Donald Byrd - Stepping Into Tomorrow

Styles: Trumpet Jazz
Year: 1975
File: MP3@320K/s
Time: 38:36
Size: 91,0 MB
Art: Front

(5:13) 1. Stepping Into Tomorrow
(4:20) 2. Design a Nation
(4:25) 3. We're Together
(6:12) 4. Think Twice
(3:49) 5. Makin' It
(6:09) 6. Rock and Roll Again
(4:31) 7. You Are the World
(3:54) 8. I Love the Girl

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 all of the Mizell trademarks within its title track's first 30 seconds: a soft and easy (yet still funky) electric-bass-and-drums foundation, silken rhythm guitar, organ and piano gently bouncing off one another, light synthesizer shading, and coed group vocals to ensure true liftoff. It's only one in a line of many magnetic '70s sessions led by Fonce and Larry Mizell, and it differs from their two previous Donald Byrd dates the polarizing and groundbreaking Black Byrd and the deceptively excellent Street Lady by not featuring any of Roger Glenn's flute, and by focusing on heavily melodic and laid-back arrangements.

Even the speedy "You Are the World," by some distance the most energetic song, seems more suited for relaxing in a hammock than shooting down a freeway. Many of the musicians present on the previous Byrd-Mizell meetings are here, including drummer Harvey Mason, bassist Chuck Rainey, keyboardist Jerry Peters, and guitarist David T. Walker. As ever, those who pined for the approach of Byrd's '60s dates would tune out a sublime set of material, but maybe some of those who sniffed at the straightforward nature of some of the rhythms and riffing were won over by the supreme layering of the many components (the way in which "Think Twice" lurches forward, peels back, and gathers steam is nothing short of heavenly), not to mention some deeply evocative playing from Byrd himself.~Andy Kellman https://www.allmusic.com/album/stepping-into-tomorrow-mw0000057832

Personnel: Trumpet [Solo Trumpet], Soloist [Solo Trumpet], Flugelhorn, Vocals [Solo Vocals], Soloist [Solo Vocals] – Donald Byrd; Alto Saxophone, Clarinet – Gary Bartz; Backing Vocals – Fonce Mizell, Fred Perrin, Kay Haith, Larry Mizell, Lorraine Kennar, Margie Evans, Stephanie Spruill; Clavinet, Trumpet – Fonce Mizell; Congas – Mayuto Correa; Drum [Batah Drum], Jew's Harp [Mouth Harp] – Harvey Mason; Drums – Harvey Mason; Electric Bass [Fender Bass] – Chuck Rainey; Guitar – David T. Walker, John Rowin, Rhonghea Southern; Piano [Acoustic Piano], Organ – Jerry Peters; Synthesizer [Arp Synthesizers], Electric Piano [Fender Rhodes] – Larry Mizell

Stepping Into Tomorrow

---

Gary Bartz - There Goes the Neighborood

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 70:29
Size: 162,3 MB
Art: Front

( 9:47)  1. Racism (Blues in Double Bb Minor)
( 8:39)  2. On A Misty Night
(13:28)  3. Laura
( 8:58)  4. Tadd's Delight
(10:09)  5. Impressions
(10:13)  6. I've Never Been In Love Before
( 9:11)  7. Flight Path

Although he dismissed notions about a comeback, this '90 album was the triumphant, exuberant vehicle Gary Bartz hadn't made in quite a while. His rippling solos and dominant presence were welcome for fans who wondered if he had squandered the potential he'd shown in the '60s. ~ Ron Wynn https://www.allmusic.com/album/there-goes-the-neighborhood-mw0000678444

Personnel:  Gary Bartz - alto saxophone; Kenny Barron - piano; Ray Drummond - bass; Ben Riley - drums

There Goes the Neighborood

---

Roy Ayers - Stoned Soul Picnic

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 38:27
Size: 89,3 MB
Art: Front

(9:00)  1. A Rose For Cindy
(2:47)  2. Stoned Soul Picnic
(8:01)  3. Wave
(3:54)  4. For Once In My Life
(6:34)  5. Lil's Paradise
(8:09)  6. What The People Say

Stoned Soul Picnic is vibraphonist Roy Ayers' third and probably best solo album, made in 1968 while he was still a part of Herbie Mann's group. Ayers stands clearly in the shadow of Bobby Hutcherson on this primarily modally-oriented date, sounding nothing like the groove-meister he would become known as later in the 1970s. Producer Mann, always an underrated talent scout, assembles an especially exceptional septet for Ayers here with Gary Bartz on alto sax, arranger Charles Tolliver on trumpet/flugelhorn, Hubert Laws on flute, Herbie Hancock on piano (and probably uncredited organ on the title cut), Ron Carter or Miroslav Vitous on bass and Grady Tate on drums. The program is a typical late 1960s menu, heavy on such Top 40 pop covers as the dated "Stoned Soul Picnic," "For Once In My Life" and "What The People Say." What sets these and the interesting, if unsuccessful, cover of Jobim's "Wave" apart are Tolliver's rather ingenious arrangements. Tolliver seems to tear apart the constraints of these duds (although "Picnic" is beyond hope) by dramatically slowing down the melodies, providing Ayers the time and space to set the mood (Tolliver correctly recognizes Ayers's strengths with ballads) and punctuating with nicely considered horn statements in between. It is the two modal originals here Ayers lovely "A Rose For Cindy" and Tolliver's waltz, "Lil's Paradise" that make this disc worth hearing. Ayers plays some of his finest-ever work on these pieces. You're sure to hear something new and different in these pieces every time. Hancock completists will also be especially pleased with the pianist's performance here (and on "What The People Say" too). Except for the nods toward late 1960s pop-jazz conventions, Stoned Soul Picnic is a marvelous disc well worth investigating. With so much of Ayers's West Coast work of the 1960s (especially with Jack Wilson) lost in limbo, this disc serves as a cogent reminder of the strength of the vibraphonist's chops. And groove lovers might be happily surprised hearing what Ayers was up to before the groove.
~Douglas Paynehttps://www.allaboutjazz.com/stoned-soul-picnic-roy-ayers-32-records-review-by-douglas-payne.php

Players: Roy Ayers: vibes; Gary Bartz: alto sax;  Charles Tolliver: arranger, trumpet, flugelhorn; Hubert Laws: flute;  Herbie Hancock: piano, organ; Ron Carter: bass;  Miroslav Vitous: bass;  Grady Tate: drums.

Stoned Soul Picnic

---

Gary Bartz Quintet - West 42nd Street

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 68:47
Size: 158,4 MB
Art: Front

( 8:51) 1. West 52nd Street
(19:10) 2. Speak Low
(11:45) 3. Its Easy to Remember
(10:02) 4. Cousins
(18:56) 5. The Night Has a Thousand Eyes

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended gem. ~ Scott Yanow https://www.allmusic.com/album/west-42nd-street-mw0000073378

Personnel: Saxophone [Alto, Soprano] – Gary Bartz; Bass – Ray Drummond; Drums – Al Foster; Flugelhorn, Trumpet – Claudio Roditi; Piano – John Hicks

West 42nd Street

---

Gary Bartz - Music Is My Sanctuary

Styles: Jazz Funk
Year: 1977
File: MP3@320K/s
Time: 36:02
Size: 83,5 MB
Art: Front

(6:22) 1. Music Is My Sanctuary
(5:57) 2. Carnaval De L'Esprit
(4:11) 3. Love Ballad
(6:53) 4. Swing Thing
(5:55) 5. Oo Baby Baby
(6:42) 6. Macaroni

Surrounding himself with a world-class ensemble of disco-jazz-fusion musicians and armed with the Mizell brothers at the production console (who were near the peak of their careers around this time), Gary Bartz took the route of Donald Byrd and brought new elements of funk, soul, and a foreshadowing of the soon-to-be-commercial disco craze all into a 40-minute workout on Music Is My Sanctuary. While purists shook their heads in disapproval and disdain at Bartz's new direction (one emulated by several jazz pioneers at the time), those who could take off their traditional jazz mufflers would find Bartz and the Mizells making some highly infectious, soulful music. Further accentuated by the addition of Syreeta Wright on vocals, the Mizells took Bartz into nearly uncharted territories for jazz musicians. The results of this experimentation more than paid off, with the dividends being Bartz's most polished, focused releases.~ Rob Theakston https://www.allmusic.com/album/music-is-my-sanctuary-mw0000027322

Personnel: Gary Bartz - Saxophone (Alto, Soprano), Piano, Electric Piano, Synthesizer, Vocals; Larry Mizell - Keyboards, Vocals; George Cables - Piano; David T. Walker, John Rowin, Juewett Bostick, Wah-Wah Watson - Guitar; Curtis Robinson, Jr., Welton Gite - Bass; Howard King, James Gadson, Nate Neblett - Drums; Bill Summers, James Mtume - Percussion; Eddie Henderson, Ray Brown - Trumpet; Sigidi, Syreeta Wright - Vocals

Music Is My Sanctuary

---

Roseanna Vitro - Sing a Song of Bird

Styles: Vocal
File: MP3@320K/s
Time: 60:35
Size: 139,7 MB
Art: Front

(4:55) 1. People Chase
(5:14) 2. The Scatter
(3:21) 3. Bird’s Song
(4:42) 4. Parker’s Mood
(5:22) 5. Grapple With The Apple
(4:49) 6. Audubon’s New Bluebird
(4:43) 7. Sheila, Jazz Child
(6:43) 8. Quasimodo
(4:31) 9. Now’s The Time
(6:17) 10. Yardbird Suite
(4:27) 11. Ko Ko / Cherokee
(5:26) 12. These Foolish Things

Vocalist Roseanna Vitro is a favorite among jazz aficionados and musicians alike. That’s why Cedar Walton has said, “Roseanna Vitro, one of my favorite vocalists, sings with a great feeling for jazz. Her readings on major compositions are monumental.” Her outsized talents and passion for the music are matched only by the generosity of her spirit, which shines beautifully on her newest recording Sing a Song of Bird, a celebration of the great and inimitable Charlie Parker. Vitro conceived this project driven by a desire to develop new lyrics to Parker tunes. She chose to share the microphone with three of her mentors, bebop jazz legends Sheila Jordan, Bob Dorough, and Marion Cowings, each of whom take solo turns with their soulful interpretations of several compositions by Bird. Sing a Song of Bird has taken a long time to come to fruition. It was recorded in two sessions, the first in 2017 and the second in 2021.

Vitro had seen Jordan many times on the New York City jazz scene. She has held Jordan in the highest regard, not only for her singing, but also who she is as a person. Vitro says, “I love everything about Sheila. She is a shining example for young or older jazz singers all over the world. She treats everyone with love and dignity, plus she proudly carries the soul and spirit of Charlie Parker's music.” Vitro and Dorough are both natives of Arkansas. They first met in 1998, when they were inducted into the Arkansas Jazz Hall of Fame. They soon became friends, and Vitro recorded his song “Nothing Like You” on her 1994 release, Softly. But she had never worked with Dorough, nor had she worked with Jordan. So Vitro conceived of the Bird album as a way to share the stage with two of her favorite artists.

Jordan and Dorough were thrilled with the opportunity to appear on the same bill with each other and Vitro, and the chemistry was apparent right from their first gig at the Deerhead Inn in the Poconos. Vitro relates the story of one of their last gigs, “Bob was such a beautiful soul. We were scheduled to do a show at Kitano in New York, but Bob pulled out. He was very ill with cancer and was going into hospice. It was terrible news. The show was booked and I had already hired a replacement, when I got call from Bob asking me if I still wanted him to do the show because he didn’t die and they kicked him out of hospice. He showed up and was amazing.”

Because Dorough’s health was failing, Vitro quickly organized a session to document his vocalese to Parker’s “Bluebird” and lyrics to “Red Cross.” Vitro is known as one of the premier interpreters of lyrics, and her concept for the album was to sing several Bird tunes with fresh lyrics. She and her husband Paul Wickliffe, who is also a master recording engineer and producer of this album, wrote new lyrics to some tunes, as did Dorough and Jordan. Vitro relates, “I flipped when I first heard Bob’s masterpiece, ‘Audubon's New Bluebird.’ Bob had started writing the lyrics years ago, but never got around to finishing. Although he had wanted to finalize them for years, making the album was the impetus he needed to finally complete them. He was 94 years young when he finished the lyrics and recorded with us. It was worth the wait.”

Vitro assembled some of the top East Coast musicians for the first session, including Mark Gross on alto saxophone, who is featured on two Grammy- winning albums of Dave Holland, pianist Jason Teborek, prolific bassist Dean Johnson, and veteran jazz drummer Bill Goodwin, well-known for 30 years with Phil Woods. Unfortunately, the album was put on hold after Bob Dorough’s passing, in addition to many life changes, including Covid-19. When it looked like the worst of the pandemic was behind us, Vitro arranged for a second session with a new band. She brought on board an old friend, jazz singer Marion Cowings, a master of scat and vocal technique. Vitro says, “Jon Hendricks loved Marion. He possesses an extraordinary voice, interpreting bebop music with clear diction and heart.”

She also added famed saxophonist Gary Bartz to the mix. Bartz’s history with McCoy Tyner plus his compositions and recordings are well- known in the jazz world. Also in the band are two-time Grammy winner, pianist Alan Broadbent, and swingin’ drummer Alvester Garnett. Bassist Dean Johnson, who appears on the first session, completes the band. Vitro opens the album with “People Chase,” based on “Steeplechase,” with a tale of how the “human race is like a horse race” written by Paul Wickliffe. Vitro and Dorough trade scats on “The Scatter,” with new lyrics by Dorough sung to Bird’s “Red Cross.” “Bird’s Song” (“Relaxin’ at Camarillo”) by Sheila Jordan, is a history of Bird and the musicians who were on the scene. Jordan sang with Bird and her singing on the tune is a master class in bebop phrasing. Cowing’s rich, baritone voice breathes new life into “Parker’s Mood,” with the original lyrics by King Pleasure.

“Audubon's New Bluebird,” based on “Bluebird,” is a prime example of the wit, personality, and immense songwriting talents of Dorough. Vitro finally gets her chance to perform with Jordan on “Sheila, Jazz Child,” based on “Cheryl” with the original first verse lyrics by Gary Brocks, followed by Wickliffe’s ending two verses. On “Quasimodo,” Jordan adds her own original lyrics that describe how important Bird’s music has been to her. Vitro takes a solo turn on “Grapple with the Apple,” based on “Scrapple From the Apple,” re-imagined as a bossa nova with Wickliffe’s lyrics about a New Yorker flying to the beach to escape the madness. Cowings really swings on “Now’s the Time,” singing Jon Hendricks’ well-known lyrics with one verse by Eddie Jefferson.

Vitro sings Bird lyrics to “Yardbird Suite.” “Koko/Cherokee” is an instrumental tune featuring the magnificent Gary Bartz. Vitro saved “These Foolish Things” for the closer. Although it’s not a Charlie Parker tune, she wanted to sing these beautiful lyrics with Bob and Sheila. This song speaks to the joy and love they shared together in this special moment. It is a unique and memorable recording with three legends singing together.

Sing a Song of Bird is a special recording that goes beyond being a mere tribute album – it’s legacy. Dorough was 94 and Jordan was 89 when they recorded the heartfelt stories from their lives. Their status as jazz legends is uncontested. Dorough is no longer with us, but Jordan is still going strong, with a busy schedule and performances around the world. Marion Cowings may be heard for the first time here, but we’re sure it won’t be the last. And, of course, we are very lucky to have Roseanna Vitro still making music and dedicated to exploring new avenues of creativity, as she will for years to come. https://www.allaboutjazz.com/news/famed-vocalist-roseanna-vitro-releases-sing-a-song-of-bird-feat-sheila-jordan-bob-dorough-marion-cowings

Featuring Sheila Jordan, Bob Dorough, Marion Cowings, Gary Bartz, Mark Gross

Sing a Song of Bird

---

Gary Bartz - Monsoon

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 61:04
Size: 140,8 MB
Art: Front

( 7:29) 1. Samuel
( 7:52) 2. Never Never Land
(12:47) 3. Run Before the Sun
( 7:15) 4. Strode Rode
( 9:22) 5. Monsoon
( 7:57) 6. Soul Eyes
( 8:17) 7. Uncle Bubba

Gary Bartz has been known to many as a trail blazer in the music business from the moment he started playing with Art Blakey at his father’s jazz club in his hometown of Baltimore, MD to his own music throughout the 57 years as a professional musician. As if his Grammy Award© with McCoy Tyner in 2005 (‘Illuminations’) wasn’t enough to carve out a place for Bartz in the jazz genre, he has broken the mold with more than 40 solo albums and over 200 as a guest artist.Gary Bartz first came to New York In 1958 to attend the Julliard Conservatory of Music. Just 17 years old, Gary couldn't wait to come to the city to play and learn. “It was a very good time for the music in New York, at the end of what had been the be-bop era,” says Bartz. “Charlie Parker had passed away three years previously but Miles' group was in its heyday, Monk was down at the Five Spot, and Ornette Coleman was just coming to town. Things were fresh.” Back then, Gary could regularly be found drinking Cokes in the all ages “peanut gallery” of Birdland, enjoying a marathon bill of performers. “If I didn't have money to get in. I'd help somebody carry a drum and sneak in,” laughs Bartz. “I learned that early on."

Circa mid-'60s, the alto saxophonist - still in his early 20s - began performing throughout the city with the Max Roach/Abbey Lincoln Group and quickly established himself as the most promising alto voice since Cannonball Adderley. “In those days, we used to go by people's lofts and stay for weeks, just working on music,” says Gary. “Folks would all chip in and buy food, and one of us would cook. But there was always music, because people were dropping by at all hours. We didn't even think about it; that's just what we did. We were very unselfish about what we were writing because, after all, music doesn't belong to any one person. It belongs to the people, to everybody.”

With the splash of his New York debut solidly behind him, Bartz soon joined Art Blakey's Jazz Messengers. According to the story, Gary's parents owned a club in Baltimore, the North End Lounge. When his father hired Blakey for a gig, Gary grabbed the opportunity to fill a sax player vacancy in the band. After his performance that night, the young Bartz was officially hired to join the Jazz Messengers; in 1965, he would make his recording debut on Blakey's ‘Soulfinger’ album. From 1962-64, Gary joined Charles Mingus' Workshop and began practicing regularly with fellow members of the horn section, including Eric Dolphy. In 1968, Bartz began an association with McCoy Tyner, which included participating in Tyner's classic ‘Expansions and Extentions’ albums. Work with McCoy proved especially significant for Bartz because of the bandleader's strong connection to John Coltrane who Gary succinctly cites as a profound influence. During his first two years with Tyner, Gary was also touring with Max Roach and taking some time out to record on Max's Atlantic Records release, ‘Mermbers Don’t Get Weary’. “With Max, there was that bond with Charlie Parker,” declares Bartz. “Charlie Parker is why I play the alto saxophone.”

Bartz received a call from Miles Davis in 1970; work with the legendary horn player marked Gary's first experience playing electric music. It also reaffirmed his yen for an even stronger connection to Coltrane. In addition to working with Miles in the early '70s - including playing the historic Isle of Wight Festival in August, 1970 - Bartz was busy fronting his own NTU Troop ensemble. The group got its name from the Bantu language: NTU means unity in all things, time and space, living and dead, seen and unseen.Outside the Troop, Bartz had been recording as a group leader since 1968, and continued to do so throughout the '70s, during which time he released such acclaimed albums as, ‘Another Earth’, ‘Home’, ‘Music Is My Sanctuary’ and ‘Love Affair’, by the late '70s, he was doing studio work in Los Angeles with Norman Connors and Phyllis Hyman. In 1988, after a nine-year break between solo releases, Bartz began recording what music columnist Gene Kalbacher described as “Vital ear-opening sides,” on such albums as ‘Monsoon’, ‘West 42nd Street’, ‘There Goes The Neighborhood’, and ‘Shadows’.

Bartz followed those impressive works in 1995 with the release of his debut Atlantic album ‘The Red and Orange Poems’ a self-described musical mystery novel and just one of Gary's brilliantly conceived concept albums. Back when Bartz masterminded the much-touted ‘I’ve Known Rivers’ album, based on the poetry of Langston Hughes, his concepts would be twenty years ahead of those held by some of today's jazz/hip hop and acid jazz combos. So it continues with ‘The Blues Chronicles: Tales of Life’ A testimonial to a steadfast belief in the power of music to soothe, challenge, spark a crowd to full freak, or move one person to think. It adds up to a shoe box full of musical snapshots from a life lived and played with passion and stirred - with both joy and sadness - by the blues. Gary's release ‘Live at the Jazz Standard Volume 1 – Soulstice’ is the first of a series of recordings documenting his legendary, non-stop style, live performances. This initial release on his own OYO label bares testimony to Gary's continuing growth as a composer, group leader, and master of both the alto and soprano saxophones. A quartet session recorded in 1998, was followed by ‘Live at the Jazz Standard, Volume 2’ released in 2000, which features Gary's exciting Sextet. His follow up release ‘Soprano Stories’ Gary exclusively performed on the soprano saxophone in a studio quartet setting.br

His follow up album to the highly acclaimed Volume I of the Coltrane Files, Toa Of A Music Warrior, will be released in early 2015 along with his album honoring Woody Shaw entitled ‘Two MF’s’. Gary Bartz continues taken his rightful place in the pantheon of jazz greats and has his sight is set on releasing more music on his label OYO Records. https://musicians.allaboutjazz.com/garybartz

Personnel: Gary Bartz - alto saxophone, composer; Butch Lacy - piano; Clint Houston - bass; Billy Hart - drums.

Monsoon

---

Charles Tolliver - Paper Man

Styles: Trumpet Jazz
Year: 1968
File: MP3@320K/s
Time: 39:26
Size: 90,5 MB
Art: Front

(4:26)  1. Earl's World
(9:39)  2. Peace With Myself
(5:51)  3. Right Now
(6:08)  4. Household Of Saud
(7:08)  5. Lil's Paradise
(6:11)  6. Paper Man

Also released by the Freedom label, this was trumpeter Charles Tolliver's full-length album as a leader. One of the top brassmen to emerge during the era (although he never quite lived up to his potential), Tolliver had the fat tone of a Freddie Hubbard, the adventurous spirit of Woody Shaw and a somewhat original conception of his own that bridged the gap between hard bop and the avant-garde. 

He performs six of his originals with pianist Herbie Hancock, bassist Ron Carter, drummer Joe Chambers and (on three of the selections) altoist Gary Bartz. This explorative and stirring music is well worth investigating. ~ Scott Yanow https://www.allmusic.com/album/paper-man-mw0000874948

Personnel: Charles Tolliver - trumpet, producer, composer; Herbie Hancock - piano; Ron Carter - bass;  Joe Chambers - drums; Gary Bartz - alto saxophone

Paper Man

---

Grachan Moncur III Octet - Exploration

Styles: Trombone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:04
Size: 124,7 MB
Art: Front

(8:11)  1. Exploration
(5:26)  2. Monk In Wonderland
(8:48)  3. Love And Hate
(9:54)  4. New Africa
(7:34)  5. When?
(6:59)  6. Frankenstein
(2:55)  7. Excursion
(4:13)  8. Sonny's Back!

Ralph Ellison once wrote a great essay in which he seemed to predict jazz's ultimate dependence on a music industry driven (and subsidized) by a star system. The irony, Ellison suggested, is that jazz is largely created by anonymous musicians, who because they are "devoted to an art which traditionally thrives on improvisation [...] very often have their most original ideas enter the public domain almost as rapidly as they are conceived to be quickly absorbed into the thought and technique of their fellows." There is a bittersweet implication here as if it's somehow nobler to be an unknown, poverty-stricken musician, and as if becoming a jazz celebrity inevitably involves selling out. But I don't know if you could convince trombonist and composer Grachan Moncur of either of these propositions. Though he may agree that the star system is a horrible invention, he recently had the opportunity to reestablish his own reputation, and I can almost hear him thanking [insert the deity of your choice here] for that. After all, until this chance came along, Moncur was coming very close to total obscurity and from what I can tell, he wasn't enjoying it, materially or philosophically. In the '60s, he had been a participant and leader in several stellar Blue Note sessions (now collected on a Mosaic box set), but he more or less hadn't been heard from again until, well, last year. Why? It could be that his (smart) impulse to control his own publishing rights got him blacklisted by the Blue Note big wigs. Or maybe that blacklisting had something to do with his turn toward the avant-garde. Or perhaps it was something else altogether something even more painful (see Fred Jung's AAJ interview with Moncur for several moving allusions). 

In any case, here at last is one of the rewards of a jazz culture that has become downright curatorial in recent years (a fact sometimes too-quickly decried by those of us who prefer our music in the clubs): at least we're starting to value the contributions of lesser-known veterans. To be sure, Moncur's new album, Exploration, is markedly different from his '60s output. Here, he is dealing with a much larger ensemble (an octet featuring such varied personages as Gary Smulyan, Billy Harper, and Andrew Cyrille), for which Mark Masters' compelling, dense arrangements are perfectly suited. True to its name, Exploration is not a simple repackaging of Moncur's work, but, rather, a sincere statement of artistic growth (a noble thing any age, but particularly when you're in your late 60s). A brief summary: "New Africa" is a gorgeous suite whose creation was apparently assisted by Moncur's wife, Tamam. "Sonny's Back" weighs in on the "almost-bop" side of things and is named after Moncur's friend, Sonny Rollins. And speaking of friends in high places, Moncur's signature tune ("Monk in Wonderland") is named after another fellow traveler (you-know-who), who I suspect is his biggest influence. (I'd be remiss if I didn't mention the amazing alto solo on this tune, incidentally. Thanks, Gary Bartz.) "Love and Hate" is strangely named; it sounds like all love to me (slow, mellow, sweet). And for the hardcore fan, "Excursion" is a more or less totally free several minutes. I could go on, but you get the idea. Bottom line: welcome back, Grachan. We missed you. ~ Andrew Durkin https://www.allaboutjazz.com/grachan-moncur-iii-exploration-by-andrew-durkin.php

Personnel: Personnel: Grachan Moncur III, trombone; Mark Masters, arrangements; Tim Hagans, trumpet; John Clark, French Horn; Dave Woodley, trombone; Gary Bartz, alto sax; Billy Harper, tenor sax; Gary Smulyan, baritone sax; Ray Drummond, bass; Andrew Cyrille, drums.

Exploration

---

McCoy Tyner - McCoy Tyner And The Latin All-Stars

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 61:52
Size: 143,3 MB
Art: Front

(11:02)  1. Festival In Bahia
( 6:59)  2. Poinciana
(12:23)  3. Afro Blue
(10:34)  4. A Song For Love
( 8:36)  5. La Habana Sol
( 5:24)  6. We Are Our Father's Sons
( 6:51)  7. Blue Bossa

McCoy Tyner's percussive piano style has always worked well within an Afro-Cuban groove, and this recording provides an excellent setting for him and his all-star lineup to work in. Mixing genre classics like "Afro Blue" and "Poinciana" with original material, Tyner's first release for the Telarc label provides a completely satisfying, highly rhythmic experience. Regular bassist Avery Sharpe combines with a three-man percussion section to propel the group's extended explorations. Besides the leader's instantly recognizable pianistic flurries and fat, two-handed chords, the front-line foursome of flute whiz Dave Valentin, saxophonist Gary Bartz, trumpeter Claudio Roditi and bone-and-shell man Steve Turre is superb, both in ensemble passages and individual solo spots. In the course of his long career, McCoy Tyner has recorded in nearly every conceivable setting. Though many of his solo, trio and quartet dates are superb, his expansive style has often been most enjoyably showcased in the company of multiple horns. From the rollicking opener "Festival in Bahia," to the beautiful "A Song for Love," to the straightforward timbale-driven Latin groove of "We Are Our Father's Sons," McCoy Tyner & the Latin All-Stars makes a potent case for inclusion in the upper tier of Tyner's catalog. ~ Jim Newsom https://www.allmusic.com/album/mccoy-tyner-the-latin-all-stars-mw0000235460

Personnel: McCoy Tyner: piano;  Gary Bartz: saxophones; Claudio Roditi: trumpet, flugelhorn; Steve Turre: trombone; Dave Valentin: flute; Avery Sharpe: bass; Ignacio Berroa: drums;  Johnny Almendra: timbales;  Giovanni Hidalgo: percussion

McCoy Tyner And The Latin All-Stars

---

Gary Bartz Ntu Troop - Singerella: A Ghetto Fairy Tale

Styles: Clarinet And Saxophone Jazz

Year: 2010

File: MP3@320K/s

Time: 39:40

Size: 91,0 MB

Art: Front

(4:58)  1. St. Felix Street

(4:37)  2. Dozens (The Sounding Song)

(6:44)  3. I Don't Care

(3:01)  4. Blind Man

(6:25)  5. Singerella (A Ghetto Fairy Tale)

(6:15)  6. Lady Love

(4:12)  7. Mellow Yellow

(3:25)  8. Nation Time

Released in 1974, Singerella: A Ghetto Fairy Tale by Gary Bartz and his evolving Ntu Troop was a self-produced affair, and the first without vocalist Andy Bey. Bartz was exploring a CTI smooth groove aesthetic by this time, and was deeply invested in the funky side of jazz. He took a hard turn toward jazz-funk's smoother soul side here, an approach that was cemented in the final mix by Larry Mizell, who, along with his brother Fonce, would become his producers for the remainder of the 1970s. Bartz also changed his composition style for Singerella; these are, in large part, shorter, tighter, and feature quirky if readily accessible melodies. Some of these tracks yield fine improvisational moves despite their heavy reliance on funk vamps. This is true in particular of the opener, "St. Felix Street," and the bookend closer, "Nation Time." Other tracks, such as the humorous "The Dozens Song," the driving "I Don't Care" (with a generous touch of the lyric influence and hipster vocal phrasing of Ben Sidran), and "Mellow Yellow" (not the Donovan tune), offer a street-conscious aspect of the band's performance, while keeping the production on the slick side, featuring the infectious Fender Rhodes and keyboards laid down by Hubert Eaves, the razor-sharp guitar work of Hector Centeno, the cracking breaks of drummer Howard King, the tough in-the-pocket hand percussion of Kenneth Nash, and the punched-up accents of bassists James Benjamin and Maynard Parker. Bartz chose to handle the vocals on this set, and his off-key vocals did hurt him on both the title cut and "Lady Love" (these would have been stone killers sung by Bey or any more skilled singer), because their subtleties demand a more accurate pitch. That said, the music more than compensates, and Bartz's own alto, soprano, and clarinet chops are in top shape. This is a curious record, an experiment (and partnership with Mizell) that would take shape further on 1975's The Shadow Do! and culminate in the excellent Music Is My Sanctuary in 1977. ~ Thom Jurek https://www.allmusic.com/album/singerella-a-ghetto-fairy-tale-mw0000874926

Personnel: Clarinet, Alto Saxophone, Soprano Saxophone, Jew's Harp [Mouth Harp], Synthesizer, Percussion, Vocals – Gary Bartz;  Drums – Howard King;  Electric Bass – James Benjamin;  Guitar – Hector Centeno (tracks: A3, B4), Maynard Parker;  Piano [Acoustic], Electric Piano, Clavinet – Hubert Eaves

Singerella: A Ghetto Fairy Tale

---

Gary Bartz - Shadows

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 69:25
Size: 159,3 MB
Art: Front

( 9:49)  1. Marion's Theme
(12:30)  2. Shadows
(10:25)  3. Songs Of The Underground Railroad
(14:35)  4. Peresina
( 4:50)  5. How Do You Keep The Music Playing
( 9:32)  6. Children Of The Night
( 7:41)  7. Holiday For Strings

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 https://www.allmusic.com/album/shadows-mw0000100346

Personnel:  Gary Bartz - alto saxophone, soprano saxophone;  Willie Williams - tenor saxophone;  Benny Green - piano;  Christian McBride - bass;  Victor Lewis - drums

Shadows

---

Gary Bartz - The Red And Orange Poems

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 58:39
Size: 136,3 MB
Art: Front

(7:01)  1. By Myself
(9:26)  2. Nusia's Poem
(5:55)  3. I'm Gonna Laugh You Right Out Of My Life
(6:44)  4. J Seas
(9:55)  5. Relentless
(4:11)  6. Along The Twelve Tone Row
(5:57)  7. Soulmate
(9:24)  8. But Not For Me

Alto veteran Gary Bartz may not have made it as big as originally predicted, but as shown on this 1994 studio date, he developed a sound of his own and was always capable of coming out with exciting yet thoughtful music. Joined by such associates as trumpeter Eddie Henderson, John Clark on French horn, pianist Mulgrew Miller, bassist Dave Holland, drummer Greg Bandy and percussionist Steve Kroon, Bartz is in excellent form on a variety of standards (including "By Myself" and "But Not for Me") and originals.~ Scott Yanow https://www.allmusic.com/album/red-orange-poems-mw0000122640   

Personnel: Gary Bartz (alto saxophone); Eddie Henderson (trumpet, flugelhorn); John Clark (French horn); Mulgrew Miller (piano); Dave Holland (bass); Greg Bandy (drums); Steve Kroon (percussion

The Red And Orange Poems

---

Gary Bartz - Bartz

Bitrate: MP3@320K/s
Time: 39:15
Size: 89.9 MB
Styles: Crossover jazz
Year: 1980/2016
Art: Front

[4:09] 1. Need Your Love
[4:27] 2. Keep Goin' On
[4:56] 3. Love Prelude After The Love Has Gone
[4:57] 4. Rockin' All Night
[4:50] 5. Music
[5:40] 6. One-Eyed Jack
[5:24] 7. After Glow
[4:49] 8. (Give It Your Best), Shot!

After 1978's occasionally gorgeous Love Song and often sluggish Love Affair, saxophonist Gary Bartz linked with frequent session associates and production duo James Mtume and Reggie Lucas. Mtume/Lucas had transitioned away from soul-jazz to straight soul/R&B, with Roberta Flack, Phyllis Hyman, and Stephanie Mills as some earlier beneficiaries. Add Howard King (drums), Hubert Eaves III (keyboards), Tawatha Agee (vocals) -- this is an Mtume-the-group album in all but name. Carrying much more rhythmic oomph than either 1978 Bartz date, the album's clear-cut highlight is "Keep Goin' On" (a Tawatha showcase), but "Need Your Love" and "Music" (where you can hear Eaves revving up for "D" Train) are also bound to move those who love all other late-'70s/'80s Mtume and Mtume/Lucas-produced albums. ~Andy Kellman

Bartz mc
Bartz zippy

---

Donald Brown - Sources of Inspiration

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 52:35
Size: 120,7 MB
Art: Front

(6:54)  1. Capetown Ambush
(6:28)  2. Overtaken by a Moment
(6:22)  3. Do We Have to Say Goodbye?
(6:46)  4. Embraceable You
(6:36)  5. New York
(7:03)  6. Phineas
(4:15)  7. The Insane Asylum
(8:09)  8. The Human Impersonator

With the exception of "Embraceable You" (one of two songs on this CD that are "bonus" cuts not on the LP version), pianist Donald Brown wrote all of the material. The strong quintet (which also features Eddie Henderson and altoist Gary Bartz) really digs into the diverse originals which are often reminiscent of a Blue Note date circa 1967.  ~ Scott Yanow https://www.allmusic.com/album/sources-of-inspiration-mw0000612773

Personnel:  Donald Brown – piano;  Eddie Henderson - trumpet, flugelhorn;  Gary Bartz - soprano saxophone, alto saxophone;  Buster Williams – bass;  Carl Allen – drums

Sources of Inspiration

---

Tommy Flanagan, Tommy Cecil, Billy Hart, Paul Bollenback, Gary Bartz, Cyro Baptista - Samba For Felix

Bitrate: MP3@320K/s
Time: 60:47
Size: 139.1 MB
Styles: Bop, Piano jazz
Year: 1999
Art: Front

[8:25] 1. Samba For Felix
[5:52] 2. Don't Get Around Much Anymore
[6:03] 3. You're So Retro
[9:01] 4. Ce
[7:27] 5. Cavalier
[8:17] 6. The Heather On The Hill
[6:56] 7. Perspective Changes
[8:43] 8. Pastorale

Though headlined by Tommy Flanagan, Samba for Felix is truly Tommy Cecil's recording session. Cecil serves as the bandleader, principle songwriter (writing five of the album's eight tracks), and outstanding bassist on this valuable set. For his part, Flanagan is masterful on piano and is expertly joined by Billy Hart (drums), Gary Bartz (alto sax), Paul Bollenback (guitar), and Cyro Baptista (percussion). This all-star cast would be expected to put forth a great effort and they do not disappoint. The title track is a wailing samba, highlighted by Bollenback's intense guitar attack. "Don't Get Around Much Anymore" stays true to Ellington's simple and evocative melody. "Ce" takes on a distinctive Latin flavor and is notable for Baptista's sensitive accompaniment. "The Heather on the Hill" is a lovely ballad on which Bartz makes the alto sing. "Pastorale," a Cecil original, closes the set with understated brilliance. Throughout Samba for Felix, Billy Hart and Cecil lay down a deep, pronounced groove and Flanagan displays the confidence of a genuine master with nothing more to prove. This album is highly recommended. ~Brian Bartolini

Samba For Felix mc
Samba For Felix zippy

---