, visit nightisalive.com/portfolio/this-christmas