The shadow that Gary Bartz casts over the last six decades ofprogressive Black music, and his continued dedication to same, makeshim a logical and very welcome contributor to the Jazz Is Dead label. Analto saxophonist steeped in the history and tradition of his instrument whois also restlessly experimental and not prone to purism of any kind, heenjoys both the respect and admiration of his peers and the hero worshipof several generations after him – including Adrian Younge and AliShaheed Muhammad, which inevitably led to Gary Bartz JID 006.