#Gary Bartz

[de-salva]

GARY BARTZ - Peace & Love

[jt1674]

[kosmik-signals]

Jackie McLean & The Cosmic Brotherhood, "New York Calling" (1974)

[omegaremix]

Omega Radio for July 23, 2018; #167.

Soul Seven, The “Mr. Chicken”

West African Cosmos “Wuye Wuye”

Ordells, The “Sippin’ A Cup Of Coffee”

Madiera “Tipsy”

Pete Jolly “Seasons”

Andrew Lewis Band “A New Day”

Poseidon “Surprise”

Dave Holland Prism “Evolution”

Sweet Maya “Illusion”

Rhythm Section, The “A Very Special Love”

Unit Nine “Night Light”

Jack McDuff “Summer Dream”

Gerald Lee “Mr. Jonathan”

Azymuth “Last Summer In Rio”

Wilbert Longmire “Good Morning!”

Sass “I Only Wanted To Love You”

Dalton & Dubarri “I’m Just A Rock N’ Roller”

Weather Report “125th Street Congress”

Gary Bartz “Gentle Smiles” (edit)

Alan Hawkshaw “Sundown”

Tony Williams Lifetime “Right On”

Bobby Bird “Hot Pants”

Rene Costy “Sentimental Promendade”

Alan Feanch “Atlantide 1″

Martin Wester & Bernard Hering “Crystal View”

Brass Construction “Don’t Try To Change Me”

Bill Loose “Slight Misgivings” (three edits)

Pierre-Alain Dahan & Pierre Dutour “Aqua Marina”

Pieces Of A Dream “Warm Weather”

Deodato “San Juan Sunset”

Joachim Sherylee “Solv X”

Cymande “The Message”

Teddy Lasry “Coraux”

Claude Larson “Memory Image”

Wojciech Karolak “Goodbye”

Syl Johnson “Is It Because I’m Black”

Gene Harris “Losalamitoslatinfunklovesong”

Bill Loose “Do You Care”

Keith Mansfield “Suspended Underscore”

Nils Tabor “In The Ghetto Medley”

Bonus Omega; vinyl treasures, crate-digging, and sampling.

[the-birth-of-art]

Miles Davis live at the Isle of Wight Festival, 1970

[lemonlyman-dotcom]

Having a Mizell Brothers afternoon dance party in the Lemon house this Monday afternoon ✨

[macmanx]

The lyrics "Music is my sanctuary, music is my life," hold special meaning at the Tiny Desk. Penned and sung by 2024 National Endowment for the Arts Jazz Master, saxophonist Gary Bartz, the words capture the feelings of countless artists who have appeared in front of these cluttered shelves. Bartz has worked with jazz luminaries like Art Blakey and the Jazz Messengers, Max Roach, Miles Davis and Charles Mingus, to name a few. He has released more than 45 solo albums, with appearances on more than 200 additional albums. His recent collaborations with Ali Shaheed Muhammad and Adrian Younge for their Jazz is Dead series illustrate how the 83-year-old is still as relevant as ever.

[spilladabalia]

Miles Davis - Directions (composed by Joe Zawinul)

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

[teledyn]

First of all, I don't know anyone who would want to be Roger Eberts' friend.

Second is a matter of survival. It is hard to survive alone, but also hard to survive trapped in a bad situation. To this, Confucius advised "The way out is via the door" but that says nothing of what's out there. Sun Ra on the other hand advised "Get OFF this planet, this planet is a Hell on Wheels" but then also "There are other worlds they have not told you of, that wish to speak to you."

Fandom can be another world, with community, connection, even commerce and vocation! So too ballet, or stamp collecting, or fitness training, or ten thousand other worlds that slip between the dimensions of mass madness and live their own madness in the comfort of friends.

What's not to like?

Sun Ra also said, whatever you do, make it beautiful 😊

Roger Ebert just destroying some specific kind of nerd(s). 

[jazzandother-blog]

LIVE-EVIL, MILES DAVIS listen here

(English / Español / Italiano)

Ron Carter: "It was in November 1971, when Miles Davis released his album "Live-Evil. "

I was no longer touring with Miles at the time "Live-Evil" was recorded…. I wanted to focus on my family and my growth as an acoustic bass player. However, when Miles asked me to give my acoustic sound to a few songs on "Live-Evil", I was more than happy to do it.

About half of the album was recorded live at the Cellar Door jazz club in 1970; his band for that was Gary Bartz, John McLaughlin, Michael Henderson, Jack DeJohnette and Airto Moreira. For the studio tracks, he also brought in Herbie Hancock, Chick Corea, Hermeto Pascoal, Dave Holland, Steve Grossman.

Miles was looking for very specific sounds in each song, with specific people in mind for each song. I was the sound he was looking for in two songs: Nem Um Talvez and Selim."

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Ron Carter: “Fue en noviembre de 1971, cuando Miles Davis lanzó su álbum "Live-Evil. "

Ya no estaba de gira con Miles en el momento en que se grabó "Live-Evil"... Quería centrarme en mi familia y en mi crecimiento como bajista acústico. Sin embargo, cuando Miles me pidió que le diera mi sonido acústico a unas cuantas canciones en "Live-Evil", estaba más que feliz de hacerlo.

Cerca de la mitad del álbum fue grabado en vivo en el club de jazz Cellar Door en 1970; su banda para eso fue Gary Bartz , John McLaughlin , Michael Henderson, Jack DeJohnette y Airto Moreira. Para las pistas del estudio, también trajo Herbie Hancock , Chick Corea , Hermeto Pascoal, Dave Holland , Steve Grossman.

Miles estaba buscando sonidos muy específicos en cada canción, con personas concretas en mente para cada una. Yo era el sonido que estaba buscando en dos canciones: Nem Um Talvez y Selim .”

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Ron Carter: "Era il novembre 1971, quando Miles Davis pubblicò il suo album "Live-Evil". "

All'epoca in cui è stato registrato "Live-Evil" non ero più in tour con Miles…. Volevo concentrarmi sulla mia famiglia e sulla mia crescita come bassista acustico. Tuttavia, quando Miles mi ha chiesto di dare il mio suono acustico ad alcune canzoni di "Live-Evil", sono stato più che felice di farlo.

Circa metà dell'album è stata registrata dal vivo al Cellar Door jazz club nel 1970; la sua band era composta da Gary Bartz, John McLaughlin, Michael Henderson, Jack DeJohnette e Airto Moreira. Per i brani in studio ha coinvolto anche Herbie Hancock, Chick Corea, Hermeto Pascoal, Dave Holland e Steve Grossman.

Miles cercava suoni molto specifici in ogni canzone, con persone specifiche in mente per ogni canzone. Io ero il suono che cercava in due canzoni: Nem Um Talvez e Selim ".

Source: JazzLife

[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

[jt1674]

[gregyro]

[jazzdailyblog]

"Expansions" by McCoy Tyner: A Groundbreaking Journey in Post-Bop and Modal Jazz

Introduction: Released in June 1970, “Expansions” stands as one of McCoy Tyner’s most celebrated works and a defining statement in post-bop and modal jazz. Recorded in 1968 at Van Gelder Studio in Englewood Cliffs, NJ, this album represents a period of intense creativity for Tyner, showcasing his unique approach to composition and improvisation, which pushed the boundaries of jazz during that…

[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