“Cartwright’s songs tap into some quintessential American Soul …” Boston Rock – Michael Bloom

" A playback of the diaspora that brought musical life to this planet: all the music ever made-Phoenician sailors' chants and Basque weddings and radio broadcast of Edgar Varese and regional fife-&-drum competitions-drifting back through space toward some musical Big Bang..." - Jazz Times

"Incandesent saxophone playing "- The New York Times

"It sounds like a hummingbird caught in the drapes."- Newsweek

"...Cartwright sounds like he's stirring about the galley of a boat at night, belowdeck, opening a beer, fixing himself an omelet, and doesn't know he's being overheard. All in all, an offering of great loneliness. Even despair." -Jazz Improv

"Earth music heard on another planer, audible through space if soundwaves go on forever like light waves, and if not, well, it's none of their business up there anyway, what goes on down here. "- Nebraska Music Educator

Photos of George Cartwright
Music has always been a part of my life. Singing in church and learning songs at my grandfather's knee are some of my earliest memories. Ball 'N The Jack that's what they call it, ball 'n the jack...

As a child, I took piano lessons, and later learned to play the guitar by ear. I started composing on the guitar, writing songs with words and creating instrumental pieces a la Miss John Hurt and John Fahey. In high school, I was a big fan of the British bands that played blues and was thrilled to discover that they had found the blues literally in my own hometown in the Mississippi Delta. I bought my first sax on my 21st birthday with 65 dollars, a present from my Grandmother. I studied jazz saxophone, being irreversibly drawn to its beauty and passion. In college, after hearing Ornette Coleman's "Dancing in Your Head" I started finding melodies and ideas for songs and began seriously composing pieces. After a year and a half at the Creative Music studio in Woodstock, New York, I moved to New York City where I made a conscious decision to eschew journeyman positions in music, learning a trade to pay the bills, passionate that I wanted to compose and perform my music free of traditional restraints. Clarity had always been important to me. I love counterpoint, things pulling in different directions while respecting the others’ right and need to exist - or, as Coleman describes his harmolodic philosophy, “communicating the equal access of information for multiple expressions.”

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