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| 4.663 Ft
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| 1. | Marion's Theme
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| 2. | Shadows
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| 3. | Song Of The Underground Railroad
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| 4. | Peresina
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| 5. | How Do You Keep The Music Playing
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| 6. | Children Of The Night
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| 7. | Holiday For Strings
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Jazz / Post-Bop, Jazz Instrument, Saxophone Jazz
Recorded: 11 and 12 June 1991, Clinton Sound Studios, New York, USA
Gary Bartz - alto and soprano saxophone
Willie Williams - tenor saxophone
Benny Green - piano
Chritian McBride - bass
Victor Lewis - drums
Veteran alto and soprano saxophonist Gary Bartz's debut recording for the Dutch Timeless label is one of his finest efforts as he enlisted the services of pianist Benny Green, bassist Christian McBride, drummer Victor Lewis, and tenor saxophonist Willie Williams on three selections to perform an unusual program of one Bartz composition, three jazz classics, two movie themes, and one radio theme. Bartz's strong tone, sense of swing, and improvisational imagination place him within the ranks of jazz's finest saxophonists, and he proves it throughout this recording. Favorites include the title track, which is actually two Bartz compositions, one medium, one up, joined by an excellent McBride bass solo; John Coltrane's "Song of the Underground Railroad," performed up-tempo, in the spirit of Coltrane all the way down to a blistering sax-drums duet; McCoy Tyner's "Peresina," a medium Afro-Latin number with the melody played by the not-heard-enough combination of tenor and alto sax; and Wayne Shorter's "Children of the Night" where the melody is played over a hip groove by McBride and Lewis and features one of the best Bartz solos on record. McBride, who just had turned 19 at the time of this recording, displays a huge tone, solid time, and the improvisational ability of a more experienced musician, while Lewis' dynamic drumming lays down a solid foundation along with McBride's bass, serving as the catalyst for the excellence of this recording. Shadows is an excellent addition to Bartz's extensive discography. ~ Greg Turner, 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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