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| Music Is My Sanctuary |
| Gary Bartz |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
Kérjen
árajánlatot! |
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| 1. | Music Is My Sanctuary
|
| 2. | Carnaval de l'Esprit
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| 3. | Love Ballad
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| 4. | Swing Thing
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| 5. | Oo Baby Baby
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| 6. | Macaroni
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Jazz
Gary Bartz - Arranger, Horn Arrangements, Main Performer, Piano, Piano (Electric), Producer, Sax (Alto), Sax (Soprano), Synthesizer, Vocals, Vocals (Background)
Bill Summers - Percussion
Curtis A. Robertson - Bass
David T. Walker - Guitar
Eddie Henderson - Trumpet
George Cables - Piano
Howard King - Drums
James Gadson - Drums
James Mtume - Percussion
John Rowin - Guitar
Juewett Bostick - Guitar
Larry Mizell - Arranger, Keyboards, Producer, Vocals, Vocals (Background)
Mtume - Percussion
Nate Neblett - Drums
Ray Brown - Trumpet
Sigidi - Vocals, Vocals (Background)
Syreeta Wright - Vocals, Vocals (Background)
Wa Wa Watsou - Guitar
Wade Marcus - String Arrangements
Wah Wah Watson - Guitar
Welton Gite - Bass
* Burton Yount - Reissue Design
* Fonce Mizell - Producer
* Jim Nipar - Engineer, Mixing Engineer
* Larkin Arnold - Executive Producer
* Michael Bryan - Illustrations
* Michael Cuscuna - Reissue Producer
* Ron McMaster - Mastering, Transfers
* Roy Kohara - Art Direction
Surrounding himself with a world-class ensemble of disco-jazz-fusion musicians and armed with the Mizell brothers at the production console (who were near the peak of their careers around this time), Gary Bartz took the route of Donald Byrd and brought new elements of funk, soul, and a foreshadowing of the soon-to-be-commercial disco craze all into a 40-minute workout on Music Is My Sanctuary. While purists nodded their heads in disapproval and disdain at Bartz's new direction (one emulated by several jazz pioneers at the time), those who could take off their traditional jazz mufflers would find Bartz and the Mizells making some highly infectious, soulful music. Further accentuated by the addition of Syreeta Wright on vocals, the Mizells took Bartz into nearly uncharted territories for jazz musicians. The results of this experimentation more than paid off, with the dividends being Bartz's most polished, focused releases.
---Rob Theakston, All Music Guide
Gary Bartz
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 26, 1940 in Baltimore, MD
Genre: Jazz
Styles: Modern Creative, Fusion, Post-Bop, Free Funk
Alto saxophonist Gary Bartz attended the Juilliard Conservatory of Music and became a member of Charles Mingus' Jazz Workshop from 1962-1964 where he worked with Eric Dolphy and encountered McCoy Tyner for the first time. He also began gigging as a sideman in the mid-'60s with Abbey Lincoln and Max Roach, and later as a member of Art Blakey & the Jazz Messengers. His recording debut was on Blakey's Soul Finger album. Tyner formed his famed Expansions band in 1968 with Bartz on alto. In addition, Bartz also formed his own bands at this time and recorded a trio of albums for Milestone, and continued to tour with Max Roach's band. In 1970, Miles Davis hired Bartz and featured him as a soloist on the Live-Evil recording. Bartz formed the Ntu Troop that year as well, an ensemble that fused soul and funk, African folk music, hard bop, and vanguard jazz into a vibrant whole. Among the group's four recordings from 1970-1973, Harlem Bush Music: Taifa and Juju Street Songs have proved influential with soul jazzers, and in hip-hop and DJ circles as well. From 1973-1975 Bartz was on a roll, issuing I've Known Rivers and Other Bodies, Music Is My Sanctuary, Home, and Another Earth, all stellar outings. He meandered for most of the 1980s, coming back in 1988 with Reflections on Monk. Since that time, Bartz has continued making records of quiet intensity and lyrical power -- notably Red & Orange Poems in 1995 -- and has with become one of the finest if under-noticed alto players of his generation.
---Thom Jurek, All Music Guide |
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