David Basse | Uptown (feat. Phil Woods &  Mike Melvoin)

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Uptown (feat. Phil Woods & Mike Melvoin)

by David Basse

“So hip it hurts.” Dr. Herb Wong “It’s the American song form raised a notch.” Phil Woods “You made me wish I was in Kansas City, tossing down a few while you stood up there and sang some history to the folks.” Arthur Hamilton
Genre: Jazz: Jazz Vocals
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1. Uptown (feat. Steve Gilmore & Bill Goodwin)
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5:14 $0.99
2. Something Fried (feat. Steve Gilmore & Bill Goodwin)
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2:37 $0.99
3. 52nd & Broadway (feat. Steve Gilmore & Bill Goodwin)
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3:35 $0.99
4. Like Jazz (feat. Steve Gilmore & Bill Goodwin)
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6:07 $0.99
5. You Won't Hear Me Say Goodbye (feat. Steve Gilmore & Bill Goodwin)
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3:32 $0.99
6. Living Without You (feat. Steve Gilmore & Bill Goodwin)
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3:29 $0.99
7. Slow Boat to China (feat. Steve Gilmore & Bill Goodwin)
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4:07 $0.99
8. Parker's Mood (feat. Steve Gilmore & Bill Goodwin)
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4:21 $0.99
9. Bidin' My Time (feat. Steve Gilmore & Bill Goodwin)
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4:38 $0.99
10. Traffic Jam (feat. Steve Gilmore & Bill Goodwin)
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4:12 $0.99
11. But Anyhow / the Blues Don't Care
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6:20 $0.99
12. I've Got the World On a String (feat. Steve Gilmore & Bill Goodwin)
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4:21 $0.99
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ABOUT THIS ALBUM


Album Notes
"I love the soul that is your voice." Maya Angelou
David Basse's resonant voice is a signature of Kansas City's swingin' jazz and blues sound. Swedish critic Kaber Liden called him "The unbelievable combination of Mel Torme, Jon Hendricks, and Al Jarreau." Pitch Magazine named him Best Male Vocalist, stating "The winking gris gris of Dr. John, the ecstasy of Ray Charles, Basse adds a unique twist to his phrasing that makes him more than the sum of his influences."

David is a tireless and prolific one man promotional machine for the sound of Kansas City. He performed at the 2011 opening of the new Kauffman Center for the Performing Arts and plans to return with Bobby Watson and the Kansas City Symphony in February 2013 for an exclusively-written tribute for jazz orchestra.
A new video featuring David’s voice went viral on YouTube. A member of the Kansas Arts Commission, Ingram’s Magazine named Basse one of the 50 people to know in Kansas. He produces and hosts jazz programming for KPR, the Kansas Association of Broadcasters Station of the Year. He spoke with Scott Simon on NPR & KC Studio’s cover story on 12th Street Jump radio program; of which Basse is a founding member, celebrating public radio's weekly jazz, blues, and comedy jam. Producers of A&E's City Confidential filmed David Basse; he appeared with Dr. Billy Taylor on CBS Sunday Morning, and Barbeque America on PBS.

With hundreds of recordings and appearances to his credit, David has shared the spotlight with the greats of jazz including Jay McShann, Les McCann, and Phil Woods. Performances include the New Orleans Jazz & Heritage Festival, Jazz Aspen-Snowmass, Wolf Trap, Harrods in London, The Playboy Jazz Festival, Palacio De Congressi in Switzerland, Peninsula Hotel in Hong Kong.
“Tremendous jazz music, Basse tore it up with The House of Shoulda, Coulda, Woulda Been.” stated Glenn Mitchell, touting Basse and a star studded show in LA. At that show; Mark Winkler signed Basse to Café Pacific. The result is the release of Basse’s new CD “Uptown” featuring five original songs by pianist Mike Melvoin, one by Frank Smith, and one by Winkler. The disc includes performances by Grammy winning saxman Phil Woods and the long time rhythm section, Bill Goodwin and Steve Gilmore.
“You made me wish I was in Kansas City, tossing down a few and drumming my fingers on the table while you stood up there and sang some history to the folks." Arthur Hamilton
“It’s the American song form raised up a notch,” Phil Woods
"So hip it hurts." Dr. Herb Wong
"... A magnificent musician and captivating singer who genuinely delights in a room full of happy people who are enjoying his danceable brand of jazz." Zan Stewart / LA Times


Reviews


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Matthew

5 Star Jazz
This is not written by me but I couldn't have said it better.... "A fixture on the Kansas City jazz scene for 20 years, singer David Basse has been compared to the likes of a wide array of vocalists from Dr. John and Mel Torme to Ray Charles and Al Jarreau. If you listen to his latest CD, Uptown, you can understand why. The man is a vocal chameleon who seems able to color his voice to the demands of his musical surroundings. You never know which voice you're going to hear. If you like versatility in a jazz singer, you want to give Basse's latest a listen". - Jack Goodstein

Uptown - David Basse

http://jazztimes.com/community/articles/30303-uptown-david-basse
06/10/12 Albums By Scott Albin
Uptown-- David Basse
Basse has been a prominent vocalist and jazz advocate in Kansas City for three decades. He co-founded the City Light Orchestra in 1982, has been a producer and host on local jazz radio, and is a member of the Kansas Arts Commission. Yet the first three tracks of his new CD, Uptown, all written by Mike Melvoin and Richard Hurwitz, focus on either New York or New Orleans. On the title track, Basse sings of the Uptown Manhattan jazz scene--"a little bit of heaven on 147th"--with relaxed swinging verve, sounding something like the hip Giacomo Gates with a dash of Nat Cole. Phil Woods' pithy clarinet elevates the piece with his intro and solo, and Melvoin's piano glides through a solo remindful of Red Garland. Melvoin passed away in February of this year, after a long career during which he performed with numerous singers, including Frank Sinatra, Tony Bennett, Joe Williams, and Bill Henderson. "Something Fried" salutes a restaurant serving good down home food and stomping live music. Melvoin's riffing piano is straight out of New Orleans, and Basse's vocalizing captures some of Dr. John's spirit. Bassist Steve Gilmore and drummer Bill Goodwin (Woods' regular band mates) generate the appropriate foundation. "52nd and Broadway" alludes to the jazz club strip of 52nd Street back in the day. Melvoin and Woods' alto offer up bop-drenched solos prior to Basse's passionate scatting exchanges with Goodwin. Shades of Eddie Jefferson all the way.

A "Killer Joe" rhythm hooks the listener immediately to the tune "Like Jazz," as Basse sings of a woman who reminds him of the essence of jazz. His spirited expression here recalls Joe Lee Wilson and Oscar Brown, Jr. Melvoin and Woods improvise engagingly and trade heatedly with Goodwin. Gilmore's arco bass and Melvoin's tender piano frame Basse's regretful, plaintive singing of the moving ballad "You Won't Hear Me Say Goodbye." Woods' concise alto solo and his ongoing obligattos enhance the prevailing mood for this top-notch creation composed by Melvoin and Milo Adamo. "Living Without You," a Johnny Mandel/Randy Goodrum tune, tries to look at the brighter side of a separation. At least Basse tries to make the case before admitting he's "kinda blue without you." His no-frills vocal fully and authentically (from experience?) conveys the situation in a confessional way that anyone can relate to.

Melvoin's boppish piano introduces Basse's straight-ahead, mellifluous singing of "Slow Boat to China." Woods' alto solo bounces and sways vigorously, while Melvoin's flows assuredly. Basse's reprise is reminiscent of Louis Armstrong in its playful phrasing and inflections. A sublime Woods brings Bird's classic alto solo on "Parker's Mood" to life in his very own way, before Basse finally, on track eight of this CD, sings about "going to Kansas City." Here Basse evokes King Pleasure in all his glory, while contributing, like Woods, his own original variations. The verse of the Gershwin's "Bidin' My Time" is delineated by Woods' warmly mellow clarinet before Basse roars in appealingly with his natural, unaffected, happy-go-lucky vocalizing. Melvoin, Woods, and Gilmore share the solo space and reinforce the carefree atmosphere.

"Traffic Jam," the fourth Melvoin/Hurwitz opus, talks of cooling it with music you "only listen to" to escape the hectic world. Woods' edgy, driving solo, however, is certainly not laid back or calm, nor is Melvoin's extroverted statement. "But Anyhow / The Blues Don't Care" is a medley of Dan Jaffe/Frank Smith compositions, the first a spoken tale of an artist named "Frank" going through the creative process. "The Blues" finds Basse singing of how the blues "tend to mock you no matter what escape you try." His heartfelt vocal is sensitively supported by Melvoin, and the pianist's improvisation is abundantly lyrical. This duet selection is one of the recording's highlights. An interpretation of "I've Got the World on a String" emphasizes Basse's individuality despite influences that may lurk beneath the surface. Melvoin, Gilmore, and Goodwin are in sync with him all the way. The rich substance, clear intonation, and sincerity of delivery that are all qualities of Basse's style are supremely evident on this admirable closing number.