Stanford Jazz Workshop

Stanford Jazz Festival 2007
2008 Festival At A Glance
June 27   Terence Blanchard Quintet
June 28   Early Bird featuring Crosspulse Percussion Ensemble
June 28   Mary Stallings
June 29   3 Cohens
July 5   John Calloway Quintet
July 6   Everything you Wanted to Know About Jazz (But Were Afraid to Ask)
July 6   Sony Holland Plus Five
July 11   Mulgrew Miller
July 12   Early Bird with Jim Nadel
July 12   Kenny Burrell Quartet
July 13   Mel Martin and the Benny Carter Tribute Band
July 18   Gary Bartz Quartet featuring George Cables
July 19   The Whole Drum Truth
July 20   Yosvany Terry: Yedégbé—The Afro-Caribbean Legacy
July 21   Sandy Cressman and Homenagem Brasileira
July 22   Dayna Stephens Quartet
July 23   Andrew Speight's Bebop Night
July 24   Victor Lin and Friends
July 26   Geoffrey Keezer Quartet wtih special guest Joe Locke
July 27   Taylor Eigsti / Julian Lage Duo
July 28   Sylvia Cuenca Trio
July 29   Ruth Davies' Blues Night featuring Henry Butler
July 30   Ambrose and Friends
July 31   Tia Fuller and Healing Space
Aug 2   Dena DeRose Trio with special guest Donald Bailey
Aug 3   The Agosto Trio: Scofield / Grenadier / Stewart
Aug 4   Barry Harris / Charles McPherson Quartet
Aug 5   Jason Moran / Larry Grenadier / Richard Davis / Jeff Ballard
Aug 6   Delfeayo Marsalis & the Stanford Jazz Workshop Sextet
Aug 8   Stanford Jazz Workshop All-Star Jam Session
Aug 9   Fly + 1 with special guest Joshua Redman
36th Season
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Bartz/Cables picture

Gary Bartz Quartet featuring George Cables
Gary Bartz, alto saxophone; George Cables, piano; James King, bass; Greg Bandy, drums

Take 5!Friday, July 18 | 8 pm | Dinkelspiel Auditorium
Tickets: $34 general | $17 students

Online: Ticketweb
By phone: 650.725.ARTS (2787); In Person: Stanford Ticket Office
For more information, go to our Ticketing Information Page

Presented in association with Jill Newman Productions

Program Notes

“Bartz, always an imposing technician, who began his career in the 1960s with a ragged, edgy attack and later attempted a Coltrane-like effusiveness, can now summon Parker's burnished voice without sacrificing his own.” – Village Voice

Alto saxophonist Gary Bartz and pianist George Cables have been at the forefront of modern jazz for decades. Gary Bartz moved to New York in 1958 to study at the Juilliard School of Music. A student by day, Bartz established himself by night as one of the most distinctive and exciting new alto players on the scene, working with Max Roach, Abbey Lincoln, Art Blakey, McCoy Tyner, and Charles Mingus. In 1970, he joined Miles Davis’s electric band for a fruitful period that included the legendary performance at the Isle of Wight Festival. Having learned from the best, Bartz has led his own groups for four decades and has recorded dozens of albums. George Cables, a New York native, emerged as one of the most influential pianists in jazz in the 60’s and has stayed in high demand ever since. Like so many top artists, he gained important early experience with Art Blakey’s Jazz Messengers. Relocating to the West Coast in the 1970’s, Cables has performed with Dexter Gordon, Art Pepper, Woody Shaw, Joe Henderson and many more.

Supported in part by Jay Clemens & Carolyn Seen; Lisa Friedman & Jim Harris

Web Sites
Gary Bartz
George Cables

Music Link

Q&A with Gary Bartz

What is the first recording you remember hearing as a child?
The first recording I remember listening to is “Saturday Night Fish Fry” by Louis Jordan and his Tympany Five.

Who is your favorite jazz musician under the age of 30?
I don’t recognize the term jazz musician. There are lots of musicians that I like, but I haven’t checked their id’s. I don’t go by age.

What job would you have if you weren’t a jazz musician?
I am not a jazz musician. You can call me a musician, a composer, a sound scientist or what I like to refer to myself, a bluesman. I don’t know what I would be if I didn’t play music.

What’s the strangest experience you’ve ever had on the bandstand?
There are so many strange things that have happened on the bandstand. Maybe ducking bullets from two dudes fighting.

What’s your favorite food?
I love Indian food.

What’s the most exotic place you’ve traveled to as a musician?
Teheran, Isfahan and Shiraz, Iran.

What’s the last book you’ve read?
“Rat Race Blues”

If you could play with any other musician, living or dead (with whom you have not played), who would it be and why?
Lester Young- because he is the bridge between swing and so-called bebop and Thelonious Monk because I would like to see what it felt like to play with his comping.

What’s your favorite tune?
That changes almost weekly. This week it’s a song from my new recording “Coltrane Rules-Tao Of A Music Warrior” called “ Tao Of A Music Warrior”.

What’s your favorite thing about being a Stanford jazz Faculty member?
Meeting and listening to the young musicians.

What’s your favorite jazz venue?
I don’t think in those terms. I do have some favorite venues. There are some beautiful theaters all over the world. In Spain, Italy, in most countries. I don’t like so-called jazz clubs because they are not worthy of this great music, they are mostly holes in the wall and young people usually can’t attend. That is not how to grow a new audience.

Who is your greatest musical influence?
Probably Charlie Parker.

If you were stranded on a desert island and could only have three recordings with you, what would they be?
“Bird With Strings”, “Lady In Satin” and “Porgy and Bess” by Miles Davis & Gil Evans

How much do you practice each week?
Between 3 and 8 hours a day.

What hobbies do you have?
I like to paint and I like to sail.

If you could be any other type of artist other than a jazz musician, what would you be and why?
A comedian.

Do you have a favorite music-related joke (that can be told in mixed company!)?
No, not in mixed company.

When did you become interested in music, and what circumstances or events led to your becoming a professional musician?
I heard Charlie Parker when I was 6 years old and decided that whatever he was doing, that’s what I wanted to do.

If you were to describe your music as a color, what color would it be and why?
The Rainbow, because I think music is related to the color spectrum like the cycle of fifths. I am synesthetic, so I relate colors to all music.

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