George Kaye


In case any of you missed the news, George passed away last month after a long illness.

He was a kind, thoughtful and helpful person and a great bass player. I and others will miss him. 

I apologize for not posting this sooner. 

from the Daily Hampshire Gazzette:

by Carolyn Brown

February 26, 2025

 

Passionate on and off the bandstand: Jazz community mourns the loss of bassist George Kaye

 

Jazz bassist George Kaye, longtime member of the Valley’s Green Street Trio, died on Monday, Feb. 10, at the age of 73 after a period of failing health. 

“He was a very deeply caring person,” said Ruth Griggs, president of the Northampton Jazz Festival. “He loved to mentor young musicians. He was very curious about new people coming into the community and onto the bandstand and always reached out to people to just get to know them better. He was also very creative in his thinking, let alone his playing.”

Kaye, a self-taught musician who learned from jazz albums, started playing bass in high school. He lived and worked as a musician in Albany in the mid-’70s, performing with saxophonist Nick Brignola, then moved to New York City to continue playing bass as a freelance musician. He got his bachelor’s degree in music from the Manhattan School of Music in 1997, then moved to Brattleboro, Vermont, in 2001.

In 2015, Kaye got a master’s degree in music from the Jazz Composition & Arranging Program at the University of Massachusetts Amherst. The school’s Department of Music & Dance posted a tribute to Kaye earlier this month on social media, which said, “He was an extraordinary bassist and a great friend with a huge heart.”

Locally, Kaye was a member of the Northampton Jazz Festival board of directors from 2018 to 2021 and served as an advisor to the festival after that. Griggs said that Kaye was foundational to the growth of the western Massachusetts jazz scene because he brought musicians from New York City and beyond to the Pioneer Valley – and he liked to think big.

“When he was on the board of directors of the Northampton Jazz Festival, he would say, ‘You’ve gotta bring Ron Carter here,’” said Griggs. Carter, the most recorded bassist in jazz history, a three-time Grammy Award winner and an NEA Jazz Master, would have been a big get. The other board members were skeptical.

“Sure enough,” said Griggs, “we had Ron Carter here in 2022, and it was a completely sold-out show.”

With all of the musicians that Kaye brought to the Pioneer Valley, Griggs said, “We’re just reaping the beauty of that generosity that he had.”
 

One of Kaye’s longtime friends, Paul Arslanian, the pianist in Green Street Trio and executive producer of the Northampton Jazz Workshop, said Kaye was a generous man who cared about helping young musicians and had a “really creative, spontaneous mind.”

“He was a natural-born teacher,” Arslanian said. “He always wanted to pass on what he knew,” telling students “not what they were doing wrong, but what they could do better. He did it in such a good-natured way that people are writing, testifying how important that was to their careers.”

Arslanian, like Griggs, said that a key element of Kaye’s legacy is that he “brought New York City to the Valley” – not only in the musical talent that he recruited to play here, but in a particular work ethic as well: “You have to really work at the craft. You don’t stop practicing, you don’t stop learning, every gig is important.”

“I’ll never forget him, for sure,” Arslanian said.

Nearly everybody who spoke with the Gazette for this story mentioned that Kaye was known for being outspoken about his opinions.

“He loved life. He was always totally engaged when you talked to him, very opinionated. He was very New York brash, almost. He spoke what he meant. He said it, and he didn’t have very many guardrails in terms of his social interaction, but he wasn’t afraid to say what he was thinking,” Arslanian said. “Sometimes it [rubbed] people the wrong way, but most of the time, they took it as someone that was very genuinely interested in who they were.”

“George impressed me as a person with the aura and intensity of someone with a strong or passionate point of view,” said jazz historian and radio host Tom Reney, who also serves as an advisor to the Northampton Jazz Festival. “It may have been for a particular artist he was endorsing for the festival, or for artists booked for the weekly Northampton Jazz Workshop. I don’t think George was shy about speaking his mind.”

Beyond his outspokenness, Reney said, “George leaves a legacy of excellence, readiness, and openness to jazz at its freshest and most spontaneous levels of creation.”

Outside of music, Kaye was also passionate about science; he studied engineering at Rensselaer Polytechnic Institute and loved watching Neil deGrasse Tyson’s lectures online. He founded the company Moscode, which produced amplifiers, and co-founded a recording studio in Manhattan with jazz drummer Jimmy Madison.

“I’m a carpenter and a fix-it guy, and he was sort of a fix-it guy, too,” said Arslanian. “We had a lot of conversations about how to make the world better.”

Eugene Uman, director of the Vermont Jazz Center, knew Kaye both as an educator and a musician. The two met when Kaye moved to Brattleboro, where he joined the faculty of the Vermont Jazz Center as an educator. Uman is a pianist, and the two played about 200 gigs together.

“As a bass player, he was really tremendous. He had a really steady quarter note, and you could always rely on him to have good time,” Uman said. “He always would add his own creativity into a composition. He was always trying to make things groove and feel like they swing hard.”

“We’re gonna miss him a whole lot,” said Uman. “He was a strong personality, and he made a really great impact on our personal lives as well as our musical lives.”

Kaye’s sister, Maggie Kaye, wrote in an email that her brother “lived his last days as he lived his life. With courage, grace, complete commitment to those he loved and equally committed  to the truth in every single in stance. He left us, listening to Miles [Davis] all day. Our hearts are broken but we are forever grateful for the time we had with George and for the extraordinary friends who loved him.”

Kaye is survived by his partner Maria de la Vega, his sister Maggie Kaye, his daughter Chelsea Kaye-Bidinger, and de la Vega’s children, Lisette, Nico and Alicia.

Carolyn Brown can be reached at cbrown@gazettenet.com.

unreceivedogma

Showing 6 responses by unreceivedogma

@frogman

I bought my pair of NYAL Futtermans from Dave Wasserman’s Stereo Exchange in 1985.

at first, when something went wrong with them, I took them to Dahong Seetoo, but Dahong soon went on to bigger and better things, eventually winning 5 Grammys for his work with the Emerson String Quartet, and though he always found time for me because I was one of his very first customers, he was never really a tube guy anyway, and somehow I then found George Kaye. He did the first overhaul, but when he moved to Brattleboro, well, that was a distance, and then I found Jon Specter, who was in Staten Island, who did the recent overhaul and installed George’s triode conversion for me. Jon can be heard here at this Dan Lynch YouTube bootleg, he is a blues guitarist and member of the blues hall of fame: https://youtu.be/k_BYPhgsooI?si=gQHL6ZasLA8klk9g Look in the comment to see Jon’s amazing bio/resume. I have been really blessed to know both of these guys. 

@scotandholly

Jon Specter, hopefully, learned everything he needed to learn from George, at least with regard to the Futtermans. He’s coaching a guy in Oklahoma who is building a couple Futtermans. Jon worked under George for almost a decade, so I’m guessing he knows his way around Moscodes.

@frogman 

I drive a pair of 16 ohm Altec 604Cs. 

The Futtermans are better at 16 than at 8, and they hate 4.  
 

theaudioatticvinylsundays.com

@bdp24

On pages 258-261 of his book "The Search for Musical Ecstasy", Harvey ’Gizmo’ Rosenberg describes hearing the NYAL Futterman OTL1 combined with the Altec "Big Red" for the first time:



"If you ever had any doubt about how bad Altec studio monitors can sound, just go into the average recording studio and listen to these speakers with the ever present Crown DC300 putting 150 watts of glass-infected power into these dinosaurs. Argh! .....

(But) think about the problem of recording engineers, producers and musicians ... moving from recording studio to recording studio. You do some tracks in one city and others in another city or state. If the monitors are not constant, then confusion will prevail. It is extremely important to have a stable reference point so that when you are doing your mix-down, you don’t have to constantly readjust your acoustical frame of reference. That is how the tradition of using Altec and JBL loudspeakers as studio monitors got started, and over five decades things haven’t changed much. .....

(Nevertheless,) I was trying to sell OTL-1s to the professional trade, and what better way to start than to convince Phil Ramone to use OTL1s in his own mixing room? With the help of his studio engineers, we disconnected his favorite glass-burning transistor amps and installed the OTL1s.

How would a 125 watt tube amp compare to a 1,000 watt transistor amp on these monsters? I really did think that these speakers were so inherently bad that nothing could make a difference, why spend $15,000 on tube amps when a $1,000 transistor amp will sound just as bad?

Spool up the 2-inch 30IPS master tape, boys, and let her rip. Every one of Ramone’s studio engineers were on hand to see what this 4 foot tube tower would do.

How good was the music?

My first impulse was to rush home and kick sand in my Quad’s face and say " Get outta here you audio wimps".

Here at last, was the ecstasy of the audio edge. This was a defining moment. How could anyone ask for more? At last, all the sweetness and natural harmonics of tubes with effortless and unlimited dynamics of what seemed like a gigawatt of OTL power. The voices were real, the drums were right there in the room. All of the harmonics were right, from the crash of the cymbals to the piano. This was the first authentic reproduction of state-of-the-art rock and roll music that I had ever heard.

I was stunned. This formula did what no other combination state-of-the-art audio gizmos ever had. Super-efficient horn loudspeakers with micro-powered tube amps is the formula for rock and roll ecstasy, which as you know is 180 degrees fro audioxtasist [sic] dogma. Yes, nothing else would satisfy the the longing for rock and roll ecstasy. ..... I knew what I wanted in my home.

At the next Audio Engineering Society Trade Show we demonstrated the Futterman OTL1s with the Altec Big Reds, 1-inch 30 IPS master tape played on a professional Studer tape deck.

Recording engineers were in disbelief at what they were hearing."

 

 

Jon tells me that my OTL3s - with George’s triode mod, the bass tweak that Jon added himself @frogman and the modern, contemporary caps - are now functionally equivalent to the OTL1s.

I have a pair of 604Cs from 1956, and a pair of 604Ds, from 1958.

Basically the pairing that Harvey describes. Harvey is a little hyperbolic (maybe omit the word ’little’), but I am inclined to agree with him: the sound is holographically encompassing, the dynamics allow for profound musical expressions in the vocals to show through, the bass is rock solid and convincing, the soundstage specific, the timbres and textures palpable.

I had decided on the Altec 604C - tube amp (Dynaco Stereo 70, then the Dynaco MK IIIs) combo in my early 20s, during the mid 1970s, about a decade before I discovered the Futtermans, so I didn’t need Harvey’s convincing. It was a natural progression for me.

 

@trelja yes we miss him for sure.

 

Question to anyone: what's with the "glass burning" transistor thing? why does he say "glass burning"?

@bdp24

I never owned, nor heard, a Decca cartridge.

I am a Koetsu guy, with a Rosewood Signature, an Onyx, and a Leopard in the stable.

I am sure that I am doing just fine with them, but I do sometimes wonder how they compare to the Decca, or the Van den Huls, or the Lyra, none of which I have heard.

 

@kokomo

I remember that shop.

That area near the base of Madison had a nickname, Curry Lane, because of all the Indian wholesalers there. 

@kokomo 

i can’t respond to you offline because it’s asking for a “verified payment method” which I won’t give audiogon. The fewer vendors that have my financial info, the less likely I am to be hacked. 

I vaguely remember the fumes from the Indian restaurant wafting into George’s shop. Hard to believe how long a time ago this all is.