Aug 25

Aug 25 Gary Bartz

Jazz, Musicians, Performance, Things to Do in Chicago

Gary Bartz, another Miles Davis alum, is this weekend’s headliner at Chicago’s famed Jazz Showcase. Accompanying Bartz tonight were Noah Sherman (Drums), Marlene Rosenberg (Bass), and Reggie Thomas (Piano).

As the economics of jazz dictate, this was not a group that regularly performs with Bartz; at least as far as I know. That means that the supporting musicians were from Chicago and surrounds. But based on the 75-minute set, anyone could have been fooled. This was a tight unit. Each of the three did far more than just support Bartz.

After the set, I asked one of the musicians about the preparations. I was told that there were some conversations, but no preparatory sessions of any significance. What about song selection? Once again, not a lot of prior thought. Bartz just plays, and the others simply follow his groove. At times, this musician was not even sure about the song’s name, as was the case with an obscure Stevie Wonder selection. No sheet music tonight, which was refreshing.

None of this should be a surprise given Bartz’s opening remarks. He told us that if the performance sucks, it is our fault because he simply is responding to the vibe emanating from the room. We also learned that Bartz does not like “to stop” once he starts, which explains why the set, with one exception, was one selection just melding into the next one.

To help us with our vibe, Bartz opened with the half spoken, half sung number Nummo-The Majick Song, from a 1974 album entitled I’ve Known Rivers and Other Bodies. Bartz, in a commanding voice, sang “Evil thoughts must leave the room; Sad thoughts must leave the room; Bad thoughts must leave the room.” The song is a vestige from the times when Bartz played in some rough places.

Once the room was cleared of any bad vibes—I hadn’t detected any, but a fellow can’t ever be too careful, particularly with Trump’s mugshot now burned into our collective memories— the group shifted into an extended blues number. The rhythm section laid down a solid bottom, as Thomas painted the Blues using the piano’s keys to great effect through sustained chords. At times, I could envision a stripper working her magic as the sultry swinging sounds kept coming. Rosenberg was up and down the strings, playing emphatic lines, with each note momentarily standing on its own. Sherman complemented the sound with strategically placed clicks and fills.

But it was not the blues all night. Eventually Bartz shifted the tempo, opting for some Charlie Parker bebop, which is appropriate because the Showcase celebrates Parker each August. Tonight, Bartz chose Koko as the number to celebrate Parker’s lasting legacy. Very uptempo, which gave Bartz the opportunity to display his skills. The result could have easily provided the soundtrack for a Woody Woodpecker cartoon.

Next up, the group oped for a much slower, syncopated tune. Bartz then stopped for a moment, announcing that he was saluting his old friend, Freddie Hubbard, with Up Jumped Spring, which can be found on Hubbard’s Atlantic album, Backlash. It had a lumbering swing to it.

Bartz and company closed the set with a number entitled, Song for Loving Kindness, which can be found on the 2011 release, Coltrane Rules: Tao of a Music Warrior. “The song of loving kindness is written for everyone, and everything that ever was.” Yes, in addition to a leisurely sax solo, Bartz also treated us to more vocals.

When the set was over, Bartz stayed true to his opening remarks, telling us that, “I hope your enjoyed your show—this is your show that you produced.”

At 82, Bartz still brings an updated Seventies sensibility to the bandstand, but he is hardly living in the past. Lots of fresh music tonight.

Post Script. I was particularly impressed with how Bartz miked both his saxophones. His sound was rich and savory.

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