Award-winning singer, saxophonist, songwriter and entertainer, Danny Bacher, is a master of the demanding soprano sax, combining his virtuosity on the instrument with a talent for comedy and narrative storytelling. Bacher is cut from the cloth of the great Louis Prima and Mel Torme, of whom the New York 
Times‘ Stephen Holden wrote: “he’s a “prodigiously talented musical preservationist… (who knows) the secret of serious fun is not to take it too seriously.” Bacher has also worked as an actor, comedian and writer, touring internationally with his original works. He’s worked at venues such as the Blue Note, Birdland, 54 Below, Jazz at Lincoln Center, The Town Hall and Carnegie Hall, among others. His two studio albums as a leader, Swing That Music! and Still Happy are on the Whaling City Sound label.
Bacher is about to appear at 54 Below on the Thursday, September 8, in the 9:30 PM slot, in an All-Star Swingin’ Broadway Jam! with Nicole Zuraitis, Sean Harkness, Art Baron, Jennifer Vincent and Alvester Garnet. Click here for more information.
NiteLife Exchange (NLE) asks Danny Bacher (DB) Six Questions:
NLE: Earlier in your career you were an actor; when and why did you decide to concentrate full-time on your music?
DB: Professionally, I’ve always loved doing both, but I made the decision to focus more on my music about ten years ago, right after I got married. I figured if I wanted to make “real” money, it would be not as an actor, but as a musician! Kidding aside, it’s an interesting question, yet I believe, as a singer, performer, entertainer, or even instrumentalist, I’m always acting. The work I do, though the focus may differ slightly, is at its base, an extension of my work as an actor. Sometimes it’s even more challenging. For example, in a play, an actor usually plays one character. But as a singer, every song can have a different characters perspective. That’s where the training as an actor has certainly made me a better singer and storyteller.
NLE: Who’ve been your greatest mentors and inspirations in the development as a soprano sax player?
DB: I first discovered the soprano sax in 6th grade. My jazz teacher at the time played the instrument, his name is George Hicswa. We still keep in touch from time to time. I was lucky to get to study with many great sax teachers over the y
ears, including Dr. Dave Demsey, Ed Joffe, and Bob Mover, to name a few. I’ve been inspired by so many players: Stan Getz, Lester Young, Sonny Rollins, Ben Webster, Johnny Hodges, to name a just a small number. I dig so many players on all different instruments. The interesting thing for me, is how many of my favorite soprano players approach playing the instrument with a tenor saxophonist’s embouchure. Zoot Sims, Lucky Thompson, had some of the most beautiful sounds on the instrument. Of course, one would be remiss not to mention the “daddy” of the sop sax, Sidney Bechet!
NLE: What is it about the soprano sax that called to you?
DB: I feel it’s a misunderstood member of the sax family, oft overlooked, and with a bad rap. An underdog, if you will. I like to root for the underdog. I was intrigued by the instrument and couldn’t wait to play one when I was a kid. The ergonomics and physiological experience of playing it was an immediate match made in heaven!
NLE: It’s said that the soprano isn’t an easy instrument to master. How did you develop your skills?
DB: As mentioned, I approached the instrument as an alto and tenor saxophonist. I think having that foundation really helped, initially. There is an old saying in jazz; “Strive for To
ne.” Even though that should apply anywhere in any genre, and on any instrument, it’s particularly important in regard to our friend the soprano sax. That was paramount when I started on the soprano, and continues to be, especially as you get to the higher register. Finding that sweet spot with one’s sound is really important. If applied by all who attempt the soprano, I believe this will ultimately help with its popularity over time.
NLE: You’ve often referred to yourself as an entertainer. What does this concept entail? Why do you identify with it?
DB: At its core, we in the performing arts are all entertainers. However, I do feel many performers don’t embrace that concept. I’ve been told, countless times in my career, that I’m a “throwback” an “old soul.”
Over time I’ve come to embrace those terms, and not just because I appreciate my influences and where I come from, but because I feel so many of the “old guard” understood the idea of always connecting to the audience. This is extremely important, because if you don’t connect, you can’t bring the ticket buyers on that wonderful artistic journey with you that they paid for! Art is not meant to be entirely self-expression. You need to express yourself through your art, while having an audience there to appreciate what you do!
NLE: As with your upcoming gig on September 8 at 54 Below, what’s special about working with and crafting a show with other musicians?
DB: I’ve always loved collaboration. It’s in my bones. As a comedian, I always worked in a team with my brother, Josh. As an improvisational actor, I always worked in ensemble theaters. It’s really no different with my music. I love getting to work with musicians and singers all over the country, and always find it endlessly fascinating to share new ideas with one another. It’s really an inspiration. Especially when you get to work with such a high caliber of musicianship in people like Nicole Zuraitis, Sean Harkness, Art Barron, Jennifer Vincent and Alvester Garnett. Rehearsing, working on arrangements, exchanging hip ideas on tempo and approach to tunes is so much more fun when you’re with a crowd of talented folks!
Here’s a sample of Danny’s artistry:
