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JAZZ CULTURENew York Jazz Project

In These Pages: ReviewRome Event: L. Fabris 2‐3

Mastering Guitar: R. Stone 3‐4Dr. Frank Foster 5‐8

by C. BridgewaterBillie Holiday Tribute 9‐11

646‐312‐[email protected]

http://newyorkjazzproject.com

p.1Jazz Culture by �YJP v1, n4

On Friday May 11 , 2012, The George Gee Swing Orchestra

was swinging so hard the musicians fled outside on their breaks to

cool down. We usually think musicians play an instrument, but

Conductors shape the sound, unify the band, indicate where

sections and solos come in, control dynamics, the beat, the

repertoire and set list. George Gee is a master at this with over 30

years experience leading big bands, his band now playing every

Tuesdays and some Fridays at Swing 46, stomping grounds for the

world’s swing lovers. He started as a bass player.

The band played “A Train,” “Route 66,” “Candy,” “Puttin on

the Ritz,” “Moten Swing,” “Hard Times,” “Count Basie (Red

Bank) Boogie,” “Misty,” “It Had to be You,” “Don’t Get Around

Much Anymore,” and “A Very Good Year,” punctuated by Gee-

isms: “After all these years I can still say, ‘ It Don’t Mean a Thing

If it Ain’t Got that Swing;” and “This is dedicated to the fried

chicken lovers all over the world.” Gee has a solid rhythm section

in the lovely toned Marcus McLaurine on bass, Willard Dyson,

drums, who lit up the house on “Sing, Sing, Sing,” harkening back

George Gee Swing Orchestra

at Swing 46 more on p.5

REVIEWofGEORGE GEE SWI�G ORCHESTRA

ROME EVENT

to the Golden Age of Swing, and pianist Steve Einerson. Dave

Gibson, trombonist, is an excellent composer/arranger (his “On the

Road to Roscoe’s” perfectly captured a free-spirited car ride

headed to some great fried chicken). Gee features some terrific

soloists, including Mike Hashim on tenor, with a stirring, unique

tone, Vitale Golovnev, a talented trumpeter, Julius Tolentino, who

combines a black/Filipino sound with lyric intensity, a singer

named Angel Rose who does ballads with a silken voice and

swings the blues.

The only time Gee’s smile paused was recollecting how sad he

was when Frank Foster passed. “We recorded a cd of Frank

Foster’s arrangements in 2004,” he said. “He and Cecilia were

great.” Otherwise, he asked, “Is everybody happy?,” and seemed

to mean it. See George Gee.com to hear the band.

Luciano Fabris, pianist. From March 19-23, 2012 at the Felt Club

in Roma, Italy, there was an international masterclass featuring

Barry Harris with 90 students from 19 different countries,

including Europe, the United States, Canada, Israel, Syria, Russia,

Japan, and Cyprus. The highlight of the event was on Friday,

March 23, when Barry Harris played also a memorable concert

with Luca Pisani on bass and Oreste Soldano on drums.

This was the 1 1 th time a unique event of this kind has been

produced in Rome by the Roma Jazz Workshop Cultural

Association. Over 600 students have had the possibility in the last

seven years to study with this great teacher, composer, and

performer of jazz music,.Besides being the foremost musician in

the world with knowledge ofCharlie Parker and Bud Powell's

music, he is recognized worldwide as an innovator, also because of

the great contribution to musical theory of his sixth/diminished

scales. Barry Harris has a unique way of teaching. He believes that

the best place to learn how to play is a class, where people of

different levels come together and can improve. Seeing Dr. Harris

Jazz Culture by �YJP v1, n4p2

at work, sitting in front of a bunch of horn players ready to play

scales and phrases at really fast tempos and challenging them to

play faster is a remarkable experience.

For many years Barry Harris has traveled all over the world to

teach young people and spread his message and his passion for

jazz. In Rome, the brilliant pianist Andrea Papini collaborates

with Dr. Harris as translator. Also every night, passionate jam

sessions were held until late in the night, conducted by different

piano players. Italian audiences had the chance to listen to some

great players as Richard Clements from USA and Kuno Kurner

from Germany, beside the Italians Fausto Ferraiolo and the above

mentioned Andrea Papini.

After the class was over, as always we received a lot of

messages of joy sent for days from students and audiences alike,

filled with gratitude. Things like that can happen when somebody's

heart is touched.

Mastering Guitarby Rick Stone

A person can obviously

become a GREAT jazz guitarist

without going to a music school

(countless examples exist) but

the problem we face now is a

lack ofworking situations and

bands for a young musician to

learn in. If you look back at the

early history of jazz, most

musicians got a lot of their

training from playing in bands,

learning on the job. But now

people are so used to canned

Jazz Culture by �YJP v1, n4 p.3

Photo: Chris Drukker

music, that in most cities, only the best musicians get to play even

on little bar or cafe jobs that barely pay. This leaves very few

opportunities and so the schools have kind of come in to fill that

void by providing a place where young musicians can learn from

(and sometimes perform with) their elders and perform with their

peers. A degree is really only necessary if one is going to teach or

have any sort of job in an academic setting.

Teaching is really a different art from playing. Early on in my

life I had some great teachers who inspired me to want to follow in

their footsteps, but I also wanted to be a player. So I've kind of

followed a split path; I've tried to grow as a player AND as a

teacher. You have to really make a study of that and observe the

lessons that you yourself have learned, and whether those things

translate to your students. Every student is different as well, so to

be a good teacher, you have to learn how you can get through to

that person in a way that effects them positively. It takes a

TREMENDOUS amount of patience and can be really frustrating

at times. Not every musician has the temperament to be a great

teacher.

Most jazz guitarists prefer an arch-top guitar. Of those, there

are two main varieties: A carved top (in which the top is carved

from a single piece of spruce) is much more responsive

acoustically acoustically, but also much more expensive and

fragile. Good examples of these are the Gibson L-5 and many

guitars handmade by luthiers like Benedetto, Buscarino and

Comins (which is what I play). A "laminate" (or plywood top) on

the other hand, has a top that is arched by molding the wood on a

form. The laminate is cheaper to build and much sturdier, so it's

often the choice for a "road" guitar, even for musicians who prefer

a carved top at home and in the studio. The Gibson ES-175 is a

good example and there are many laminate instruments being

made by Asian companies now that fall easily into the beginners’

budget. It should also be noted that when played electrically, a

laminate is often less prone to feedback, so some players prefer

them in live situations for that reason.

I should also note though that ANY guitar can be used to play

Jazz Culture by �YJP v1, n4p.4

jazz and the choice of instrument can be a really personal thing.

Some players (thinking now especially of the great Canadian

guitarist Ed Bickert) even prefer solid body instruments like the

Fender Telecaster, which believe it or not, can be a really great

sounding jazz guitar (in the right hands of course! ).

I personally use several guitars regularly; I use two Bill Comins

"Classic" models, both carved archtops (one is a 17" and the other

an 18"). I also use a D'Angelico SS which was redesigned for the

company by Bill Comins a few years ago. The SS is a laminate

with a smaller body (14.75") and is very comfortable to play. I also

use a Vestax nylon string guitar that was made as a prototype for

the NAMM show about 10 years ago. It's different from a

traditional classical in that it has a smaller body (15") and an

arched top. The neck is also narrower than a traditional classical

guitar and meets the body at the 14th fret (as opposed to the 12th)

so it feels more like my jazz boxes. I've got a closet full of other

instruments, but the ones I described are kind ofmy "go to"

instruments for almost everything.

Frank Fosterby Cecil Bridgewater

[Frank Foster] He had

several bands, the big band for

festivals concerts that also

played dances. He had another

group called Swing Plus, a

smaller group, more of a dance

group, with fewer horns and a

rhythm section. He also had

the Non Electric Company, a

small group – quintet/sextet.

Cecilia his wife took over

the booking and management

and PR and all that. She was asJazz Culture by �YJP v1, n4 p.5

JAZZ HERITAGE

Photo: Brian McMillen

much a part of the band as he

was. She was behind the

scenes, taking care of the

business stuff. It was a great

partnership. It took a lot of

work to get rehearsals, trying

to transport and house that

many people. Festival

people or concert people

don’t want to put out that

much money. It is a lot

harder for bands to travel now days. I remember Max Roach told

me that bands used to stay in a city for 8 weeks at a time.

Nowadays you travel to a venue, do the concert/engagement and

return home until the next concert. A lot of concerts are in colleges

or schools. In Europe you’re doing festivals, so you during the

festival season. It’s a little more difficult, in terms of financially

making it viable not only for the artist but the venue.

Frank did all kinds of other things as well, commissions. He

just finished writing the “Nippon Lament,” for the people of Japan

tsunami victims, which had its premiere at his memorial on

September 23, 201 1 . He also taught at Jazzmobile and several

Colleges and Universities around the world.

[Now you have a] General public [who] doesn’t hear jazz.

Unless you seek out WBGO or some other jazz stations so there is

less awareness and appreciation for the music. You have to seek it

out. Going to Europe and Japan someone would come up to and

say, “I remember a recording you made for so and so..” often

something that I had forgotten. There is a different level of

knowledge of the music. A lot of people in this country don’t

know who Frank Foster is. We don’t remember the ancestors

whose shoulders we are standing on, we’re always looking for the

next new thing, we don’t give them the respect their due until after

they’re dead and gone, whether it is in fashion or music. It’s very

very young country… this country is very young like a little kid,

and so the music is the same way. We’re so used to throwing awayJazz Culture by �YJP v1, n4p.6

Cecil Bridgewater rehearsing for 25th

Anniversary of�ew School Jazz

stuff, so we toss it aside. It has to be termed monumental for

something not to be built in its place…in another place they

wouldn’t think of doing. Jazz has withstood the test of time for 100

years, but that’s still a very short time.

[Frank Foster] He is one ofAmerica’s great composers, along

with Duke Ellington, George Gershwin, his contributions have

been as a saxophonist, mentor, composer, arranger and organizer.

Those are things he…excelled in from the time he left Cincinnati,

from the time he left college. Some [people] are great

instrumentalists, or great innovators, [e.g] John Coltrane was great

innovative, saxophonist, but Frank was known for all of those

things, and revered for all those things.

He was a great teacher. I first encountered him as a teacher at

Jazzmobile, Diz and Jimmy Heath used to teach there. He went on

to teach at several universities. Within the band he was always

challenging us, making us experience the difficulty in his music.

As a composer, arranger, saxophonist, as a mentor, all of those

things. . .

We are going to do the best we can to keep the music going

and let people know who Frank Foster is. He was one of the few

people who had a hit, like “Shiny Stockings,” his music was in a

couple of Jerry Lewis films; Dizzy commissioned him to write for

London Philharmonic. He was commissioned to do a piece for

double big bands, in Ohio, Sean Jones’ Big Band, and Byron

Striplings Big Band. That’s a very rare happening. Lincoln Center

Orchestra commissioned him-- he wrote for everybody.

His great sense of humor and curiosity came through and gave

life to everything. He fought through his illnesses. Taking on

having your own big band is a huge task as well, to try to keep it

working. Frank’s life was a big part of the history of the music,

from the era ofBasie right on up to last year.

A simple thing, never give up your dream. Whatever you think

you want to do, don’t shrink that for an easier route. Something

you really want to do, put in the effort and it’ ll happen.. .He would

come to rehearsals in a wheelchair and conduct the band, the band

was his instrument. You felt the energy he was putting into it, you


could do no less. He was the kind of person that overcame all the

obstacles, no matter what it was.

BILLIE HOLIDAY TRIBUTE


Photos by RichardWilliams

Michael Morgan & Frank Robinson

Connie

Mc�amee

&

Jim Malloy

Jo Marchese

Maggie

Malone

Continued from p.1, George

Gee Swing Orchestra. Dawn

Hampton, right, swing

dancers left experience the

rapture at Swing 46


April 7, 2012

The first annual Tribute to Billie Holiday took place at The

Rum House, a gourmet drinking establishment in the Edison Hotel,

(on 46th Street between Broadway and 8th Avenue) decorated

with art nouveau lighting, dark wodden panelling.

About 24 singers took part in the festivities, featuring a trio

with Kuni Mikami, pianist, Jon Roche, bassist, Clifford Barbaro,

drums. Singers and audience alike exclaimed their love for Billie

Holiday, one of the jazz greats we all idolize and try to learn from,

as she was a natural genius and innovator. Overcoming a horrific

childhood, she became at the age of 18 one of the biggest stars in

New York, recorded by John Hammond, who called her "an

improvising jazz genius." Nat Hentoff called Billie Holiday "the

best and most honest jazz singer."


Joe Gimpel &

Lana Sokolov

Kumiko Yamakado

& Sybil Evans



Mary

Rocco &

Maki

Mototsu

Lisi Paluski & Anthony Maxwell

Attending but not photographed were Joyce Deyo, Tom Breuer,

Sonya Perkins.

Belonging to the jazz world is a blessing, where we have so many

recordings and memories of stars like Billie Holiday, who filled our

heartbreak, happiest moments,solitude and memories, struggles and joys

with some of the greatest music the world has known, free for all of us to

share, belonging to all those who claim it.

RichardWilliams and Lesli

p.11Jazz Culture by �YJP v1, n4

Ron Saltus & Mike Sergio

Lafayette Harris- the Harlem Jazz

Festival Ginny's Supper ClubTamiko


Let's Link

See BarryHarris.com Clarence Banks, Count Basie

Trombonist. Clinics, Private

Lessons Call: 917-428-6746

Congratulations,Jazz Culture! Kuni MikamiJazz Pianist on CD BABY:

Hamp's Boogie

See LafayetteHarris.com

Cds, Clinics, Lessons

Photo: Max Garr

John

Watson

@johnpiano

man.co.uk

The

Langham,

London

Lionellehamanaka.com-

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