Encyclopedia of Jazz Musicians
Chevan, David, electric bass; b. Philadelphia, PA, 19 September, 1960. His parents are Albert and Janet Chevan. He has one brother, Harry Chevan and one sister, Julia Chevan. David is married to Julie Abels Chevan (July 20, 1986). They have two sons, Jesse (b. 1990) and Noah (b. 1993).
Moved to Amherst, Massachusett at the age of five and lived there until he graduated high school. Lived in Waltham, Massachusetts for three years and then moved back to Amherst where he lived until 1984. Moved to Brooklyn, New York and lived there until 1993. Currently resides in Hamden, Connecticut. After trying several instruments began playing electric bass in Junior High. Studied electric bass with Reed Butler. Began playing upright bass in 1982. Studied with Salvatore Macchia at the University of Massachusetts (1982- 1984). He took private instruction with Victor Gaskin (1983-1986); Jon Deak, Brooklyn College Conservatory of Music (1984-86); and Lisle Atkinson (1986-88). Also, Milt Hinton gave him several lessons on slapping the bass (1987).
The Art of the Trio (2000); Rex Cadwallader and David Chevan: Repartee (1999); David Chevan and Warren Byrd: Avadim Hayinu (1998), Let us Break Bread Together (2000), This is the Afro-Semitic Experience (2002)
Michael Branden: Wintertide; Bassology: The Feeling I Get (1998); Ron Braggs with Bassology: Imagination (1999);
Many unreleased studio sessions and recorded live performances, including
performances with Frank London, Anthony Coleman, Ellery Eskelin, Jaki Byard,
Andrea Parkins, and Jesse Hameen II.
Weekend edition did a story about Warren Byrd and Chevan that can be heard on the NPR web site www.npr.org
"Adapting Jazz For The Shabbat Service" in Koleinu, Bulletin of the American Conference of Cantors, February, 4,6 2002
"Mid-East Scales Provoke Western Fears" in JazzTimes Magazine, December 2001
I manoscritti di Louis Armstrong depositati al copyright, chapter in Il Secolo di Louis Armstrong: Nuovo studi e ricerche nel centenario della nascita (1901-2001), Stafno Zenni, ed., Luciano Vanni editore, pp. 11-69. 2001
"The Duvivier Style: Technical Analysis," in Bassically Speaking: An Oral History of George Duvivier, by Edward Berger, Studies in Jazz, No. 17, Institute of Jazz Studies Rutgers-The State University of New Jersey and Scarecrow Press. 1993
Review of Hot Man: The Life of Art Hodes by Art Hodes and Chadwick Hansen (Urbana: University of Illinois Press, 1992) in The Sonneck Society Bulletin, vol. XIX, No. 2, Summer 1993, pp. 33-34. 1993
"Riverboat Music from St. Louis and the Streckfus Steamboat Line," Black Music Research Journal, vol. 9, no. 2, pp. 153-180. 1989
"The Development of the Double Bass as a Solo Instrument" The Black Perspective in Music, vol. 17, pp. 73-92. 1989
"That's Right, Its Afro-Semitic," New York Times, by E. Kyle Minor, February 4, 2001
"Sacred Concert" in The Jewish Week, article by George Robinson, February 2, 2001
"Double Bass to Piano: An Afro-Semitic Sacred Experience,", about...time, July/August 2001
"Afrosemitic" by Riccardo Schwamenthal, World Music, November/December 2001
Review of "Let Us Break Bread Together" by Michel Bedin in Jazz Hot, June 2001, French Jazz Magazine.
Short Takes, Review of "Let Us Break Bread Together" by John Barrett, www.jazzusa.com, January 2001.
"Like Checking Out a Funky Little Club" by Martin Goldsmith, December 8, 2000, in The Forward
Review of "Let Us Break Bread Together" by David Franklin, June 2001, in Cadence.
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