Gary Bartz
Albums
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Appearances
The Very Best of Buddy Guy is a credible attempt to digitally summarize Buddy Guy's entire pre-Silvertone career on a single 18-song disc. It encompasses the guitarist's 1957 [more]
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Megadrummer and percussionist Alphonse Mouzon recorded Virtue, his lone date for Germany's MPS, in 1976, and the label issued it in 1977. As far as fusion records go, these were not [more]
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Beginning with a crack of thunder, like it was made to trail Gary Bartz's "Mother Nature" (actually recorded at a slightly later date), Stepping into Tomorrow contains almost [more]
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Leon Thomas and Gary Bartz are two tremendously gifted artists who have had problems with direction and taste. Thomas' seminal works with Pharoah Sanders, [more]
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Trumpeter Ingrid Jensen continues to pursue the edges of "in" on her second disc as leader. This time around, Jensen gets some assistance via the ever explosive drummer Bill Stewart [more]
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Since the mid-'70s, Connors has been one of the most successful crossover jazz artists. Albums like You Are My Starship, Invitation, and Passion are necessities for those who are fans of [more]
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In the 21st century, there are all kinds of jazz singers to choose from. Some are totally conventional (Diana Krall, Jane Monheit), some are adventurous (Kitty Margolis, Claire [more]
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Biography
- Born Sep 26th 1940 in Baltimore, MD
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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