#gary bartz

[de-salva]

MILES DAVIS - Spanish Key

* Live at Isle of Wight 1970)

Personnel:

Miles Davis - trumpet Gary Bartz - alto saxophone, soprano saxophone Keith Jarrett - organ Chick Corea - electric piano Dave Holland - bass, electric bass Jack DeJohnette - drums Airto Moreira - percussion

#Miles Davis #Gary Bartz #Keith Jarrett #Chick Corea #Dave Holland #Jack DeJohnette #Airto Moreira #YouTube

[milkboydotnet]

#Gary Bartz NTU Troop #gary bartz #music #Youtube

[jt1674]

#mccoy tyner #extensions #wayne shorter #elvin jones #ron carter #alice coltrane #gary bartz

[lysergicfunk]

Happy Jazzy Birthday Maestro! (Gary Bartz born September 26, 1940)

#Gary bartz #Jazz #FreeJazz #JazzFunk #Fusion #Funk #SoulJazz

[aquariumdrunkard]

#gary bartz #jazzcat

[spilladabalia]

Miles Davis - Directions (composed by Joe Zawinul)

Live at The Cellar Door, Georgetown, Washington D.C., 16 December 1970.

#directions #miles davis #gary bartz #keith jarrett #jack dejohnette #michael henderson #jazz #free jazz #jazz rock #live at the cellar door washington dc #16-19 december 1970 #first set #joe zawinul #the cellar door sessions #2005 #Youtube

[jazzplusplus]

Phil Woods Sax Machine au Festival de Vienne (France) en 1996 : Harlem Nocturne

Phil Woods, Gary Bartz, Charles McPherson, Jesse Davis (as) Cyrus Chestnut (p), Steve Kirky (b), Alvester Garnett (dr)

#jazz #jazz festival #jazz à vienne #phil woods #gary bartz #charles mcpherson #jesse davis #cyrus chestnut #steve kirky #alvester garnett #1996 #saxophone #saxophone section

[leonardcohenofficial]

#Tunes #gary bartz

[krispyweiss]

Album Review: Funkwrench Blues - Soundtrack for a Film without Pictures

It should go without saying a Soundtrack for a Film without Pictures would contain music with no words. But Sound Bites said it anyway.

So there.

In any event, the LP, released under multi-instrumentalist/producer Frank Swart’s nom de artiste, Funkwrench Blues, and featuring a slew of guests, including Miles Davis alums Gary Bartz, Dave Liebman and Bill Evans on saxes, is an adventurous affair that strings together 13 tracks with similar two-word titles like “The Test,” “The Ordeal,” The Reward” “The Resurrection,” all inspired by Joseph Campbell’s “Monomyth.”

But all similarities end there as Funkwrench Blues and company crisscross the musical landscape anchored by a revolving cast of drummers who serve essentially as lead instruments moored to the rhythm section.

Swart plays lead bass on “The Life” and “The Return,” which also prominently features cello. Sitar pulls the “The Refusal” toward the East. Vibes add a swinging jazz vibe to “The Crossing.” Zappaesque horn charts mark “The Test” and the guitar-centric approach Swart takes to “The Approach.” And strings and piano splash around in “The Reward,” which swells and recedes like a tidal pool.

The same can be said for the album as a whole, which builds to a middle-section peak and slowly runs back downhill toward the dissonant experimentation of “The Credits.”

Grade card: Funkwrench Blues - Soundtrack for a Film without Pictures - B-

1/30/24

#funkwrench blues #soundtrack for a film without pictures #2023 albums #frank swart #miles davis #gary bartz #bill evans #dave liebman #frank zappa #joseph campbell #monomyth

[ceevee5]

#theo croker #gary bartz #kassa overall #jazz #Spotify

[jazzlibertines]

2023′s first JAZZ LIBERTINES episode, and it’s a whopper. Our 15th program brings together some late 60s/early 70s beasts (SUN RA, GARY BARTZ NTU TROOP, CHARLES BRACKEEN, CHICO FREEMAN and DON CHERRY) with two fantastic new tracks from the Finnish label Ultraääni Records. 

Listen to Jazz Libertines #15 here.

Track listing:

CHICO FREEMAN - Look Up ISACH SKEIDSVOLL - Dance To Summon VILLE LAHTEENMAKI TRIO - Mare Incognitum DON CHERRY - Awake Nu GARY BARTZ NTU TROOP - B.A.M SUN RA - The Night of the Purple Moon CHARLES BRACKEEN - Rhythm X

#Ultraääni Records #Charles Brackeen #Chico Freeman #isach skeidsvoll #ville lahteenmaki trio #sun ra #Gary Bartz NTU Troop #jazz #improv jazz

[milkboydotnet]

#music #gary bartz #gary bartz ntu troop #Youtube

[diceriadelluntore]

Storia Di Musica #300 - Miles Davis, Live-Evil, 1971

Quando si ascoltò questo disco per la prima volta, i critici ebbero un profondo senso di smarrimento: Come bisogna definirlo? Cosa è? È jazz? È rock? È qualcosa di altro? In parte era lo scopo del suo creatore, in parte perfino a lui, genio incontrastato delle rivoluzioni musicali, qualcosa "sfuggì di mano", divenendo addirittura qualcosa di altro dalla sua idea primigenia. Questo è un disco che parte da un percorso iniziato qualche anno prima, quando Miles Davis e il suo storico secondo quintetto iniziano ad esplorare le possibilità che gli strumenti elettrici e le strutture della musica rock possono dare al jazz. I primi esperimenti con Miles In The Sky (1968), poi con quel capolavoro magnetico che è In A Silent Way (1969), il primo con la nuova formazione elettrica, la quale sviluppa a pieno quella rivoluzione che va sotto il nome di jazz fusion con il fragoroso, e irripetibile, carisma musicale rivoluzionario che fu Bitches Brew (1970, ma registrato qualche giorno dopo il Festival di Woodstock, nell'Agosto del 1969). Davis è sempre stato curioso e non ha mai avuto paura di guardarsi intorno dal punto di vista musicale, ne è testimone la sua discografia. E nell'idea che il jazz stesse morendo, era sua intenzione innestarlo di nuova vitalità contaminandolo con altri generi, non solo il rock, ma anche il funk, il soul, la musica sperimentale europea. A tutto ciò, per la prima volta nel jazz (e questa fu l'accusa più viva di eresia), il ruolo del produttore, del suo fido e sodale Teo Macero, è proprio quello di cercare tra le sessioni di prove le parti migliori, o come amava dire Davis "le più significative", e metterle insieme in un lavoro sorprendente e meticoloso di collage musicale, che in teoria elimina la componente espositiva solista del musicista jazz, ma che allo stesso tempo regala una nuova filosofia musicale ai brani, del tutto inaspettata. Decisivo fu, nel 1970, il compito che fu affidato a Davis di curare la colonna sonora del film documentario A Tribute To Jack Johnson, di Bill Cayton, sulla vita del pugile che nel 1908 divenne il primo pugile di colore e il primo texano a vincere il titolo del mondo di boxe dei pesi massimi, quando sconfisse il campione in carica Tommy Burns. Per questa ragione fu considerato una sorta di simbolo dell'orgoglio razziale della gente di colore all'inizio del ventesimo secolo, soprattutto poiché nel periodo erano ancora in vigore le leggi Jim Crow, leggi che di fatto perpetuarono la segregazione razziale in tutti i servizi pubblici, istituendo uno status definito di "separati ma uguali" per i neri americani e per gli appartenenti a gruppi razziali diversi dai bianchi, attive dal 1875 al 1965.

Il disco di oggi somma tutte queste istanze, in maniera unica e per certi versi selvaggia, divenendo di fatto una sorta di manifesto che Il Signore Delle Tenebre ostenta alla sua maniera, cioè nel modo più sfavillante possibile. Live-Evil esce nel Novembre del 1971, ma è frutto di storiche serate live al The Cellar Dome di Washington DC, dove la band di Davis si esibì per diverse serate nel Dicembre del 1970, e una parte di registrazioni in studio sotto lo sguardo attento di Teo Macero, presso gli studi della Columbia di New York. Con Davis, nelle esibizioni al Cellar Dome, che come prima pietra dello scandalo usa la tromba elettrica, infarcita di pedali di effetti e di wah wah (amore trasmessogli da Jimi Hendrix) c'erano Gary Bartz (sassofono), John McLaughlin (chitarra elettrica), Keith Jarrett (piano elettrico), Michael Henderson (basso elettrico), Jack DeJohnette (batteria) e Airto Moreira (percussioni) e in un brano solo, come voce narrante, l'attore Conrad Roberts. Nelle sessioni in studio di aggiungono altre leggende, tra cui Herbie Hancock e Chick Corea (con lui nei precedenti dischi citati), Billy Cobham, Joe Zawinul e il fenomenale musicista brasiliano Hermeto Pascoal, la cui musica e i cui brani saranno centrali in questo lavoro. Tutto il magma creativo di queste idee sfocia in un doppio disco dalla forza musicale devastante, tanto che oggi alcuni critici lo definiscono un heavy metal jazz, che parte dalle origini più profonde ma sfocia in una musica caotica e sfacciatamente meravigliosa, trascinante e indefinibile, che gioca tutto sulle dissonanze, sugli ossimori, sui palindromi simbolici e musicali. E manifestazione più chiara ne è la copertina, bellissima, di Mati Klarwein, artista francese autore di alcune delle più belle copertine musicali, tra cui quella di Bitches Brew: lasciato libero di creare da Davis, pensò alla copertina con la donna africana incinta, come simbolo di creazione "primordiale", ma fu lo stesso Davis, a pochi giorni dalla pubblicazione, una volta deciso il titolo, che gli chiese un nuovo disegno, che accostasse il "bene" al "male" attraverso una rana. Klarwein in quel momento aveva una copertina della rivista Time che raffigurava il presidente Hoover, che fu presa come spunto per la rana del male, che campeggiò sul retro della copertina, e che vi faccio vedere:

Musicalmente il disco si divide in brani autografi di Davis, che diventano lunghissime jam session di sperimentazione, di assoli di chitarra, sfoghi di batteria, con la sua tromba elettrica che giganteggia qua e la, che raccolgono quel senso di rivoluzione, anche giocata sulla sua storica abilità di comunicazione (Sivad e Selim, che sono il contrario di Davis e Miles, la seconda scritta per lui da Pascoal, languida e dolcissima), il medley Gemini/Double Image, scritta con Zawinul, e le lunghissime e potentissime What I Say, quasi una dichiarazione di intenti, Funky Tonk, rivoluzionaria e la chiusura con Inamorata And Narration by Conrad Roberts, che è quasi teatro sperimentale, e le altre composizioni di Pascoal, Little Church e Nem Um Talvez, musica che stupì tantissimo lo stesso Davis, che considerava Pascoal uno dei più grandi musicisti del mondo: il brasiliano, polistrumentista, arrangiatore, produttore, è una delle figure centrali della musica sudamericana, e essendo albino è da sempre soprannominato o bruxo, lo stregone. Tutti brani vennero "perfezionati" da Macero, e addirittura nelle ristampe recenti è possibile leggere nelle note del libretto l'esatta costruzione dei brani, ripresi dalle sessioni live e dalle registrazioni in studio. Di quelle leggendarie serate al The Cellar Dome, nel 2005 la Columbia pubblicò un inestimabile cofanetto, di 5 cd, The Cellar Door Sessions 1970 con le intere esibizioni del Dicembre 1970: le parti usate in Live-Evil sono nel quinto e sesto disco, nei precedenti ulteriori esplorazioni musicali da brividi, per una delle serie di concerti storicamente più importanti del jazz.

Il disco verrà considerato il capolavoro che è solo dopo anni, in un periodo, quello degli anni '70, dove Davis accettò apertamente di sfidare la critica con la sua musica. Da allora però, per quanto in parte ancora enigmatico e "difficile", è considerato l'ennesimo pilastro della leggenda Davis, in uno dei suoi capitoli musicali che ebbe più fortuna, poichè buona parte dei fenomenali musicisti che contribuirono a questo disco erano in procinto, o già alle prese, con esperienze musicali che partendo dalla lezione del Maestro, ne approfondiranno i contenuti, e ne esploreranno i limiti: sarà quest'ambito che legherà le altre scelte di Novembre e questo omaggio, che come i precedenti numeri miliari (1,50,100,150,200,250) è dedicato al formidabile uomo con la tromba.

#miles davis #live-evil #1971 #recensione

[projazznet]

Max Roach – Members, Don’t Git Weary

Members, Don’t Git Weary is an album by American jazz drummer Max Roach recorded in 1968 and released on the Atlantic label. Allmusic awarded the album 4 stars and the review by Alex Henderson calls it “One of the finest post-bop dates Roach recorded during that decade”. Max Roach – drums Charles Tolliver – trumpet Gary Bartz – alto saxophone Stanley Cowell – piano Jymie Merritt – bass Andy Bey – vocals

#maxroach #jazzdrummer #postbop #projazznet #jazzlegend

[therecordchanger62279]

THE RECORDCHANGER YEAR-END EDITION 2023

       My annual year-end review of my favorite records and books.

 TOP NEW ALBUM RELEASES

     Rachmaninoff: The Piano Concertos – Yuja Wang & The Los Angeles Philharmonic

     I Inside The Old Year Dying – PJ Harvey

     The American Project – Yuja Wang with The Louisville Orchestra

     Hackney Diamonds – The Rolling Stones

     Can We Do Tomorrow Another Day? – Galen & Paul

     Relentless – Pretenders

     The Future Is Now – The Chick Corea Elektric Band

 TOP REISSUES/ARCHIVE RELEASES

     Evenings At The Village Gate – John Coltrane with Eric Dolphy

     Anthology – Charlie Watts

     Hollywood Blues Summit-Live At The Ash Grove – Muddy Waters

     Live At Mabuhay Gardens – Romeo Void

     Grrr Live! – The Rolling Stones

     All Around Man: Live In London – Rory Gallagher

     A Night In San Francisco – Missing Persons

 FINDS OF THE YEAR

   (Catalog titles that slipped under my radar when first released)

     Yesterday’s Wine – Willie Nelson (1971)

     Let England Shake – PJ Harvey (2011)

     Concerto In B. Goode – Chuck Berry (1969)

     Live In Bremen 1975 – Gary Bartz NTU Troop (2021)

     Cool Heat: The Best of CTI Records – Various (2017)

     Force Majeure – Doro Pesch (1989)

     Bound For Hell On The Sunset Strip – Various Artists (2022)

 THE YEAR IN REVIEW:

     If anyone had told me that 2023 would see new releases from both The Beatles and The Rolling Stones, I’d have suggested a sanity check. But a live archive release from The Stones early in the year was followed by the all-new Hackney Diamonds in October, while The Beatles released one more song, Now and Then, to cap their career once and for all. Of course, both were bittersweet. Hackney Diamonds was the first Stones release of new material following the death of original drummer Charlie Watts in August 2021. And though Watts appeared on two tracks finished in 2019, Steve Jordan took over the drum chair for the band with mixed results. The Beatles resurrected yet another John Lennon demo first attempted for their Anthology project in 1995, but left unfinished then because of technical issues. New technology allowed them to finally finish the track in 2023, but guitarist George Harrison had passed in 2001. That left Paul and Ringo along with late producer George Martin’s son Giles to complete the recording. So, these releases are really in name only because both The Beatles and The Rolling Stones we all came to know and love had already left the building. Still, both projects were successful, and well-received, and while The Beatles claim their record is indeed the end, The Rolling Stones are already back on the road, and promising another album of new material (and one last Watts recording) as early as next year. (I wouldn’t put any money on that, however, unless you can afford to lose it.)

     For those of us who took Charlie Watts’ passing to heart, there was some comfort in the release of the Charlie Watts Anthology this year that collected some of the drummer’s best Jazz recordings. And once again, some master sleuth managed to unearth a previously unheard, and unreleased recording by the late John Coltrane. Evenings At The Village Gate with Eric Dolphy, a rehearsal for a 1961 date at the Village Gate transcends less than perfect sound to remind everyone that 1961 was John Coltrane’s year, and that everything he touched that year turned to gold.

     The musical event of 2023, as far as I’m concerned was Yuja Wang’s marathon performance with the Los Angeles Philharmonic of all four Rachmaninoff Piano Concertos in one go in February, released a few months later. The genius pianist also released The American Project, a new work by composer Teddy Abrams with the Louisville Orchestra conducted by Michael Tilson Thomas. She toured sold out venues all around the world, and continues to push the envelope by making innovative, and fresh choices in her repertoire to draw more attention to the Classical music genre in the 21st century. As Classical musicians go, Yuja Wang is a Rock star.

     One of the year’s best surprises was the return of Clash bassist Paul Simonon as part of a duo working under the name Galen & Paul. Galen is Galen Ayers, daughter of the late British singer-songwriter Kevin Ayers. Can We Do Tomorrow Another Day recalls the music Serge Gainsbourg made with Jane Birkin in the late 1960s. Sophisticated, smart, charming, and funny, and the last thing I’d have expected, but it works, and was one of my favorite records of the year. The new Pretenders album, Relentless, was another welcome addition to their catalog, and my collection. And PJ Harvey’s latest, I Inside The Old Year Dying, her first new album in seven years, re-establishes her as an artist who continues to move forward, and challenge listeners by constantly reinventing herself.

     Finally, a great new live album from Chick Corea’s Elektric Band, prepared for release by Chick before he passed in 2021 paved the way for the reissue of the band's five studio albums for GRP in new digipak editions with excellent sound. Candid did the honors.

     Closer to home, vinyl and cassette prices continue to rise while the availability of CDs continues to make buying a physical copy of almost anything a genuine headache. I waited three months for an online seller to supply me with Yuja Wang’s Rachmaninoff Concertos CD, and on the day of release, I visited eight retailers online or in store before I could find a copy of the new Rolling Stones album on CD. The store was 40 minutes from my house, and it dampened the excitement of getting the band’s first album of new material in eighteen years. I guess the record industry doesn’t need long time collectors any longer now that vinyl and cassettes are a hit with twenty-somethings with deep pockets. If CDs disappear completely, I’m finished buying music because I refuse to rent it.

     I did, however, manage to find one vinyl record I wanted this year that was actually reasonably priced and available from a reliable online seller. Chuck Berry’s Concerto In B. Goode is kind of a “wild card” in the Berry catalog. His last release for Mercury in 1969 before he returned to Chess, the album has four new originals on side one, but side two features the title track only – eighteen minutes of Berry’s trademark licks and lines. There’s nothing else like it in Chuck’s catalog, and for that reason alone, it was worth getting. It’s hardly a masterpiece, but it is a great listen, and the pressing on Elemental is pristine.

     Another great find this year was Willie Nelson’s 1971 album Yesterday’s Wine. I’d never heard it. I only knew it by reputation. But it was even better than I’d heard – easily as good as Shotgun Willie, Phases and Stages, and even Red Headed Stranger.

     I’ve always (until this year) been behind on PJ Harvey releases, but this year I caught up with Let England Shake, released in 2011. It’s the best album in what has become one of the most impressive catalogs of any contemporary Rock artist.

     Gary Bartz’s Live In Bremen 1975 with the NTU Troop was issued in 2021. I was looking for something interesting from that period, and stumbled on this one. Five years removed from his time with Miles Davis’s electric band, this lands between stints with Kenny Burrell, and Donald Byrd. Free Jazz with a Funk and Soul influence, and the politics of the day are what Bartz’s band was all about, and they are in fine form here. The music just washes over you like a soul cleansing shower.

     All in all, not a bad year for good music – if you could find it, and if you could afford it. The future doesn’t look too bright for collectors like me, but I’m not ready to hang it up just yet – no matter how bumpy the road gets.

     In closing, I’ll mention briefly that I read 40 books this past year, and several were among the worst I’ve ever read. I won’t waste your time discussing those. Instead, I’ll recommend the last one I read which happens to be a music memoir. Hunger Makes Me A Modern Girl by Sleater-Kinney guitarist, songwriter, and co-founder Carrie Brownstein is one of the most engaging books I’ve ever read by a musician. Her honesty and candor are disarming, and while most memoirs are not usually what you would call “page turners,” this one certainly is. I read it in just two days, and I expect to read it again one day. Very highly recommended, and you don’t even need to be a fan of the band (though you might become one by the time you finish).

     Most of the best books I read in 2023 were the crime novels of Ross McDonald featuring his sleuth Lew Archer, and Ian Fleming’s James Bond books. I also read a couple of books by Rock writer Gene Sculatti. For The Records and Tryin’ To Tell A Stranger ‘Bout Rock and Roll were great fun to read, and after the garbage I encountered through most of the year, welcome relief.

If you like what you see here, hit the ‘follow’ button, and then the ‘like’ button when the spirit moves you. Thanks for reading The Recordchanger. I hope you found it worth your time.

[jazzplusplus]

1971 - Newport à Paris - Théâtre National Populaire (Palais de Chaillot)

Ornette Coleman Quartet, Gary Burton, the Kid Thomas Preservation Hall Band, the Giants of Jazz (Dizzy Gillespie, Kai Winding, Sonny Stitt, Thelonious Monk, Al McKibbon, Art Blakey), Duke Ellington Orchestra, Miles Davis Septet (Gary Bartz, Keith Jarrett, Michael Henderson, Ndugu Leon Chancler, Charles Don Alias, James Mtume Foreman)

#jazz #poster flyer #ornette coleman #gary burton #kid thomas #dizzy gillespie #kai winding #sonny stitt #thelonious monk #al mckibbon #art blakey #duke ellington #miles davis #gary bartz #keith jarrett #1971 #newport à paris