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| 4.581 Ft
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| 1. | St Felix Street
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| 2. | Dozens (The Sounding Song)
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| 3. | I Don't Care
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| 4. | Blind Man
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| 5. | Singerella (A Ghetto Fairytale)
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| 6. | Lady Love
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| 7. | Mellow Yellow
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| 8. | Nation Time
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Jazz
Gary Bartz-Synthesizer, Clarinet, Harmonica, Percussion, Harmonium, Sax (Alto), Sax (Soprano), Vocals
Hector Centeno-Guitar
Howard King-Drums
Hubert Eaves III-Piano, Clavinet
James Benjamin-Bass, Bass (Electric)
Kenneth Nash-Percussion
Maynard Parker-Bass, Guitar
Saxophonist Bartz is one of the great post-Coltrane saxophonists. He made his professional name in New York in the early 60s before hooking up with McCoy Tyner later in the decade, and played with Miles Davis in the period immediately after the release of "Bitches Brew". He formed his band the NTU Troop at the same time and began to experiment with funk rhythms, lyrics and jazz improvisations. Today all his albums are highly sought-after and very collectable.
One of the last Gary Bartz albums for Prestige - and a really unique session with a different feel than some of his earlier work! Gary's still got plenty of angular funk in his sound here – thanks to some edgey keyboards from Hubert Eaves - but he's also tightened things up a bit without smoothing them out - cutting down on the longer jams in favor of a more focused approach, and singing himself on many cuts, taking on the quirky lyrical role that used to be held by Andy Bey! Bartz also produced the record himself, but Larry Mizell handled the final mix - giving the record a slightly spacier Mizell-inflected groove, but one that's not as full as on other Bartz/Mizell collaborations. The vocals here are all pretty great, and the album's filled with oddly-grooving tunes that really have a heck of a lot of charm - including the call-response track "Dozens", plus "I Don't Care", "Lady Love", "St Felix Street", "Nation Time", and "Blind Man".
Gary Bartz
Active Decades: '70s and '80s
Born: Sep 26, 1940 in Baltimore, MD
Genre: Jazz
Styles: Modern Creative, Fusion, Post-Bop, Free Funk, Jazz Instrument, Saxophone 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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