Michael Lytle and George Cartwright

 

I had no idea how far it was there. Didn't know who I would meet, didn't’t even think about it. Just seemed like a good idea. Music, commitment, passion, honesty. Seemed enough to me. Musicians and composers I heavily admired. Lots of them passing though one place . Passing by me. And , in occasional senses, by me. Luck had it that Michael Lytle wasn't’t just passing through. I don’t remember how we started playing together, no, ummm, uh , wait! now I remember. We started getting together to play long tones and practice our tuning! That was it. Be more in tune like Karl and Ingrid talked about. Becoming more aware that really being in tune meant that tuning was an infinite idea rather than exact. I guess it just happened that we started playing together (30 minutes of 'a-flat' is great but...) and we really sounded good, simpatico and we found we could tune like crazy . It was a good time. We recorded and released our first lp (long playing) and the New Music Distribution service run by Carla Bley and Michael Mantler took it and distributed it. Bright Bank Elewhale. Available for re-release on any format you'd like. At the time their criteria for things to distribute was that no one else would do it. That was us. Along with lots and lots of others. The Creative Music Studio (did I say we met there?) gave us a place to play, perform , a place to work from and travel . Mostly in the south and New York City. 1977, 1978, 1979 were our years. We kicked ass. Michael was, and still is, a huge influence. His approach to playing, being open, listening and creating is stunning. You want the good stuff? It's here. I went on , as did Michael , to do numerous other musics with numerous other people. I believe that the esthetic that Michael and I developed and propagated was as deep and filled with emotion as any . -George Cartwright 2011, St Paul, Minnesota.

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Visit George's Merciless Ghost web site