For more than four decades, bassist Chuck Bergeron has thrived in virtually every jazz setting imaginable, from powerhouse big bands to small-group improvisation. Along the way, one aspect of music-making has remained especially meaningful to him: the connection between bassist and vocalist.
That connection takes center stage on Bass and Face, a deeply personal new album arriving June 5, 2026, via Summit Records. The project pairs Bergeron in intimate duet performances with ten exceptional vocalists, creating a collection that is both musically adventurous and emotionally revealing.
The album’s title traces back to Bergeron’s years living in Seattle, where he frequently performed with vocalist Kendra Shank. During their concerts, Shank would set aside a portion of the evening for a stripped-down bass-and-vocal duet segment she affectionately called “Bass and Face.”
“Pianists and guitar players get to do that sort of thing all the time,” Bergeron explains. “The harmonic range of the bass is a bit more limited, so it’s rare that I get that opportunity—but I really loved it. It's a really naked and vulnerable situation, and requires a different approach to playing the instrument.”
The experience left a lasting impression. Ever since, Bergeron dreamed of creating an entire album built around one-on-one musical conversations with singers who had played important roles throughout his life and career. Bass and Face finally brings that vision to life.
The album features an extraordinary lineup of vocalists, including Janis Siegel, Pete McGuinness, Roseanna Vitro, George Rabbai, Lisanne Lyons, Deborah Silver, Kate Reid, Nicole Yarling, Sheila Jordan, and Kevin Mahogany. Together, they explore a wide-ranging repertoire that highlights both the intimacy and expressive possibilities of the bass-and-voice format.
The recording opens with Janis Siegel’s breezy interpretation of “An Occasional Man,” a tropical-tinged gem by Ralph Blane and Hugh Martin. Percussionist Richie Bravo subtly enhances the performance, one of several guest appearances throughout the album that add color without disrupting the duet concept. Siegel also returns later for “When I Drink,” a bittersweet song by the Italian duo Musica Nuda, where Bergeron’s bass becomes a sympathetic companion to the lyric’s late-night reflections.
Longtime friend Pete McGuinness contributes both his voice and his own arrangement of Johnny Mandel’s “Emily,” the only track on the album not arranged by Bergeron. Their playful chemistry is evident throughout, particularly during an engaging scat exchange that reflects decades of friendship dating back to their college years.
Another longtime collaborator, Lisanne Lyons, joins Bergeron for a haunting rendition of “Detour Ahead,” while George Rabbai brings a unique dual role to “I Thought About You,” contributing both trumpet and vocals. Roseanna Vitro delivers a spirited take on Jeannie Cheatham’s witty “Take the Wrinkles Out of Your Birthday Suit,” a blues-infused celebration of humor and resilience.
Closer to home, Bergeron collaborates with University of Miami colleagues Kate Reid and Nicole Yarling. Reid lends effortless sophistication to “Devil May Care,” while Yarling joins Bergeron for a joyful New Orleans-inspired medley that pays tribute to the city where he was born and raised.
Deborah Silver, whose recent work with the Count Basie Orchestra earned Grammy recognition, appears on “Analog,” a charming rejection of modern complications that feels perfectly suited to the album’s acoustic simplicity.
Among the project’s most meaningful moments are the contributions from two legendary vocalists who are no longer with us. Sheila Jordan, recorded at age 95 shortly before her passing, brings wisdom, warmth, and decades of jazz history to “Fair Weather.” Rather than revisit the bass-and-vocal format she had explored extensively with bassist Harvie S, Jordan opted to include guitarist John Hart, creating a unique setting for a lyric she wrote in honor of trumpeter Kenny Dorham.
The album also includes two performances featuring the late Kevin Mahogany, drawn from sessions recorded in 2005 during Bergeron’s seven-year tenure in Mahogany’s band. Their interpretations of John Lewis’ “Two Degrees East, Three Degrees West” and Charles Mingus’ “Duke Ellington’s Sound of Love” serve as heartfelt tributes to a singer whose encouragement and friendship profoundly influenced Bergeron’s career.
The album concludes with a piano-bass duet featuring pianist Phil Strange on the New Orleans classic “Do You Know What It Means To Miss New Orleans?” The performance provides a fitting farewell, returning the listener to Bergeron’s roots while underscoring the album’s central themes of connection, memory, and shared musical experience.
“This is the definition of a passion project,” Bergeron says. “So I wanted to make sure that I invited people who I enjoy working with—and simply enjoy spending time with. Every one of these singers has their own unique personality, and they're all great fun to work with.”
That spirit of friendship and collaboration resonates throughout Bass and Face. More than a collection of duets, the album is a celebration of relationships forged over decades, brought to life through the simple yet profound conversation between a voice and a bass.
Bass and Face will be released on June 5, 2026, via Summit Records.
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