Cairn Petrophysical

There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early 70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. That's not to mention appearances on beloved albums by Pharoah Sanders, Donald Byrd, Norman Connors, Roy Ayers, Gene Ammons, Phyllis Hyman, Jackie McLean and many others. This is what Gary Bartz brings to the Jazz Is Dead project and as can be expected, his questing spirit fits the JID style like a glove and has produced an album that's a cutting-edge addition to his immense canon as he effortlessly interfaces with a new generation.

Doug's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his 70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now. One can detect nods to musical motifs by Carn's jazz peers that have served as frequent sample fodder, but his compositional and improvisational integrity remain indisputable throughout.