New Release From Guitarist David Bailis

New York-based guitarist David Bailis releases a new album, “Tree of Life”.

David Bailis is a man of many passions.  He is a passionate runner having competed in numerous races collecting many awards and metals.  He is also passionate about nutritious entrees and preparing healthy plant-based foods. Next to his family and two kids, his greatest passion is composing and performing music on his guitar.  David is a New York-based guitarist who has toured and performed all over but now focuses more on local concerts so he can be close to his children.

JB:  Did you grow up in New York City, how old were you when you started playing jazz guitar, and what was most helpful in your development as a guitarist?

DB:  I grew up in Boston, which was a great place for a young musician with so many amazing and inspiring players around town. I have been drawn to improvised music from my early teens, so it was a natural progression to jazz where improvisation is at the heart of the music. By my teens, my mind was being blown away by guitarists Wes Montgomery, Grant Green, and George Benson. I especially loved Grant Green’s funkier records. I was also heavily into rock, funk R&B, hip hop and world music. I learned much of this music by ear, and I realized quickly that having a good ear was a through line of all the greatest musicians, regardless of style. While of course chops are important in jazz, I think having a good ear and musicality are paramount. 

JB:  To you, what are three of the most influential jazz guitar albums and why? 

DB:  Of course, the most influential overall would be– Incredible Jazz Guitar of Wes Montgomery (Wes is the undisputed king), Grant Green- Green Street, Metheny- Bright Sized Life, Django- Hot Club de France, Joe Pass- Virtuoso– But I made a list that’s more personal to my development.

Sonny Rollins- The Bridge— One of my all-time favorite records. Jim Hall’s playing is so masterful. I feel this record was a major step for the modern era of jazz guitar. He is understated and has such a beautiful approach in this piano-less rhythm section. His phrasing and ‘less is more’ mentality is so powerful, not to mention the way he works with Sonny.

Marc Johnson- Sound of Summer Running—This is not as well known a record but was huge for me when I was in my teens. It was my first exposure to Pat Metheny and Bill Frisell and to hear their completely different approaches on the Marc Johnsons compositions was so stark and brilliant. I am a massive Metheny fan but Bill Frisell’s playing really spoke to me from the moment I first heard it. It was such a nontraditional approach and showed me how important it is to create your OWN sound.

John Scofield- Out Like a Light— I love Scofield’s playing. His economy with notes, his phrasing/feel and most of all his ability to create his own signature sound. He is instantly recognizable. I love the freedom in this record. The way the trio works together is so powerful.

Kurt Rosenwinkl- Next Step— Such a huge record for every jazz guitarist that was around in the early 2000’s. Kurt forged a new path with his sound and his brilliant compositions.His harmonic language and wild phrasing changed the game. His playing on this record was so inspiring and mind-bending.

JB:  The new album Tree of Life was recorded with new songs you’ve written, plus “Open Your Eyes.”  Reflect upon the material selection for the recording. 

DB:  The writing for this record was composed with themes of simplicity and space. I wanted to create a context where we could approach the music without overthinking and be free. Concepts of earth, nature, endurance and creation are woven through into the writing of the music. We didn’t rehearse for the session and just did a few takes of each tune, which gave the music a spontaneity and rawness that is a crucial vibe of the album. 

I first knew the melody of ‘Open Your Eyes’ from Common’s classic hip hop track ‘The Light” where he samples Bobby Caldwell’s iconic hook. Once I discovered the original version I was all in on this tune. I love Ted Greene’s solo guitar arrangements and playing and that was a big influence on this solo guitar arrangement of “Open Your Eyes’

JB:  Keyboardist Eric Lane and drummer Jason Nazary are a wonderful rhythm section.  What do you appreciate about them as musicians?

DB:  They sure are, I have been playing with Eric for so many years in many different bands and musical contexts. Eric is such a creative force and I felt that the grand piano and synth bass combo was an interesting blend that Eric could really do a lot with. There are not many piano/keyboard players that have such command of left-hand bass as Eric Lane. Jason’s approach was so organic and spontaneous, he’s got such a unique thing happening on drums. As the session was the first time playing the tunes, his intuition was such a critical element of the sound of the record.

JB:  Reflect upon your work with saxophonist Chris Speed.

DB:  I feel so fortunate to have Chris on the record. His resume speaks for itself, playing on so many great and important albums since the 1990s and now being a member of the Bad Plus. Chris has truly developed his own sound which cannot be overstated in what we are all striving for as musicians. I’m grateful for Chris’ open-minded energy in his approach to my compositions.

JB:  Talk about what you appreciate about the Gibson guitar that you recorded this album with. 

DB:  This is a special guitar, it’s a Gibson 1968 ES 335. It’s my favorite guitar and I own quite a few guitars. I got this guitar when I was young at a local guitar shop on consignment from the original owner. He redid some of the electronics, which hurt the value and this was before the vintage guitar market explosion and I got an incredible deal on the guitar. I’ve kept it close ever since and glad to have it as it sounds on the record.

JB:  The Pimps of Joytime sounds like a fun band to play in.

DB:  The Pimps of Joytime was a lot of fun to tour with. We were on the road for many years, so many shows. There was a strong sense of improvisation and exploration which kept it interesting and challenging over many years. I was blessed to play with the many great musicians that played in that band. Also, I worked for years with Mayteana Morales in the Pimps of Joytime and now we are writing partners in a band called Walk Talk, which was a great next step from the road of the PJT’s. 

JB:  You live in New York where there are numerous guitarists.  Talk about the gigs you do and how you make a career in music work for you.

DB:  There are so many great players and guitarists in NYC. There is nonstop inspiration everywhere. You gotta just find your path and do your thing. Keep showing up and do the work to be the best you can be on every gig and hopefully your fellow musicians will recognize it and call you. I am a full-time working musician in NYC and often play 5 nights a week around NYC and surrounding areas, plus sessions and a little teaching. It is a grind but a labor of love! That hustle is the tradeoff for me vs touring life. For the past bunch of years I’ve been trying to work locally more and not tour as much as I have 2 kids at home and I want to be around. NYC will kick your butt but there’s no place I’d rather be!

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