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| 11.500 Ft
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| 1. | Ju Ju Man
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| 2. | My Funny Valentine
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| 3. | Straight Street
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| 4. | Pisces Daddy Blue
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| 5. | Chelsea Bridge
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Jazz / Post-Bop
Gary Bartz Sax (Alto), Sax (Soprano)
Japan only
Although altoist Gary Bartz's career was beginning to become a bit aimless during this period (as if he were searching for commercial success), and his recordings tended to be erratic, this mostly straight-ahead outing was a major exception. Bartz teams up with pianist Charles Mims, bassist Curtis Robertson and drummer Howard King for a stimulating set of music. While "Ju Ju Man" effectively uses voices in a tribute of sorts to John Coltrane's "A Love Supreme," "My Funny Valentine" is a feature for the warm vocal of Syreeta, 'Trane's "Straight Street" and Bartz's "Pisces Daddy Blue" are both swinging and "Chelsea Bridge" finds the leader taking rare solos on soprano and clarinet. This was Gary Bartz's best jazz session as a leader until he re-emerged on Mapleshade in 1987; it is a pity that the Catalyst label's LPs are difficult to find. ~ Scott Yanow, All Music Guide
Gary Bartz
Active Decades: '70s and '80s
Born: Sep 26, 1940 in Baltimore, MD
Genre: Jazz
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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