INFINITE SPIRIT

Bob Gluck: piano, electronics

Jabali Billy Hart: drums

Mganga Eddie Henderson: trumpet

Christopher Dean Sullivan: bass

 

Bob Gluck (http://www.electricsongs.com) is a pianist, composer, writer, and rabbi. He has released three recordings of music for jazz trio, three of electronic music, and two of electroacoustic duos. Karl Ackerman (All About Jazz) wrote about his work: “As a composer and player, Gluck ranks with the likes of Andrew Hill and Cecil Taylor.” Jazz Review describes his previous FMR recording, “Returning,” as displaying "an intensity and sensitivity that is spellbinding." Gluck is author of two books published by University of Chicago Press, “You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band” (2012) and “The Miles Davis ‘Lost’ Quintet and Other Revolutionary Ensembles” (2016). Gluck’s recent collaborators include Eddie Allen, Michael Bisio, Jane Ira Bloom, Ken Filiano, Joe Giardullo, Ras Moshe Burnett, Aruan Ortiz, Neil Rolnick, Dean Sharp, Andrew Sterman, and Tani Tabbal. Gluck is on the faculty of the University at Albany.

 

Billy Hart (http://billyhartdrums.com) is one of the great drummers of our time, described by the Detroit Free Press as “majestic… [displaying an] “extraordinary ability to both respond to and spontaneously shape a band’s conception… Want to know what jazz is all about? Listen to Billy Hart.” His long career has situated him with a wide breadth of artists, from Otis Redding, Sam and Dave, Buck Hill and Shirley Horn; to Jimmy Smith and Wes Montgomery, McCoy Tyner, Miles Davis (On the Corner), Wayne Shorter and Joe Zawinul; Eddie Harris, Pharoah Sanders, Marian McPartland, Stan Getz, Quest, Charles Lloyd, and of course Herbie Hancock’s Mwandishi band. His current career includes extensive freelance playing, performing with The Cookers, and leading the Billy Hart Quartet, whose three recordings are on the ECM label. As an educator, Billy Hart is on the faculty of the Oberlin Conservatory of Music, New England Conservatory of Music and Western Michigan University.

 

Eddie Henderson (http://musicians.allaboutjazz.com/eddiehenderson) is a much celebrated trumpet player whose wildly diverse and accomplished career began with trumpet lessons from Louis Armstrong and early praise from Miles Davis, a friend of the Henderson family. He became the first African American to compete for a national figure skating championship, winning the Pacific and Midwestern titles and pursued dual careers in music and medicine, with a specialty in psychiatry. It was with Herbie Hancock's Mwandishi band that Henderson first received worldwide recognition, leading to performances with Pharaoh Sanders, Art Blakey, Elvin Jones, Johnny Griffin, Slide Hampton, McCoy Tyner, Benny Golson, Max Roach, Jackie McLean, Dexter Gordon, Roy Haynes, Joe Henderson, and The Cookers. His latest recording as a leader is Collective Portrait, featuring Gary Bartz and George Cables. The Chicago Reader observes of Henderson: “his progressive, assured, and imaginative improvisations roll out in a glorious sun-splashed tone that recalls Freddie Hubbard s halcyon days.”

 

Christopher Dean Sullivan (http://www.christopherdeansullivan.com) is a bassist of many musical languages: Jazz, Funk, Reggae, Latin, Fusion, Caribbean, Indian, African, and Eurocentric perceptions, rock, country, and more. He has shared the stage with Archie Shepp, Charli Persip, Yusef Lateef, Grant Green, Stanley Jordan, Pete Seeger, Horace Parlan, Joe McPhee, Sonny Simmons, Cecil Payne, Joe Lovano, Roy Campbell Jr., the Cotton Club All Star Orchestra, The Drifters, the Sharelles, and other 50's/60's groups. Sullivan has recorded with Michael Marcus and Codaryl Cody Moffett; Joe Giardullo, Sheila Jordan, Carl Grubbs, Odean Pope, Newman Taylor Baker, and others. He is also an educator and actor who has produced/hosted his own Warner Communication award winning television show. Jazz Review notes: “Sullivan plays not just the upright bass strings but the bass itself, throwing himself into the performance not to draw the spotlight, but to impart a palpable joie de vive to go with his rhythmic, rippling bass tones.