DAVID BACH, The David Bach Collection

A veteran sideman whose keyboard artistry has graced the recordings and live performances of everyone from Enrique Iglesias, Thievery Corporation and Fishbelly Black to Everything But the Girl, David Bach struck indie artist gold quickly after sending his self-released contemporary instrumental debut album Window on the West to 40 radio stations in 1997.

While gaining immediate traction on radio, he also sent a band video to the Jazz Discovery Showcase on BET, which quickly highlighted the Maryland based performer and his group as emerging artists on a Jazz Central episode, quickly exposing his music to millions and opening the door to a prolific career as a top draw at jazz festivals, wine festivals, concert series and clubs throughout the mid-Atlantic region. His accolades include two RIAA gold records, winning Best New Artist at the Maryland Music Awards in 2016 and being inducted into the Maryland Entertainment Hall of Fame three years later.

Bach was five albums deep into his stylistically eclectic recording career before I caught wind of his 2013 album Otherworld, which true to its title, felt like a journey to a melodically and rhythmically yet innovative and adventurous contemporary jazz paradise compared to the same ol’ same ol’ vibe of even the top Billboard charting artists in the heavily micromanaged smooth jazz genre that I was listening to at the time.

Truly echoing the emotional excitement I feel listening to the keyboardist’s incredible and emotionally empowering new 15-track hand-selected career retrospective The David Bach Collection, I wrote at the time: “You only have to watch a minute of his slamming performance at the 2014 Silver Spring Festival on YouTube to realize he’s an explosive, funky player whose band – while still more of a regional sensation – is on part with that of any top act on the contemporary jazz scene. . .It’s those other worlds that really give his deeper musical spirit spotlights to shine.” I made special mention of the “way he rocks” “Rite or Wrong,” a funky, muscular, tightly grooving jam with tons of rock and blues energy courtesy of Bach’s spirited organ sounds intertwining with the rhythm section of Lorenzo Sands (bass) and Mark Prince (drums) and Leonard Steven’s blistering electric guitar.

“Rite or Wrong” is one of four tracks Bach includes from Otherworld on the Collection, forming something of a creative centerpiece because they collectively reflect the stylistic diversity that’s been his trademark throughout his nearly 30-year career. On the urban-flavored “smooth” side, “City Lights” features high-spirited grooves, a shimmering piano melody, energetic Rhodes solo and the passionate saxophone of David Marq. It’s radio friendly, but with some clever twists, turns and runs. Likewise, “All In” has a super catchy hook, intense interaction between Bach’s Rhodes magic and saxman Bobby Read and some surprising percussive fills by Edgar Montalvo. The fourth song from Otherworld is the more laid back, seductive “Sweet Spot,” featuring sensual sax soloing by Marq.    

Before continuing with more highlights from The David Bach Collection, it must be said. Everything Bach composes and plays is true contemporary jazz. He’s received much airplay over the years on SiriusXM and other smooth jazz and ambient stations but he sets no limits of vibe or instrumentation on his artful fusion of jazz, world and classical elements, among others. He likes to say he creates diversified “lifestyle music” that’s accessible as a soundtrack to people’s lives.

This is significant because long before terrestrial radio created the term “smooth jazz,” and every song released was targeted to renewed, researched airplay standards, there was a different, more impactful and free-spirited sort of music that defined the contemporary instrumental genre. It had poppin’, often funky grooves and picture-perfect melodic earworms like smooth jazz, but driven by more creatively freewheeling ensembles with intuitive musicians who seemed to be able to read their cohorts’ thoughts, create fascinating musical conversations and solo with fire and abandon.

This is what Bach, using hiss vast arsenal of keyboards (Kurzweil PC3 and K2600, Yamaha Montage, grand piano, Rhodes, clavinet, Mini-Moog, etc.) and ensembling with the many inspired musicians he’s recorded with grace us with throughout The David Bach Collection – from the cheerful, spritely “Seventh Sun” (a poppy gem featuring saxophonist David Wells) through the sly, soulful and ultimately rockin’ closer “Push It,” which rides on the wings of Shea Welsh’s guitar and Bach’s spacey, George Dukesque synth solo like a 2000’s version of classic 70’s jazz fusion.  

Another key to understanding Bach’s non-stop work ethic and dedication to his craft no matter the obstacles can be found on the three songs from his 2020 album Fierce Heart, which reached #33 on the RMR Top Jazz Albums of the Year and stayed on the charts for 20 weeks. He wrote most of the album – including the hypnotic, tightly throbbing “Fierce Heart” (featuring the zesty trumpet of Rob Zinn amidst the funked-out elements) and the elegant, passionate piano driven ballad “Serenade” – while recovering from a car accident caused by a drunk driver. Getting back to composing and life, took serious focus, which became the album’s theme. Fierce Heart also included a jaunty, whimsical twist on Erik Satie’s renowned piece “Gymnopedie,” which finds Bach colorfully blending his love of jazz and classical music.

In addition to his regular “go-to” musicians, Bach throughout his career has been blessed to work with greats like Parliament/John Scofield drummer Dennis Chambers (laying the groove on the coolly mood swinging fusion romp “Sneaky Pete”), Chaka Khan drummer JuJu House (“Push It”), Bruce Hornsby saxophonist Bobby Read (“Seventh Sun,” “All In”), Stanley Clarke flutist Al Williams (adding flair and improvisational virtuosity to the funk-jazz jam “On and On”) and Patti Labelle bassist Lorenzo Sands.  

For fans who have been following David Bach for decades, this collection will remind them of why he’s one of the most fascinating, ever-evolving keyboardists in contemporary jazz. For newcomers, it’s a great place to start immersing in the excitement of his catalog – which he promises will be expanding in the near future.

“I wanted to create a new conversation about my songs and that's why I came up with the Collection,” Bach says. “I feel like my earlier albums did not get the exposure they should have, and that those songs are just as relevant today as when I wrote them. I have many new tunes ready to release but feel now is the time to engage new fans to some of my older music... these are some of my favorite tunes that I've composed... I'm not sure if there's ever a right or wrong time to release music, so why not now?

“Since my early releases,” he adds, “I've learned to trust my artistic intuition more. The more I compose music, the more I find myself experimenting with different genres, styles and sonic techniques. Production values have changed so much since I first started. I remember 2-inch tape and cassettes as part of the recording process, when we had to execute our performances perfectly, without the aid of a computer. The process today is amazing with all the performance and production tools we now have. Overall, I am so grateful to be able to bring people together with my music.  To be able to contribute positivity to this world while making a living with my music is my dream come true.”