The George Gee Swing Orchestra onstage every Tuesday and Friday night at Swing 46
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The George Gee Swing Orchestra
by L. Hamanaka
Caught George Gee’s Swing Orchestra at Swing 46 on Friday, May 10, 2013, with Jeremy Manasia, piano, Noah Garabedian, bass, Eric Halvorsen, drums, Andy Gravish, 1st trumpet, Mickey Hiroshe, 2nd trumpet, Dave Gibson, trombone, Michael Hashim, tenor saxophone, Ed Pazant, alto saxophone & clarinet, Paul Nedzela, baritone saxophone, and John Dokes, vocalist, with Mr. Gee conducting. “If Dreams Come True,” (c. Edgar Sampson, Benny Goodman, Irving Mills) a Fletcher Henderson arrangement, was played at a spirited tempo (about 148=quarter note), with Michael Hashim taking the first solo on tenor saxophone, Mr. Gravish’s trumpet punctuation reaching the rafters, and Mr. Pazant’s lyric flights of fancy on alto saxophone, with the strong support of the rhythm section. The pianist Mr. Manasia played a tasty and relaxed solo, and there were short segments of drum solos against the 2
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counter rhythms of the horns, creating a hopeful and uplifting sound. The song’s melodic swing, class and heartfelt optimism perhaps synthesizes the spirit of the George Gee Orchestra. The great “Take the A Train” was next, at about 148=quarter note, with sharp accents on the classic Strayhorne piece, just the way Duke Ellington’s orchestra used to play it, warm and bringing to life one of the big band gems in American musical history: by the trumpet cadenza at the end the dance floor was packed. “Hard Times” at about 125=quarter note followed, a bluesy piece starting with the alto, Mr. Pazant, playing a stirring version of the melody, sometimes shaking the tone. Then Mr. Gibson (also an arranger and music director) on trombone played a well structured solo, that was echoed by the rest of the band. “Puttin’ On the Ritz” at a snappy 175=quarter note, a pulsating tempo that was beautifully phrased by the ensemble, expertly conducted by George Gee, who, in the tradition of big band conductors like Thad Jones and Dizzy Gillespie, was not afraid to express the music by moving his body, vibrating with the subdivisions of the beat and framing the music crisply. Mr. Pazant played a nimble clarinet solo, Mr. Hiroshe phrased well, with perfect articulation of triplets leading into his lines. The baritone saxophone player, Mr. Nedzela, had a compelling quality and his own sound. “It was a Very Good Year,” a Sinatra classic, was a feature for Michael Hashim, whose sound on tenor saxophone is husky, poetic like the old swing players, compelling with a big fat tone the color of burnished gold, and always 4
Michael Hashim, standing for a solo
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telling a story. The piano solo built from a 7 note motif, and after perambulating the main tonality, went into blues colors and then some whole tone phrases. The band swung hard at this tempo (about 116=quarter note).
John Dokes, Vocalist
The vocalist, Mr. John Dokes, a tenor-baritone, sang the following songs: “I’d Rather Drink Muddy Water,” at about 120=quarter note, in a snappy, Broadway style, with a good technique; “Tis Autumn,” a ballad in the tenor part of his voice, which he delivered with his sunny personality, with Mr. Gibson doing a good solo and providing a fitting counterpoint at the end of the song; a shuffle blues, “Well All Right, Well Ok, You Win,” where everyone jumped up on the dance floor, responding to the strong rhythm section; and “I Could Have Told You,” in the baritone part of his voice, (a ballad that Arthur Prysock made famous), and had the ladies swooning, in which Mr. Hashim played his solo like a singer. Mr. Dokes has strong stage presence and some nice moves; and holds the audience’s attention. Then George Gee announced they would do, “Midnight at the Madhouse” a famous gem rarely played by Chick Webb, the great drummer-bandleader at the Savoy Ballroom. The band played at about 148=quarter note, and brought to life the mysterious and delightful, charming and impish qualities of the piece, which might have been a classical piece with different orchestration. The solos were very short and brightened up the already effervescent arrangement with twirling motifs filled with triplets. The Jazz Culture Newsletter Private Jazz Tours in NYC; also pairs music teachers in certain countries with students or jazz enthusiasts. For Further Info email: info@thejazzculture.com
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Some celebrity dancers were in the house: Dawn Hampton and Norma Miller, and a young lady named Yvonne Conybear who said three days of events was going on, in which Harlem swing dancers met D.C. swing dancers. Two of the D.C. dancers were on the floor that very night--Leslie and Lewis--very dashing and breathtaking in their moves, pirouetting and sliding all over the dance floor with virtuosic Lewis from D.C. and Yvonne ease. Ms. Conybear said dancers Conybear, NYat Swing 46 from all over the country were gathering in Harlem for workshops and dance events; after which she danced with Arturo Perez, Swing 46’s resident dance teacher (see photos). The dance floor was a study in contrasts, with dancers who had just taken their first lesson that night with Arturo, and swing dancers famous in cities like NY and Washington, D.C. In “Shorty George” by Count Basie at about 145=quarter note, the band captured the flame of the swing beat that drove dancers to distraction across the country; and “Sing, Sing, Sing” the classic tune that Benny Goodman and Gene Krupa made the national anthem of swing in the 1930’s. The drummer, Mr. Halverson, has a rock solid sound in his middle register, a pretty sound on his bass drum—and played to rousing applause. The song propelled the dancers onto the dance floor. One of the advantages of Mr. Gee’s band is that it is not dedicated to one specific composer’s work; he can pick and choose between the great Fletcher Henderson, Basie, Frank Foster, and all the standards of the Golden American Songbook, showing off the diversity and magnetism of the different big band arrangements. 6
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After the set, Mr. Gee spent a few minutes recounting his involvement in big band swing. “I do believe in passing on the flame, since the beginning of my career, which is going on 33 years. It’s a very important job, because as much as my big band elders have passed on their wisdom to me, it’s important to pass it on to others.” Mr. Gee was a bass player who then devoted full time efforts to becoming a George Gee outside Swing bandleader, conductor and developing a 46 network and following. A stand-up guy who keeps in good shape, he and his band have toured across the USA and recorded scores of records. His long residency at Swing 46 has been a win-win situation, making the club a beacon to swing lovers the world round and throughout New York City, and his swing orchestra has played, arguably, the most performances on the east coast, perhaps in the country. Mr. Gee’s cheerful persistence and hard work have been a major factor, as part of the center of the swing community of musicians, listeners and dancers in keeping the flame alive for swing music throughout the US. Swing music, heard by millions throughout the world, music of the swing era of the 30’4 and 40’s, is often the most popular form of jazz. “I’ve been fortunate enough to have had a relationship with [Count] Basie. I met him in December 1979. I knew him and considered him a friend until he passed away in 1984. He was always supportive of my aspirations and followed it. [We were] musical friends, talked on the phone; I met his wife, I have been to his home in St. Albans.” “I have a career in big band business or music. For over 16-17 years I’ve been a full time band leader. That’s a pretty amazing The Jazz Culture, VII:55
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task.”
Ed Pazant, Alto Saxophonist, with Dawn Hampton, Dancer/Singer/Teacher/Whistler
JC: Has big band music been affected by the economic downturn? George Gee: “The working, performing business has fallen as the economy has fallen. (But) I’ve done society work, parties and covered all the bases. I’m with quality musicians at this stage. Every single one of them is. I have a family of musicians to draw from. (But) you can’t play happy music if you’re not happy to begin with, right? ”From the 1970’s to 1980’s, nobody wanted to hear [big band music]. I knew when it was not popular at all—zero interest when I started. When I remember those days, it’s a miracle. It went through [a period when] it was just nostalgia. Since the mid 80’s or early 90’s [the popularity] has doubled. [Swing] cannot be compared to ‘modern’ music, because modern music is not created 8
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[for the most part] by live musicians. It’s amazing how many young people are discovering it, and are passing the torch on to younger generations.” “Remember in the old days, how they had Battles of the Big Bands? There are several coming up, one at Midsummer Night Swing on July 4th. Jazz at Lincoln Center is sponsoring it, a battle with a west coast band, Dean Mora’s band, Modern Rhythmist. On June 29th, there’s a Battle in Los Angeles at Culver City with Dean Mora’s Modern Rhythmist Band. I’m promoting it myself at some big ballroom in Culver City to spark interest in big band swing. I’ve got sponsors; it was my idea. Then on July 6th, there’s another Battle of the Big Bands coming in Washington, D.C.,” he said excitedly. George Gee is an optimist who makes things happen, and an ardent Keeper of the Flame of Big Band Swing. For more info,
see: GeorgeGee.com.
Swing dancers hop straight from class with Arturo Perez to the dance floor with the George Gee Swing Orchestra The Jazz Culture, VII:55
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