The Jazz Culture Feature
The George Gee Orchestra's Campaign on Indiegogo-George Gee’s Indiegogo Campaign:
JC: What is Indiegogo? GG: Indiegogo is another form of a crowdfunding campaign. It’s another platform; the only problem with Kickstarter, is if you don’t reach your goal you don’t receive any of the money, but with Indiegogo, if you reach partial your goal, you still are able to collect that amount. For me, that’s good, because I was worried about the Kickstarter campaign: if I didn’t raise the entire requested amount, I was still responsible for the whole project! With Indiegogo, which I’m using to raise the funds I need for post The Jazz Culture, V.III:115
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production, the mixing, mastering, duplicating, graphic design. I know I have the recording ready (thanks to the generosity of several very helpful supporters) , so I just need to raise money to make it a finished product. With Indiegogo, if I raise 75% of that money I still get that money. Over 50% so far, I’ve less than a week left, doing a big final push, and think I’ll have a big push in the next couple of days. It’s tough right now because people are bombarded by crowd funding, and I’m just lucky and glad that people are responding as well as they are. “Swing Makes You Happy” is the name of the new CD recording of my band. JC: Is there a special focus of this cd? GG: There are two singers, Hillary Gardner, doing “No Moon At All,” “Sweet Pumpkin,” and John Dokes, doing songs like “Nature Boy,” “Muddy Waters” and instrumental dance tunes like “Lindyhopper’s Delight” by Chick Webb. There are a great collection of original music by David Gibson, (for example) “On the Road to Roscoe’s” dedicated to that fried chicken joint in Hollywood. JC: I think your band and its evolution will be one of the bands that ensure the survival of Swing Music in the 21st Century. GG: Thank you so much for recognizing the fact that it’s the 21st century and we are part of the future! I love everything. I treat my band as a living, growing entity. I love the tradition of the big bands, but at the same time, I want to grow, and that benefits everybody. The musicians, the audience, the dancers. Everything that’s on this album is danceable. I love “One O’Clock Jump” and “Take the A Train,” and I play them also, but I feel that the band would not be as organic if it was just playing the repertory materials . You know it’s organic in the sense that it’s fresh… that’s why when we play the Chick Webb stuff it sounds so swingin’. If we only did Chick Webb, it may not sound so fresh without the infusion of the more original music. I’ve been 2
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In these Pages thinking about this a lot, especially with George Gee Orchestra's this album. If I just recorded “Take the A Indiegogo Campaign 1‐4 Train” or “In the Mood,” perhaps it may April Listings 5‐6 be more popular, but the original music John Watson Ad and the fact that Hillary and John sing Kuni Mikami Ad songs that are not the usual standards Photoessay on John will give us the identity of the George Farnsworth Band Gee Swing Orchestra. I think everything Photos on Barry Harris's I’ve been working for has been coming 39th Year Workshop in NYC to fruition. I’ve done all these things England Event already; I just want to do it more. I’ve John Watson on Salena Jones been lucky enough to have played festivals abroad and across the country. Photos Cont. on Barry Harris I’m hoping that this version of the band and this new CD, really is going to take us forward.
JC: Does this campaign on Indiegogo expand your followers? GG: Yes I believe so, it reaches a new audience of people that may not be as familiar with the band, because I think Indiegogo has its own audience of people that are interested in finding new projects to back. JC: Do you find social media, Twitter, facebook, and email to be important to growing your following? GG: Absolutely yes. It’s a necessary evil, I like it but sometimes I feel like it’s too encompassing, demanding of time and effort, but it helps you promote your concept and projects, etc. it’s literally a full time job. I cherish the time with my family. If my son wants to throw a ball around, I drop everything. That is something I will never ever regret. JC: Do you think the audience for swing dance is growing here? GG: Yes. The Jazz Culture, V.III:115
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I’ve been thinking about documenting my memoires. 3 decades in this business has snuck up on me. All the jazz performers, great musicians, good people and celebrities I’ve worked with, and the traveling. I’ve been lacking on blogging on my site. I have no regrets. I’m very excited about the future. See: http://igg.me/at/swingmakesyouhappy/x/274092 To contribute to “SWING MAKES YOU HAPPY!” by The George Gee Orchestra
The scene at Swing 46, home in NYC for swing dance; John Dokes, singer, L, George Gee above 4
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The Jazz Culture Newsletter Jazz Tours in NYC are available; also music teachers in various countries for students & jazz lovers. email: info@thejazzculture.com. Ads are available in The Jazz Culture Newsletter. The Jazz Culture Newsletter has been read in 75 countries. Brian McMillen is a contributing Photographer. Connie MacNamee and Arnold J. Smith are contributing writers." Countries: US, UK, Albania, Argentina, Armenia, Australia, Austria, Barbados, Belgium, Bangladesh, Belize, Brazil, Burma, Bulgaria, Canada, China, Chile, Colombia, Croatia, Czech Republic, Denmark, Ecuador, Egypt, Estonia, Finland, France, Germany, Greece, Holland, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Ireland, Israel, Italy, Japan, Kazakhstan, Kenya, Latvia, Lebanon, Lithuania, Luxembourg, Malaysia, Mexico, Moldova, Netherlands, New Zealand, Norway, Pakistan, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Russian Federation, Saudi Arabia, Serbia, Seychelles, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Thailand, Turkey, Ukraine, Uzbekistan, Venezuela, Vietnam
April Listings Clarence Banks‐ Swing 46 most Thursdays with Felix and the Cats, 346 W. 46 St. Ray Blue: German tour, Paris, Jazz Foundation concert,
Cleo's
Richard Clements‐ Pianist, 11th Street Bar most Mondays, 8 Kenney Gates, pianist. Philadelphia, Tues., Sun. some Sats.‐ High Note Cafe on Tasker & 13th, 5‐9 p.m. Bertha Hope ‐ Minton's on 206 W. 118 Street, every weekend George Gee Orchestra at Swing 46, every Tues, most Fridays 9:30 Loston Harris: Bemelmans Bar at The Carlyle; Tues ‐ Thur 9:30pm ‐ 12:30am, Fri‐Sat 9:30pm‐1:00am Bemelmans Bar Residency 12th year at The Carlyle, 35 East 76th St., New York, NY 10021 (76th St. & Madison Ave.) 212‐744‐1600 Mike Longo: Tuesdays Gillespie Auditorium in the NYC Baha'i Center at 53 East 11th Street 8:00 and 9:30 Joe Magnarelli/Akiko Tsuruga at Memorial Hall, Medford Lakes, NJ
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John Mosca & Michael Weiss, Vanguard Orchestra every Monday at the Village Vanguard 8 p.m. David Pearl‐ Mondays at the Thalia, 95 St. bet. B'way & West End 8 p.m. Valery Pomoronov‐ Zinc Bar on April 2, 9:30 p.m. Bill Saxton; Every Friday and Saturday Bill’s Place 133 Street Rick Stone: Bar Next Door on April 15 Murray Wall, bassist, 11th Street Bar most Mondays, 8 p.m. Leroy Williams, drums: Minton's Sun & Tues 2‐6 W. 118 St. Richard Williams, singer/poet: April 5, 8:30 p.m. Nuyorican Poets Cafe 236 E. Third bet. B&C 718‐233‐8048 Kumiko Yamakado: April 7 at Tomi's on East 53rd Street ENGLAND: John Watson Trio at the Palm Court, Langham Hotel, London, 1c Portland, Regent St. 207‐636‐1000 Fri‐Sat Save the Dates: George Gee‐May 23, Frankie Manning's 100th, Edison Ballroom, NYC John Kamitsuka Annual Recital Weill Recital Hall April 30, 8
Happy Birthday March- April Babies Chuk Fowler. Michael Hashim, George Gee, Lew Tabackin, Stafford Hunter, Lil Phillips, Randy Noel, Eric Lemon, Kenyatta Beasley Thank You for Bringing Beauty & Love to the World LEEE JOHN LIVE AT HIDEAWAY 17TH APRIL 2014 featuring John Watson on piano/vocal/keyboards!
John will be performing with Leee John & his jazz soul quartet at Hideaway in Streatham on Thursday 17th April. Hideaway was voted the UK's Best Venue 2011 in the Parliamentary Jazz Awards. 8.30pm - tickets £20. Call 020 8835 7070 or visit: http://www.hideawaylive.co.uk/leee-john-
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thursday-17th-april-2014 JOHN WATSON CD ALBUMS -- YouTube Kudos Records. The JW3 Live At The Langham, Master OfThe Mood, Heaven: A Night At Four Seasons and Easy. Enjoy! COMPLIMENTARY NIGHT AT THE LANGHAM-- The minimoon must be taken by December 2015 and is a 1 night weekend stay. For more information and to make a booking call 020 7965 0195 or visit: http://www.palm-court.co.uk/#/propose JOHN WATSON by Max Garr
KUNI MIKAMI, Pianist is also an acclaimed, talented Videographer Special Introductory Sale: Five Minute Edited (with music) Video Resume for Performers $300 Contact Kuni @: 123mime@gmail.com
Artist must provide: • Good quality HD video on computer file • Good recorded audio sound • A photo of yourself • Text you want to see on the video
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GEORGE GEE ORCHESTRA's Indiegogo Campaign Please Contribute to "SWING MAKES YOU HAPPY" this is true. Listen to an excerpt of the Master Chick Webb's "Midnight in a Madhouse" George Gee's Orchestras have been making people swing for 30 years. Please give back to this great band!
http://igg.me/at/swingmakesyouhappy/x/274092
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John Farnsworth Quintet sounded good at Smoke but Manager Patricia (who felt PR was 'unauthorized') kicked out our reporter, who was writing down the names of the players: hence, only Andrew Beals on alto was identified.
BARRY HARRIS'S 39th YEAR TEACHING IN NYC POTLUCK DINNER
Holding hands in a circle, Dr. Barry Harris urged his students to love one another, and be part of the healing community of jazz artists. "We are all healers," he said. Dr. Harris recalled his early days in the 1970's in New York, teaching at Jazz cont. p. 1 3 The Jazz Culture, V.III:114
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ENGLAND EVENT Salena Jones & Her Sextet!
at The Pheasantry, London - 10th April 2014 John Watson by Max Garr
Review by John Watson
Salena Jones vocals Will Bartlett piano/musical director Jules Jackson bass Matt Skelton drums Hugh Wilkinson vibes/percussion Richard Shepherd tenor and soprano sax Martin Shaw trumpet/flugelhorn
The Pheasantry is located in London’s famous Kings Road in Chelsea and is part of the Pizza Express group of music venues. Like Pizza Express Jazz Club Soho, the music room is in the basement. Art Deco style black and white tiles dominate the stairs down to the room. Large canvas pictures of jazz musicians are on several of the walls plus a striking statue. A sweeping staircase leads down to the stage area at the top of which is a balcony. The baby grand piano, double bass and drums filled the stage area so the trumpet, sax and percussion players were set up on the 10
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balcony. The unusual set-up only added to the anticipation of the performance. The musicians took their places and, as the lights dimmed, a voice introduced the Will Bartlett Sextet. ! Will directed the musicians from the piano with confidence and precision and their swing number was a good aperitif for the evening with concise solos from each musician. Will immediately counted in the next number and, over the intro, we were asked to welcome Salena Jones to the stage. Salena looked elegant and glamorous in a white beaded dress and calmly took command of the stage. The first song was Lionel Richie’s Hello but, after a brief ballad section, the arrangement swiftly moved into a bluesy medium swing; a nice twist showing the arranging skills of Keith Mansfield. Keith has arranged for musical luminaries ranging from Dusty Springfield to Maynard Ferguson and it was great to hear what he could achieve with just a sextet.! Rodgers and Hart’s This Can’t be Love swiftly followed and Salena was noticeably enjoying her band and the warm, receptive audience. Salena then moved into Michael Franks’ Antonio’s Song (which she recorded on her Melodies Of Love album). This really got the audience into a mellow latin mood with a great flugelhorn solo by Martin Shaw and subtle but effective percussion from Hugh Wilkinson. It was back to the standards with Imagination (Jimmy Van Heusen/Johnny Burke). Salena once said to me that you should really speak to the audience with the lyrics and she certainly showed how you do that. Although she always sang the words, you felt as though she was “speaking” to you. Subtle word stresses and glances got her message over to the audience and showed her command of her craft.! !An upbeat version of Day By Day cleared the palate before Salena returned to the latin theme with a medley of three Jobim songs: The Boy From Ipanema, Dindi and Agua De Beber. She explained how she had recorded an album in Rio with the Jobim family. The bossa nova genre really suits Salena’s voice and the sextet delicately and suitably supported her. The mood turned more bluesy with Cannonball Adderley and Nancy Wilson’s Save Your Love For Me; a great showcase for Salena’s mastery of The Jazz Culture, V.III:15
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phrasing and set ended with I Love Being Here With You.! ! The second set opened with a great swing arrangement of Cole Porter’s Night And Day followedby an interesting musical marriage of Neil Diamond’s Hello Again (in a slow 3/4 time) moving seamlessly into a jazz waltz version of Hello Young Lovers. Billy Paul’s Me And Mrs. Jones became Me and Mr. Jones and there were nice renditions of standards such as All Or Nothing At All, I’ve Grown Accustomed To His Face and Cole Porter’s From This Moment On but the real flavour of this set was the blues. Salena really connected with the audience with numbers such as Since I Fell For You, In The Dark, Someone Else Is Steppin’ In and Every Day I Have The Blues. Salena used a more forceful style of singing for these numbers and, in Every Day I Have The Blues, the last song of the evening encouraged the musicians to take extended solos.! !Salena was radiant and at ease with her band. Keith Mansfield’s arrangements perfectly showcased Salena’s vocal style and, with excellent musicians, made for a slick and well-crafted performance which would work just as well in a theatre. As it was a jazz club, and from a jazz musician’s point of view, I would have liked to hear more extended solos from all the musicians but, from an audience’s perspective (some who were there just to see Salena Jones the singer) the balance was right. After the show, I spoke to Keith Mansfield and he explained how, especially in the first few numbers, he had written pretty tight arrangements that ensured the show got off to a good start but, later on, some arrangements allowed for more personal interpretation by the musicians. The beauty of a venue like the Pheasantry is that you get the opportunity to see artists like Salena Jones in an intimate setting where you can enjoy every subtlety of the performance. For more information on Salena visit: www.salenajones.com and for information about the Pheasantry visit: http://pizzaexpresslive.com/popList.aspx! ! 12
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Cont. from p. 9 Interactions for trumpet player Joe
Newman and others, and once arriving late to class himself because his flight was delayed. He was two hours late, and rushed to the class, and found them all waiting for him. His class migrated many places in the intervening years, including the Jazz Cultural Theatre, which he founded, on the second floor of Rod Baltimore's, and Dr. Colin's on 53rd Street. He now teaches at 250 West 65th Street on Tuesday nights, a community center. Barry Harris is one of the foremost jazz teachers in the world, as well as being one of its premier pianists, arrangers and composers.
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Barry Harris Class, circa 2014
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