Q&A with David Basse from Kansas City Radio – Part 3

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/

An Interview With Harry Allen

Night is Alive is always looking to provide the very best in jazz to our listeners, and that means thinking outside the box to create unique musical experiences. It Takes 3, our newest album, does just that. Showcasing the exceptional talents of tenor saxophonist Harry Allen, pianist Rossano Sportiello, and drummer Bryan Carter, this collaboration brings together three renowned jazz musicians, each contributing their unique style to the project. The tracklist features a blend of jazz standards and original compositions and offers listeners a rich tapestry of melodies and rhythms that pay homage to the jazz tradition while infusing it with fresh interpretations.

Night is Alive sat down with tenor saxophonist Harry Allen to hear some of his thoughts and feelings surrounding the recording experience and his dynamic career in music.

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

Harry Allen: The inspiration came from the idea that we could have a trio without a bass. You don’t see a lot of trios nowadays that can play without a bass. To do that you have to have a strong pianist with their left hand. Our pianist in this piece, Rossano Sportiello, is incredibly gifted with his left hand. That makes up for the fact that we do not have a bass in the trio. You see the bass in the foundation of the band for keeping the rhythm section in time. Most piano players are strong in their right hand, and therefore cannot make up for the fact that there is no bass. However, a pianist strong in their left hand can make up for this fact.

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

HA: Playing with everybody was truly the best part of the production process. It was a lot of fun playing with these talented musicians. Each one of them brings something unique and its great to see a piece of music come together.

NiA: What should listeners expect from the new album?

HA: We did an array of song from the great American song book as well some of my and Rossano’s songs. It’s a great combo of looking back as well as looking forward. In the 1930s and 1940s, there were a lot of jazz trios that played without a bass. There were stronger left-handed pianists than there are now. We pay tribute to this past in the album, but we put our spin on the songs to make the album modern as well. This makes the album unique compared to others.

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

HA: Right out of college I was hired by a famous musician named Oliver Jackson. We traveled around Europe playing and he introduced me to various promoters. He told these promoters about how good I was, and it helped me get my career started as a jazz musician. This was truly a moment that shaped my career as a musician.

NiA: Were has been your favorite place to travel?

HA: There are several places and each one of them brings something different to appreciate about it. Japan has some of the greatest jazz fans in the world; a lot of them come up to you and recognize your music which is a cool experience. Paris and Rome are also two beautiful cities that have amazing jazz venues. Lausanne Switzerland was also an incredibly beautiful city. The great thing about being a musician is you get to travel and visit all these incredible places.

It Takes 3 is available now! Be sure to order your copy today. You can also hear Harry Allen in other acclaimed Night is Alive albums Call Me Irresponsible and Cryin’ In My Whiskey.

Interview with Alan Rhody

“The tunes for Night is Alive’s newest album “Christmas Ain’t Like It Used To Be” were selected with the hope of bringing new meaning to a genre of music that is so near and dear to many. A mixture of classic favorites and modern hits, this album includes nine tracks of vibrant holiday music. Diving into the stories behind the songs, Night is Alive presents an exclusive interview with Alan Rhody, co-composer of the tune “Christmas to Christmas”.

Multi-award-winning songwriter and touring solo artist Alan Rhody has written countless songs and released multiple albums over his notable career. He has made dozens of network appearances in the US and Canada and written songs that have been career-changing hits for artists who are now household names.

“Christmas to Christmas” was penned in 1985 by Rhody and hit songwriter, Ron Hellard. The duo has written about a dozen songs together and remain very good friends, still co-writing occasionally. American country music singer-songwriter Lee Greenwood first recorded the tune and used it for the title of his Christmas album and television special.

“I was very excited and pleased when Night is Alive chose this song,” said Rhody. He has often wondered why the tune hasn’t been recorded by more artists in genres other than country, since he doesn’t consider it a ‘typical’ country song and the intro is set for jazz.

Sony had the publishing rights at the outset, with Rhody reclaiming his half of the song in 2017 retaining SonyATV to administrate, which Rhody believes is a good partnership. 

“I’m hoping more artists will continue to record the song,” mused Rhody. In fact, Night is Alive is the fourth, with soulful vocalist Andromeda Turre. The other artists thus far include Lee Greenwood, Tanya Tucker and Toby Keith. 

As far as his writing process? Rhody said it was Ron Hellard who brought the title idea to their session that hot summer day they created “Christmas To Christmas” in Rhody’s kitchen. Once he and Hellard finished the chorus, they “knew they had a winner.” He also feels it is one of their very best collaborations.

“It’s very personal when I write songs of this nature. whether alone or with a co-writer.” He said his wife Kathy’s presence is always there inside, with those.

So what did Christmas look like for Alan Rhody this year? It was a small gathering, just their two daughters and two grandsons, who all live in Nashville. Their son and his family live in New York City. Rhody and his family have lived in Nashville since the fall of 1977. 

You can hear Night is Alive’s version of “Christmas to Christmas” on “Christmas Ain’t Like It Used To Be”: www.nightisalive.com/christmas-aint-like-it-use-to-be


Interested in learning more? Sometime in early 2022, Alan Rhody will join the Daily Dose podcast, posted regularly 

on Night is Alive’s YouTube channel: https://www.youtube.com/channel/UC-yE-rSEiOYWEnIC9F6VXIw

Friday Feature Janis Siegel #2

What are your plans this weekend? Hopefully it includes getting to know the remarkably talented Janis Siegel! 

You would probably recognize Siegel’s silky voice from the swinging hits of The Manhattan Transfer, like “Boy From New York City” and “Operator,” but did you know that she also has a widely successful solo career and a reputation as a vocal arranger?

Siegel wrote five of the charts for The Manhattan Transfer’s acclaimed masterwork, “Vocalese” and seven charts for the group’s Grammy-winning album “Brasil.” And in 1980, Siegel won a Grammy for her arrangement of “Birdland”! All of this creative work led to Siegel receiving an honorary doctorate from the Berklee School of Music in 1993 and induction into the Vocal Group Hall of Fame in 1999. 

But Siegel didn’t stop there! She also branched out on her own to release multiple solo albums, including “An Experiment in White” and “At Home,” which earned her a Grammy nomination in 1987 for the Best Female Jazz Vocal. And over the years, Siegel has been adventurous in her collaborations with a diverse array of musicians, such as jazz pianist Fred Hersch, Turkish modern classical composer Ilhan Mimaroglu and Indonesian guitarist Dewa Budjana. 

Now, Night is Alive is proud to release Janis Siegel’s latest genre-bending collaboration with pianist John di Martino, bassist Lonnie Plaxico and saxophonist Harry Allen. “Cryin’ In My Whiskey” is an album that fuses country western and jazz music to create a delightful twist on many classics, like “He Stopped Loving Her Today” and “Don’t It Make My Brown Eyes Blue.” Whether you turn on this album during a backyard barbeque, dinner party with friends or a relaxed evening alone on the front porch, these tunes will imbue your life with a soothing, yet energetic sweetness. 

“Cryin’ In My Whiskey” is available at https://nightisalive.com/portfolio/cryin-in-my-whiskey/

and all major online music platforms. 

#JanisSiegel #CryinInMyWhiskey #jazz #feature #musician #vocalist #singer #NightisAlive #countrywestern #album #TheManhattanTransfer #crossgenre

We were lucky enough to sit down with this accomplished musician and ask her a few questions about her career. If you’re an aspiring musician, artist or performer, you’ll definitely want to read what Siegel has to say. 

  • Do you have any advice or words of wisdom for young musicians?
    • LISTEN. Learn the business aspect of music, work every day on something related to your craft and be persistent. 
  • What are you most looking forward to in the coming months?
    • Getting back to travel and a vibrant work schedule.
  • What is your favorite tune from “Cryin’ In My Whiskey”?
    • This week, it is “Where Do I Put His Memory.”

And what about you? What are you looking forward to doing most in the coming months? Comment below!

Friday Feature Janis Siegel #1

Happy Friday! đŸ„ł  Kick back and relax this weekend by reading our Friday Feature about the lovely Grammy-award-winning vocalist Janis Siegel. 

Siegel’s smooth and unmistakable voice can be heard on Night is Alive’s brand new album “Cryin’ In My Whiskey,” which is a unique cross-genre collaboration that brings together the very best of country western and jazz music. Featuring modern renditions of classics like Willie Nelson’s “Always On My Mind” and “I Fall to Pieces,” this album is a perfect way to welcome the sunny weather and enjoy the many social gatherings to come! You won’t want to miss it! 

“Cryin’ In My Whiskey” is available at https://nightisalive.com/portfolio/cryin-in-my-whiskey/ and all major online music platforms. 

Born and raised in Brooklyn, New York, Siegel was exposed to the music business at a young age, singing with an all-girl pop trio and releasing two singles by the time she was 12! Siegel lived and breathed pop, country and folk music, that is until 1975 when she joined the Manhattan Transfer and was introduced to swing, which opened her eyes to more musical possibilities. The Manhattan Transfer went on to explore many different genres during their 35-year-long career, including a cappella, vocalese, standards, Brazilian jazz, R&B and pop. And in 1981, The Manhattan Transfer was also the first group ever to win Grammy Awards in both Pop and Jazz categories in the same year! 

Night Is Alive was lucky enough to sit down with this world-famous, genre-blending star and ask her a few questions about her taste in music:

  • Besides jazz, what genres of music do you like to listen to?
    • I listen to everything: classical, modern classical, opera, world music, country, bluegrass, alternative, blues, Yiddish music, funk, pop, R&B and gospel. What did I miss
 ? I guess disco and rap
 I do like some rap, too! 
  • Who are some other musicians that inspire you?
    • John Coltrane, Cecile McLorin Salvant, Ella Fitzgerald
  • What is your favorite tune from “Cryin’ In My Whiskey”?
    • This week it is “Where Do I Put His Memory.” (Originally released by Gladys Knight & the Pips in 1975)

Wow, Siegel has quite an eclectic taste in music! How about you?

What are your favorite genres and musicians? Comment below!