On the first studio recording by his swingin' jazz orchestra, bandleader George Gee turns over his director's baton and the arranging chair to the great arranger/composer Frank Foster. Foster first made a name for himself as a saxophonist and arrang [+]On the first studio recording by his swingin' jazz orchestra, bandleader George Gee turns over his director's baton and the arranging chair to the great arranger/composer Frank Foster. Foster first made a name for himself as a saxophonist and arranger in the organization led by Gee's idol, Count Basie, in the fifties and sixties and following an illustrious career on his own returned to the group as its leader during the eighties and nineties, after the great pianist passed away. Gee's big band has previously recorded Foster's most famous composition, Shiny Stockings, on one of their live albums, so he knew the combination of his group and Foster's music was a heavenly match. Foster treats the band like it was his very own and the resulting music is, in his words, both "happy and swingin'" Gee is understandably proud of his fine ensemble. Their performances of Foster's fine arrangements, most of which have never before been recorded, keeps the Basie and the Foster traditions alive and prove that swing still lives.
The date starts off with the classic standard "Out of Nowhere." Foster's arrangement features the smooth flowing saxophone section sound punctuated by crisp staccato screaming exclamations by the brass section that was the hallmark of the Basie band. Trumpeter Mark McGowan and tenor saxophonist Michael Hashim get to shine individually while the rhythm section, with John Cowherd at the piano, Joe Cohn on guitar, Darryl Hall on bass and Willard Dyson at the drums, emulates the loping tempo at which the Basie band excelled, spurring a performance that can be loved equally by listeners and dancers alike.
Foster's original, "Settin' The Pace," does just that, with the rhythm relaxing in a Basie groove that is given a real sense of authenticity from Cohn's chugging chords on rhythm guitar, in the tradition of the great Freddie Green, over Hall's walking bass, while Cowherd displays his affection for the Count's spare spacious piano sound. Eddie Bert, Charles Stephens and Jack Jeffers increase the velocity with their trombone exchanges over the blaring brass propelled by Dyson's drums and Howard Johnson digs deep into his blues bag for an exciting baritone solo before the band brings it all home.
Grammy award nominated vocalist Carla Cook
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